The Best Horror Movie of 1967: Wait Until Dark

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
1967 feels like a bit of a step up from the preceding year, although there’s still a sense that the horror genre is waiting for the next evolutionary step to arrive. Still, this is an overall solid year of thrillers with horror elements, horror comedies, horror fantasy and classic Hammer output.
Roman Polanski’s The Fearless Vampire Killers is a notable film of the year that has always polarized audiences to some degree, and understandably so—it’s a strangely wrought film that can be compared to little else. It’s a feature-length satirization of the atmosphere of Gothic horror cinema more so than it is a parody of any specific Hammer or Universal production, and it does an incredible job with elements such as period costuming, fabulously detailed sets and the vampires themselves—in some cases, you might even argue that it does the Hammer aesthetic even better than Hammer. The film’s comedy, on the other hand, has aged more poorly, and it’s difficult to accept the film as a lighthearted, sexy farce when you’ve got both Roman Polanski and Sharon Tate on screen, knowing what will happen involving each of them within a few years. Add to that the often muffled, difficult to understand dialog and the film loses some of its luster on modern viewing, although Polanski’s active, gliding camera movements add some pizazz to sequences such as the vampire masquerade. Now, as then, it’s a film that defies easy evaluation.
At Hammer, meanwhile, the Quatermass science fiction horror series gets another sequel, while Terence Fisher directs the most ambitiously odd entry in the company’s Frankenstein series, Frankenstein Created Woman. This time around, Peter Cushing’s caddish doctor has moved beyond attempting simple monster-building or brain transplantation and is instead experimenting with transference of the human soul itself, opening up the series to an entirely different style of metaphysical rumination. The film plays around with gender roles (a bit clumsily), transplanting the soul of a man into the body of an attractive young woman, who then carries out a series of revenge killings on behalf of the male soul within her. Rarely does Frankenstein Created Woman stop to lay down any kind of concrete rules regarding this soul-swapping procedure, which makes for somewhat confusing plotting and motivation—it’s hard to know who is supposed to be in control of this woman’s body at any given moment. We also don’t get nearly as much Peter Cushing this time around, but the film is more memorable than others for its tonal deviation from the typical gothic formula. For once, we have a Frankenstein movie that doesn’t end with a burning laboratory or exploding castle.
Elsewhere, this is a solid year for international horror, as the USSR contributes the fairy tale-esque psychological fantasy-horror film Viy, while Mexico continues Coffin Joe’s sadistic reign of misogynistic terror in This Night I’ll Possess Your Corpse.