The 1970s were a great time to be ahorror movielover, as this decade included plenty ofcheesy scary movieswith surprisingly great writing. While an outlandish premise, over-the-top characterization, or even a silly title might make viewers think a film will lack strong writing or thematic depth, for a movie to truly stand the test of time, the script needs to be up to scratch. While all these cheesy horror movies were a lot of fun, it’s amazing just how good the writing actually was.
Some of thebest horror movies of the 1970sembraced the cheesier side of cinema and didn’t take themselves too seriously. Whilecult-favorite horrormusicals likeThe Rocky Horror Picture Showhave earned their place in popular culture, other more genuinely frightening films also walked the fine line between cinematic cheese and truly compelling writing. While the 1970s may be long over,all these incredible horror movies boasted fantastic writing and plenty of thrills.
It’s easy to dismissPiranhaas a cash grab rip-off ofJawsthat attempted to siphon off some viewers from Steven Spielberg’s blockbuster triumph. However, if that were the case, thenPiranhawould not have managed to expand into a franchise in its own right, whose series of low-budget sequels has gained a special place in popular culture. Asan early work from the future two-time Academy Award-nominated screenwriter John Sayles, there was some real writing talent behindPiranha.
While it’s easy to make fun of this B-movie creature feature,Piranhawas full of sharp dialogue, self-aware humor, and social commentary relating to government incompetence. The characters inPiranhawere far more fleshed out than the average parody movie, and it’s no surprise the series has become a minor touchstone of popular culture in its own right. WhilePiranhabegan with the absurd premise of lethal, genetically altered piranha, it balanced this ridiculousness with a strong narrative structure.
Japanese cinema during the 1970s had plenty of outrageous horror movies that would truly test the boundaries of your imagination. Among these wasHausu, a film that may at first appear chaotic and unwieldy, yet buried below the surface was impressive, unsettling writing with an almost dreamlike logic.Hausutells the story of a schoolgirl attempting to travel with her friends to her aunt’s house, which soon turns dark as they come face-to-face with supernatural forces.
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The reputation of this bizarre cult classic has only grown over the years as its strong writing was bolstered by an impressive soundtrack from the rock band Godiego. WhileHausuwas poorly reviewed upon release, the stunning and unnerving visuals and over-the-top collage of extreme imagery meant it stood out as one of the most interesting Japanese horror movies of the decade. While some aspects ofHausufeel haphazard and its special effects don’t quite live up to today’s standards, the mix of strong direction, great music, and brilliant writing meant it stood the test of time.
It’s Alivetold the bizarre and frightening tale of a mutant baby in a movie that had surprisingly strong writing and boasted compelling social commentary. From writer, director, and producer Larry Cohen, hisprevious work on blaxploitation films likeBlack CaesarandHell Up in Harlemprepared him well for this cheesy horror of significant depth and sincerity. WhileIt’s Alivecontained plenty of cheap thrills, just buried below the surface was a thoughtful exploration of parental anxiety, fear of the unknown, and the way society reacts to things it doesn’t understand.
Much in the same way the baby from David Lynch’sEraserheadtapped into uneasiness around the responsibility of being a father,It’s Alivecaptured a young couple whose expected child turned into their worst nightmare. With writing that also satirizes medical ethics, corporate greed, and media sensationalism, it’s impressive how this cheesy horror balanced its deep themes with a real emotional core. While Cohen’s two sequels failed to capture the appeal of the first movie,It’s Alivestands as a great and underseen classic of 1970s cinematic cheese.
If you were to judge the blaxploitation horror movieBlaculaon its name alone, you’d be forgiven for thinking it would feature lackluster, derivative, and silly writing. However, this was far from the case, as scriptwriters Joan Torres, Raymond Koenig, and Richard Glouner imbued this parody knockoff with genuine pathos and a main character with a surprisingly compelling backstory.Blacula, as its name suggests, starred William Marshall as Mamuwalde,an African American who was turned into a vampire by Count Dracula in Transylvania.
With some fascinating social commentary on racial issues and prejudices, Mamuwalde was presented as an African prince who traveled to Transylvania in 1780 to ask for Dracula’s help in suppressing the slave trade, only to end up cursed himself.Blacula’sscript weaves in themes of racism, colonialism, and loss without feeling heavy-handed, while also including plenty of gags and an enjoyable soul music soundtrack. Don’t let the title fool you;Blaculawas far deeper than it usually gets credit for.
While the low-budget feeling and amateur cast ofPhantasmmay cause many viewers to dismiss this sci-fi horror, the truth was that this was a fascinatingly surreal and dreamlike movie that boasted some great writing. From writer and director Don Coscarelli,Phantasmwas packed with great ideas as it told the story of a supernatural undertaker turning Earth’s dead into zombies to be sent to his planet as slaves. As the first in a franchise with four sequels,Phantasmwas just the beginning of a unique cinematic world that rarely gets the credit it deserves.
Featuring pulpy dialogue and unsettling characters like the antagonistic The Tall Man,Phantasmwas almost Lynchian in its eerie execution and nightmarish atmosphere. Through minimal exposition,Phantasmthrew viewers into the deep end as they were forced to make sense of the strange visuals they were presented with. While this was a cryptic movie, it was not alienating, which highlighted the strength of Coscarelli’s strange script.
The music, visuals, and campy aesthetic ofThe Rocky Horror Picture Showmade it one of the most acclaimed horror comedies of the 1970s, whose appeal has continued in the form of midnight movie showings that committed viewers still flock to almost half a century after it was first released. With an astounding performance from Tim Curry, this LGBTQ+ classic was about as cheesy and outrageous as a movie can get. Asa compelling homage to sci-fi and horror B-movies from the 1930s to the 1960s,The Rocky Horror Picture Showwas characterized by strong writing.
With its origins as a stage musical by Richard O’Brien, director Jim Sharman collaborated with O’Brien on the screenplay forThe Rocky Horror Picture Show. With a fast-paced narrative, dialogue that was packed with sexual innuendo, and music lyrics that transcended the film itself,The Rocky Horror Picture Showblended themes of identity, sexual liberation, and rebellion against conformity. While style alone can get you pretty far,The Rocky Horror Picture Showwould not have been the iconic classic it became without great writing to back it up.
Whiledirector Brian De Palmawas behind all-time classics like the Stephen King adaptationCarrieand iconic remakeScarface, his early career also included the unusual, underappreciated, and cheesy comedy horrorPhantom of the Paradise. As an outrageous rock opera with Faustian undertones, this epic tale tells of a singer-songwriter cheated out of his life’s work who begins terrorizing the concert hall of the music producer who did him wrong.
With a sharp script that contained clever allusions to prime influences likeThe Phantom of the OperaandThe Picture of Dorian Gray,Phantom of the Paradisewas an enjoyable intertextual journey that powerfully balanced its satirical nature, horror undertones, and great soundtrack. As a cult classic that is sadly not as well known as other 1970s rock operas likeTommyorJesus Christ Superstar, this was a must-watch for any fans of De Palma, rock ‘n’ roll, or musicals.
The Texas Chain Saw Massacredirector Tobe Hooper followed up that trailblazing slasher classic with the cheesy killer crocodile movieEaten Alive. While this underseen horror did not have a villain as compelling as Leatherface at the center of its narrative, the idea of a psychotic hotel proprietor feeding those who upset him to a giant crocodile was still terrifying. Through unpolished dialogue and unpredictable characters,Eaten Alive’swriting felt raw and unrestricted in a way that suited its grindhouse feel.
WhileEaten Alivewas not well received at the time of its release, its reputation has grown in the years since, and there’s an argument to be made that the bad press associated with the film was due to critical resentment toward the surprise success ofThe Texas Chain Saw Massacre. Much in the same way Hooper’s previous movie shone a light on the disenfranchised Americans that society had left behind,Eaten Alivetapped into the isolation, madness, and societal decay of the country’s forgotten corners.
Movies likeRosemary’s Babyand events such as the Manson murders in the 1960s contributed to the encroaching fear of devil-worshiping cults that reached their peak with the Satanic panic of the 1980s. It was out of this context that came the cheesy action horrorRace with the Devil,which depicted two couples on a road trip pursued by terrifying cult members after accidentally witnessing a human sacrifice.
As an over-the-top exploration of burgeoning societal fears, this Jack Starrett movie was far more than a simple combination of horror, action, and car chase genres. With ascreenplay by Wes Bishop and Lee Frost,Race with the Devilwas a relentless, fast-paced, and paranoia-driven horror containing some truly unnerving car chases. As the terrifying antagonists stop at nothing to pursue their would-be victims, the heart-racing intensity of the writing elevatedRace with the Devil’smore action-oriented sequences.
While horror legend Vincent Price will always be remembered for his astounding work on over 100 movies, amid his vast filmography are plenty of cheesy releases that often don’t get the credit they deserve. Among these wasTheatre of Blood, a comedy horror about aShakespearian actor taking revenge on the critics who failed to recognize his work. As a deliciously camp and over-the-top melodramatic release, the thespian background of Price’s character allowed him to go all out in his outrageous performance.
Theatre of Bloodwas a personal favorite within both Price’s and his co-star Diana Rigg’s careers, which acted as an enjoyable spoof of Price’s early filmThe Abominable Dr. Phibes. With both movies featuring a protagonist who is presumed dead and seeking revenge,Theatre of Bloodwas packed with references to Shakespeare’s great plays. While its writing may not have reached the lofty standard of the Bard himself,Theatre of Blood’ssatirical edge meant it was far more nuanced than the average campy revenge story.
