1960 is an important year for horror. Four particular movies – Psycho, Peeping Tom, Eyes Without a Face, and Black Sunday – pushed boundaries into the modern age while also showing the legitimate artistic potential of horror. The other films tell contemporary stories, but Black Sunday enjoys a reputation as one of the greatest of all gothic vampire movies.
As the story goes, famed director and producer Roger Corman was tired of making disposable films on a laughable budget. During the 1950s he’d typically produced two black and white films at a time, to be shown as a double feature at grindhouse theatres. But when approached by American International Pictures to make a horror film, Corman had a proposal: maybe this time, he’d make one film, not two, on a decent budget, and it would be shot in color. It would be a real film, he promised, respectable enough to show in mainstream theatres.