![\"Tom](\"https:\/\/www.slashfilm.com\/img\/gallery\/tom-selleck-70s-horror-movie-daughters-of-satan\/intro-1785802214.jpg\")
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United Artists<\/p>\n
Long before he became a household name as the mustachioed private investigator Thomas Magnum, Tom Selleck was cutting his teeth in the world of low-budget genre cinema. While pop culture history often fixates on the fact that Tom Selleck might have lost out on the role of Indiana Jones<\/a>, his earlier filmography offers a fascinating glimpse into his development as a leading man. Specifically, his turn as James Robertson in the 1972 supernatural thriller “Daughters of Satan” serves as a quintessential example of the era’s experimental horror.<\/p>\n Though it has largely faded from the public consciousness, “Daughters of Satan” is currently enjoying a resurgence among genre enthusiasts. The film is available to stream for free on Tubi<\/a>, providing a perfect opportunity for fans to witness Selleck\u2019s first major starring role. The movie occupies a unique space in the horror canon; it balances genuine, eerie tension with the kind of campy, unintentional humor that defines the best cult classics. It is a strange, dark, and highly entertaining artifact of 1970s filmmaking that feels distinct from the polished blockbusters Selleck would later headline.<\/p>\n The film\u2019s distinct aesthetic is largely credited to director Hollingsworth Morse. While Morse may not be a household name today, he was a titan of the television industry during the mid-20th century. His resume is a roadmap of classic American television, boasting credits on iconic series such as “Zorro,” “The Dukes of Hazzard,” and “The Fall Guy.” Perhaps most impressively, Morse was a driving force behind “The Lone Ranger,” having helmed 50 episodes of the legendary western. His background in episodic TV gave “Daughters of Satan” a fast-paced, structured narrative style that keeps the supernatural plot moving, even when the scares lean into the surreal.<\/p>\nWhy “Daughters of Satan” Deserves a Modern Revisit<\/h2>\n
The Vision Behind the Lens<\/h2>\n