The Best Horror Movie of 1949: The Queen of Spades

This post is part of Paste’s Century of Terror project, a countdown of the 100 best horror films of the last 100 years, culminating on Halloween. You can see the full list in the master document, which will collect each year’s individual film entry as it is posted.
The Year
Another rough year, largely saved only by expanding the “horror” definition a bit, and by the fact that the U.K. was still producing horror-adjacent films at the time. 1949 and 1950 pretty much feel like the nadir of this particular trough, and you can imagine that the horror fans of the early 1940s must have felt a bit distraught, like the genre had simply disappeared on them. Perhaps it felt like all of Hollywood had outgrown “mad doctor” and monster films in this particular moment, but they clearly seem to be quite far from the public eye. Regardless, horror cinema is never less socially relevant than it is in this little stretch.
Nevertheless, there are pockets of significance. This year gave us the animated short film version of The Legend of Sleepy Hollow from Disney, arguably the best-known adaptation of the tale until Tim Burton took a whack at it in 1999. Although this depiction of Ichabod Crane is a particularly gangly, comical and cartoonish one, the Horseman himself is drawn in an entirely different, far more macabre style, making the final chase sequence something that no doubt inspired the nightmares of countless children who didn’t suspect The Adventures of Ichabod and Mr. Toad would be so intense.
Elsewhere, Abbott and Costello tried to cash in on the success of Meet Frankenstein with the first of their “Meet” sequels, but Abbott and Costello Meet the Killer, Boris Karloff is just the start in a series of swiftly diminishing returns for the duo, with the possible exception of the fairly funny Abbott and Costello Meet the Invisible Man. Here, however, despite his prominent billing, Boris Karloff is barely even a major player—a textbook case of a title promising more than it can deliver.
Finally, it’s worth noting that although Mighty Joe Young hardly feels like a legitimate “horror” entry, it’s important as a torch-passing moment from stop-motion animation pioneer Willis O’Brien (of King Kong fame) to protege Ray Harryhausen, who are both credited. Harryhausen would go on to ply his trade in some of the first, influential “atomic monster” films of the 1950s, bringing horror into an important new era in the process.
1949 Honorable Mentions: The Adventures of Ichabod and Mr. Toad, Mighty Joe Young, Abbott and Costello Meet the Killer, Boris Karloff