I’m already a fan of the busy television & film composer Robert Prince ( You’re a Big Boy Now 1966, tv shows, The Wild Wild West 1968-69, Mannix, The Bold Ones 1969-71, Land of the Giants 1970, Night Gallery 1970-71, The Name of the Game 1971, Alias Smith and Jones, Mission: Impossible, The Streets of San Francisco 1972, The Sixth Sense 1972, Circle of Fear 1972-1973, Columbo – episode The Bye-Bye Sky High I.Q.
The film was shot with one single camera which is why it has that comfortable Verité look amidst the mythological narrative.
The cinematography was shot by Earl Rath who also wasn’t a stranger to television productions, for instance, Go Ask Alice 1973, The Horror at 37,000 Feet 1973, Can Ellen Be Saved? 1974, and Columbo’s A Deadly State of Mind 1975. Gargoyles 1972is directed by Bill Norton who also directed Baby, Secret of the Lost Legend 1985, Three for the Road 1987, Angel of Death 1990 tv movie, Deadly Whispers 1995 tv movie, Gone in the Night & Vows of Deception 1996 tv movies, A Deadly Vision, Bad to the Bone, Our Mother’s Murder 1997 tv movies, and episodes of Angel and Law & Order: Criminal Intent, Medium, Ghost Whisperer, The Unit. It was as if for the first time American’s were aware of a darker worlds, and television reflected that shift in perspective… the tv format mimicking it’s cinematic counterpart.”
In both cases, by the mid 1980s the made-for-TV movie was no longer a major television format, replace according to Creeber, by more tele-visual forms… The popularity of the TV movie in the 1970s, however led to the rise of the made-for-TV horror movie which experience its own golden age, with over 100 made-for-television horror movies… premiered on prime time network television since 1968′ (Waller 1987) These films include adaptations of gothic novels such as Count Dracula (1977), Frankenstein (1973) and The Turn of the Screw (1974), or original contemporary horror such as Fear No Evil (1969), Duel (1971) and Gargoyles (1972) John Kenneth Muir argues that in this period television became increasingly graphic and that the ‘turn toward darkness’ in TV horror represented as with cinematic horror ‘a shift in national mood due, at least in part, to the shocking and graphic news footage coming back from the Vietnam War. In the USA it developed with ABC’s Movie of the Week, while in Britain it developed much earlier with ITV’s Armchair Theatre in 1956. It aired on CBS on with a teleplay by Stephen and Elinor Karpf ( Terror in the Sky 1971, Devil Dog: The Hound of Hell 1978, The Jayne Mansfield Story 1980).įrom TV Horror: Investigating the Dark Side of the Small Screen by Lorna Jowett and Stacey Abbott- “The made-for TV movie, or single play, is a production mode that saw its heyday in the 1960s and 1970s.
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