Movies
Revisiting This Obscure Black Exorcist Film 50 Years Later
After the success of Freidkin’s exorcism film, other studios, and filmmakers were eager to ride the wave of the emerging subgenre of religious horror. The Exorcist’s impact on the genre changed the way audiences viewed the horror genre, seeing the genre films as insightful narratives that they could connect with. The film went on to receive ten Academy Award nominations, which had not yet been done by any other horror film. Even today, the impact of The Exorcist can still be seen across genres. And William Girdler decided to capitalize on that trend.
In the mid-1970s, a horror movie was released that terrified audiences by featuring the demonic possession of an innocent young woman. If you assumed that this fits the description of The Exorcist (1973), you’d be right. But there was another film that many may not know about that was sued and banned from theaters because of its similarities.
After the success of Freidkin’s exorcism film, other studios, and filmmakers were eager to ride the wave of the emerging subgenre of religious horror. The Exorcist’s impact on the genre changed the way audiences viewed the horror genre, seeing the genre films as insightful narratives that they could connect with. The film went on to receive ten Academy Award nominations, which had not yet been done by any other horror film. Even today, the impact of The Exorcist can still be seen across genres. And William Girdler decided to capitalize on that trend.
The Post-Exorcist Rise of Religious Horror
Girdler’s sophomore film, Abby, was released on December 25, 1974– almost exactly one year after the December 26th release of The Exorcist. In the Blaxploitation horror film, Dr. Williams (William Marshall) finds an ancient relic while digging in a Nigerian cave. Dr. Williams mistakenly releases Eshu, a Yoruba sex demon. Eshu then travels across the world, attaching itself to Dr. Williams’ daughter-in-law, Abby (Carol Speed). As the film progresses, so does Abby’s possession. Abby’s husband and family are at a loss for her extreme change in behavior. A minister’s wife and a lead in her church choir, is now seducing men at random bars. Dr. Williams returns home, focused on ridding Abby of this demonic entity that makes her a sex-crazed housewife.
Girdler’s exorcism film is heavily influenced by Black and African culture, fashion, and music. Much like other Blaxploitation horror films of that time (Blacula, Ganja & Hess), Abby explored a scary scenario told through a Black lens. But let’s not shy away from the fact that Girdler was a white man. Looking back, it’s clear that the film’s writing is problematic in some ways. The only way for Abby to be deemed worthy of saving is for her to be a God-fearing minister’s wife. Her sexual desires are evil and demonic. Her body is not her own. Sound familiar (i.e., slavery)? In the documentary Horror Noire, Tananarive Due says Abby is “a really good example of both fear of Black women in general but fear of Black women’s sexuality in particular.” One thing that Girdler does differently in Abby is using a male voice for the demon, which drives home even more that Abby is controlled by men. It’s not until she is exorcised by her father-in-law, along with her husband and brother in tow, that she is freed from the monster that she had become.
Audience Impact and Cultural Resonance
When asked what it was like to see this film in 1974, @motomweusi836 responded with: “Me and some friends just had to sneak in and check this out. Worst mistake of my young life! This movie messed all of us up for months. We couldn’t sleep and were constantly thinking folks in the house were possessed. Needless to say our parents had no problems getting us to go to church after that.” And that’s relevant to the impact of this film. Seeing a Black woman being possessed on screen was fresh and scary as hell to Black audiences. And the box office reflected that impact.
Abby was in theaters for one month and was able to scare up $4 million, more than enough to recoup its $100,000 budget. But why was it only in theaters for a month? Because the film was so similar to The Exorcist that Warner Bros. contacted their lawyers to sue. It was even marketed as “The Black Exorcist”. The court sided with Warner Bros., and the film was pulled from theaters. Girdler admitted that Friedkin’s adaptation inspired his film, but it wasn’t a blatant ripoff. It isn’t clear from my research, but it is said that Warner Bros. not only had the film’s theatrical run halted, but they also seized the original reel to ensure that it wouldn’t be distributed.
A Lasting Legacy in Blaxploitation and Horror
Even fifty years later, the ownership of the original film is still a mystery. You may be able to find some not-so-stellar versions on YouTube and Plex. Despite not having any good quality versions out there, Abby has still become an underground Blaxploitation classic. I asked YouTube creator and director/screenwriter, Tyrone Williams what he believes the lasting legacy of Abby is in the context of both Blaxploitation and horror cinema. He responded, “When it comes to Blaxploitation and horror cinema, Abby leaves behind a legacy of pushing to the forefront a Black woman in a subgenre that they still, to this day, are barely represented in. Her possessed self being the exact opposite of a model housewife in the ’70s is the icing on this supernatural-filled cake.” I couldn’t agree more that there is a significance to Abby that continues to resonate with audiences.
Abby is a Blaxploitation horror gem that remains an underrated classic in cinema history. While it has a controversial legacy, Abby stands as an artifact of its time, pushing boundaries in ways that still spark discussion. Fifty years later, it remains a dynamic, provocative film that deserves more recognition and an appreciation within the context of horror and Blaxploitation cinema.
Looks like another July will be spent getting cozy with Shudder in this house. Between all the new (to me) international titles and the conclusion of Hell Motel on July 29th, the app has filled my calendar for the month. Hold my texts, keep your emails in the draft folder, and don’t look for me outside. My TV and I are on a mission, and we’re prioritizing the five titles below. I hope they grab your attention and make it into your Shudder viewings this summer as well. However, I’ll be too busy watching them to know what anyone else is doing, so happy streaming whatever you decide to get into.
While we have you here, you should consider joining us for Bloody Brunches! Every Sunday at 11 AM CST / 12 PM EST, we’ll be livestreaming a new episode of Hell Motel. Who know’s who you’ll see, sometimes Ian Carpenter and crew stop by!
The Best Movies to Stream on Shudder This Month
Lake Placid (1999)
A small group of people try to capture a gigantic crocodile terrorizing the people of Black Lake, Maine. I am not an aquatic horror girl, and I am usually unimpressed with 90s action horror titles. I make a special exception for Lake Placid though. Sure, it stars Bridget Fonda, Bill Pullman, and Oliver Platt. However, real film buffs know that it’s really the late Betty White who carries this movie. Her foul-mouthed character stood on business and is the reason most of us revisit this title during the summer.
You can watch Lake Placid on July 1st.
Nyi Blorong (1982)
The South Sea Queen’s daughter rises to take a human lover. I have a long history of disliking snakes and movies about snakes. However, I’m leaning into this 1982 film because I deserve a retro Indonesian horror fantasy moment. I am also excited because it stars the late Suzzanna, the queen of Indonesian horror. I only learned about her a few years ago and wanted to spend some time with her work. As usual, Shudder is making it too easy to become a better cinephile.
You can watch Nyi Blorong on July 7th.
The Housemaid (2018)
An orphaned girl is hired as a housemaid at a haunted rubber plantation in 1953 French Indochina. Once there, she falls in love with the landowner, which sends the ghost of his dead wife into a jealous rage. I was excited to watch this just because it sounds chaotic, and I do not see enough Vietnamese horror for my liking. However, I recently discovered it is also an IFC Midnight title, so now my expectations are through the roof. IFC has been the home of upsetting, weird, and unique horror since 2010. I have a date with Shudder on July 14th, because I want this movie in my eyeballs the second it becomes available.
You can watch The Housemaid on July 14th.
Swallow (2020)
A pregnant housewife is compelled to eat dangerous objects, leading her husband and in-laws to become more controlling. Swallow had the misfortune of debuting during the top of the pandemic, so many people missed it. I found it on accident during Thanksgiving back when Showtime still had its own app. It’s quiet chaos that surprised me in a good way. I have been trying to make everyone I know watch it, and Shudder is making that so much easier this month. I am overdue for a rewatch myself, so I will also be hitting play while it’s available this July.
You can watch Swallow on July 21st.
Monster Island (2024)
A Japanese ship transporting prisoners of war and a British POW are stranded on an island where a mythical creator hunts them. Can they work together now that their very survival depends on it? I was bummed I missed this movie at Overlook Film Fest this year because all my friends loved it. So, obviously, I am thrilled Monster Island (also known as Orang Ikan) is hitting the Shudders streets so soon. I do not know what the other monster movies are doing this July because my heart belongs to this baby.
You can watch Monster Island on July 25th.
So, as usual, I will be hiding in my apartment and trying to make Shudder Saturdays my personality. I’m running at their international titles like it’s my job and revisiting a few movies I never spend enough time with. I hope your Shudder watches spark as much joy for you as I expect mine will this July.
In the 90 years since its release, The Bride of Frankenstein is still the Universal Monsters franchise’s strongest film.
I first watched The Bride of Frankenstein on cable around 15 years ago. Director James Whale’s fable of a misunderstood creature’s quest for a bride really stayed with me after subsequent viewings. Speaking of The Bride, she’s the Universal Monster with the most potential for a gripping and modern reimagining that hasn’t been fully tapped into yet. Universal’s newest theme park Epic Universe, opening back in May, inspired a deeper dive into The Bride of Frankenstein, the titular role and its legacy.
Unveiling The Bride: The Plot and Power of the 1935 Classic
Immediately following 1931’s Frankenstein, The Bride of Frankenstein centers on Henry Frankenstein (Colin Clive) as the sinister Dr. Pretorius (Ernest Thesiger) urges him to collaborate on creating a mate for The Monster (Boris Karloff). In the meantime, The Monster travels across the countryside, learns to speak, and meets Pretorius. When both scientists complete and unveil The Bride (Elsa Lanchester), she rejects The Monster, motivating him to pull a lever and famously say, “We belong dead.” Pulling the lever ignites an explosion, killing The Monster, The Bride, and Pretorius.
Just as it took two scientists’ minds to create her onscreen, two individuals gave life to The Bride’s characterization and look: Lanchester and makeup master Jack Pierce, who designed nearly all the original Universal Monsters.
The Bride’s Hiss: How Lanchester Stole the Show with Limited Screentime
The Bride not being the film’s main protagonist is ironic since she’s the title character. Making the most of her brief performance, Lanchester’s swan-like mannerisms as The Bride sharply contrast with the humanity Karloff brings out of The Monster. After her dual role as The Bride and author Mary Shelley herself in the film, Lanchester took on more horror film roles like Henrietta Stiles in Willard (1971). It’s not hard to imagine what could’ve been for her career if she reprised her role in The Bride of Frankenstein’s sequels Son of Frankenstein and Ghost of Frankenstein. If a lab explosion couldn’t kill The Monster, wouldn’t it be the same for The Bride?
Besides the white streaks, Lanchester surprisingly didn’t wear a wig to portray The Bride since Pierce shaped her red hair to look the way it does. Pierce’s work on The Bride is just as iconic if not more so than Lanchester’s performance, ensuring the character became inseparable from her intended suitor in pop culture’s eyes. Case in point: There’s so much officially licensed merchandise playing up a romance between the two characters, even though The Bride can’t stand her intended mate. Beyond Lanchester and Pierce, there is one man responsible for how the film itself would come out.
James Whale’s Masterpiece: Directing The Bride of Frankenstein
Whale stitched great set designs, fantastic performances and composer Franz Waxman’s eerie score together to create a masterpiece.
Having Frankenstein, The Old Dark House and The Invisible Man under his belt by the mid-‘30s, it’s clear Whale creatively peaked while working on The Bride of Frankenstein. Although so much about Whale’s talents has been said, there’s a reason why his work on the film stands out across his filmography: He really went wild when directing it. Every character is practically cartoony, the sets are more elaborate and the plot is thematically richer than the original’s. Being an openly gay filmmaker, he cranked up The Bride of Frankenstein’s camp to legendary heights.
The Bride of Frankenstein is the final horror movie Whale directed. The novel Father of Frankenstein and its film adaptation Gods and Monsters, starring actor Ian McKellen as Whale, dramatize his life after directing the film. According to the reference book Universal Horrors by Tom Weaver, Michael Brunas and John Brunas, he initially didn’t want to direct his horror work’s apex. Just like Henry Frankenstein’s relationship with the monster he created, The Bride of Frankenstein’s production is a case of life imitating art. The Monster’s in-universe infamy further parallels Whale’s Frankenstein duology’s lasting popularity.
How The Bride of Frankenstein Shaped Horror Sequels and Adaptations
The Bride of Frankenstein’s influence can be seen across other horror films and Frankenstein adaptations.
Having “Bride of” in a horror sequel’s title is synonymous with including the main character’s female counterpart, leading to Bride of Re-Animator, Bride of Chucky, etc. The similarities go further than the titles, with The Bride of Frankenstein inspiring the former’s plot and furthering Tiffany’s arc in the latter. The Bride of Frankenstein inevitably shaped Frankenstein’s future adaptations as well.
Directed by Kenneth Branagh, Mary Shelley’s Frankenstein from 1994 closely follows the original novel. Breaking away from the novel’s narrative, its third act pays homage to The Bride of Frankenstein when Victor brings Elizabeth back to life with similarly brief screentime. Mia Goth’s seemingly red hair on the set of Guillermo Del Toro’s upcoming Frankenstein may hint at her character similarly becoming The Bride.
The Bride’s Untapped Potential for a Modern Horror Remake
With Warner Bros. releasing its own take on the character with The Bride! in 2026, it makes Universal’s reluctance to make a new remake downright egregious.
The Bride is still the literally redheaded stepchild among the Universal Monsters. When it comes to being neglected by Universal, The Creature From the Black Lagoon is the only character who rivals The Bride, but that’s another story. Universal did plan a remake directed by Bill Condon, who helmed Gods and Monsters, for its aborted Dark Universe film franchise.
The Bride’s Absence in Epic Universe’s Monsters Unchained Ride
Looking at Epic Universe, the Monsters Unchained: The Frankenstein Experiment ride apparently leaves The Bride out, even though she makes more sense to be in it than The Phantom of the Opera. However, The Bride does make meet-and-greet appearances across Dark Universe’s grounds.
Several ideas can be incredible for when Universal finally releases a remake of The Bride of Frankenstein someday. Based on what I’ve heard about 2023’s Poor Things, it’s exploration of a mad scientist’s creation’s experiences in a restrictive society is closer to what a modern reimagining should be. Having a woman behind the camera can lead to a feminist vision, delving into The Bride questioning her life’s purpose.
Until the day a proper remake debuts, the original 1935 film remains The Bride of Frankenstein’s definitive incarnation.
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