At last, here it is: the final installment of "31 Days of Halloween".
If you've read along this far, I hope I've given you some new films to check out, and maybe inspired you to revisit old favorites from a different perspective.
If you've missed the previous weeks, you can find them here: week 1, week 2, week 3, week 4.
Thanks for playing along, and happy Halloween!
Sunday, October 28: The Silence of the Lambs
Of course you've seen "The Silence of the Lambs", right? Wait, you haven't seen it?? Go watch it, now. I mean right now.
Ok, finished? Good. Actually, I envy anyone who's just seeing "SotL" for the first time. I'd love to relive my first viewing of one of the creepiest, most effective thrillers ever made; it's a three-way marriage made in heaven of the novel by Thomas Harris, screenplay by Ted Tally, and direction of Jonathan Demme.
Mr. Harris isn't exactly a prolific author - writing over the course of nearly 40 years, he's only produced five novels - but if you like the genre, his crime thrillers are small miracles of tightly-wound plots and terse, declarative prose. The film adaptation that Mr. Tally scripted and Mr. Demme brought to life adds superbly subtle layers of dimension to the story: A young FBI trainee, Clarice Starling (Jodie Foster), is assigned to interview imprisoned serial murderer Hannibal Lecter (Anthony Hopkins). There's hope that Lecter will provide insight into a new and virulent killer, nicknamed "Buffalo Bill", who's becoming known for skinning his female victims before discarding their bodies. Lecter himself has a pretty unsavory criminal record; he's a cannibalistic multiple murderer. Lecter warms up to Clarice and sets her on a trail that will shed light on the identity of Bill, who ups the ante when he kidnaps the daughter of a senator. With the ticking clock in place, Clarice races to solve the mystery, and finds herself in a harrowing confrontation with a clever, demented killer.
"SotL" overflows with gothic menace: there's the subterranean prison where Lecter bides his time, the stone-lined pit where Bill keeps his victims, a corpse with a clue in its throat, a floating head in a jar, and a frantic basement-bound stalking scene that's the setting for Clarice's final showdown. You can watch "Silence" for the fiendishly well-crafted plot, the top-notch acting (the film swept the 1991 Oscars; Ms. Foster and Mr. Hopkins were both honored), or the twisted novelty of one killer stalking another through a resourceful FBI cadet. You can enjoy it for the levels of nuance that are woven throughout, as "SotL" explores themes of a woman fighting to prove herself in a man's world, the relationship between those who uphold the law and those who can't be held to any law, and the gulf between what happens out in the open and what takes place in the dark. Or just watch it to get better acquainted with Hannibal Lecter, who's a study in contradictions and one of the most terrifyingly engaging villains ever created. Just don't accept his invitation to join him for dinner... (Tag: Classic, Auteur)
Monday, October 29: The Fly (1986)
I'm not sure it's possible to be indifferent about director David Cronenberg – unless, of course, you're just not familiar with his work. But chances are you've heard of this seemingly mild-mannered Canadian director who has unleashed some of the most psychologically scarring material seen in moviedom in the past thirty-plus years. Examples: an early film, "Rabid", features a woman whose body develops a vampiric appendage after lifesaving surgery, and she uses it to feed on victims who then become rampaging zombies, while 1996's "Crash" explores a subset of people whose sexual arousal is triggered by violent car accidents.
These films feature themes that Mr. Cronenberg returns to again and again: alienation or estrangement from one's own body, and the perverting of natural physical functions. Falling in the middle period between "Rabid" and "Crash" is "The Fly", a remake of the 1950s drive-in classic, and a work that allows Mr. Cronenberg to explore both themes simultaneously. His "Fly" is the story of brilliant scientist Seth Brundle (Jeff Goldblum), who is working to perfect a teleportation system. He meets science journalist Veronica Quaife (Geena Davis) and persuades her to write about his progress toward a technological breakthrough. Of course, they fall in love. Frustrated with his lack of progress, Seth rashly decides one night to teleport himself, not realizing that a housefly is stuck in the port with him. What do you get when you fuse a man and a fly at the genetic level? Well, at first it seems like it's something great: Seth has crazy strength and he hardly needs to sleep. But soon he's growing weird hairs out of his back, his fingernails detach, and his skin looks on the verge of peeling off. Disgusting? Oh, yes, but the worst is yet to come – there's targeted vomiting, snapped bones, shedding body parts – ugh.
Some moments in "The Fly" will stay with you for a very, very long time, but the film is so much more than an attempt to provoke shock and revulsion. What humanizes the story and ultimately makes it truly sad – and yes, you may get a little misty at the end – is the romantic bond between Seth and Veronica. There's tons of chemistry between them (Goldblum and Davis were married for several years following the film) and their relationship feels deep and believeable. But the romantic moments ultimately take a back seat to some extreme scares, and it all builds up to an incredible payoff: trust me, there's no way you'll be prepared for what crawls out of the telepod at the film's denouement. By the way, "The Fly" is the film whose writers spawned the now-famous tagline, "Be afraid. Be very afraid." Good advice – they were right. (Tag: Auteur, Wicked 80s)
Tuesday, October 30: Halloween
We've all seen plenty of formulaic, ho-hum slasher movies: the crazy guy stalks the nice girl, he knocks off a couple of her friends, she fights him off, he disappears, the terror is over... or is it? Well, John Carpenter made a movie like that, in 1978, and it's anything but ho-hum. "Halloween" employed all of those components before they became a formula, and he executed a flawlessly terrifying ordeal of a movie that will, literally, have you on the edge of your seat.
There's not much plot to "Halloween", and no sophisticated character motivations. Deeply disturbed youngster Michael Myers murders his sister and gets a one-way ticket to a sanitarium. Fifteen years later, on Halloween night, he escapes and returns to the scene of his crime (well, at least the area of his crime) to wreak additional havoc. He fixates on high schooler Laurie Strode, and watches her from a distance before going on the offensive and setting her up for the worst night a teenaged babysitter ever endured.
"Halloween" may very well have been the movie for which phrases like, "it's a roller-coaster thrill ride of terror!" were coined, because once you settle in to the rhythm of it, it's relentless. The film's so-famous-it's-a-cliché theme music sets up that rhythm perfectly, with driving, off-kilter piano notes (written by Carpenter himself) punctuated periodically by jolts of dischord. The adult Michael Myers is a featureless bulk; he wears a baggy blue jumpsuit and a smooth white mask (famously, a William Shatner Halloween mask), and that anonymity makes him all the more terrifying. He's all id and menace, and you know there's just no reasoning with him - you wouldn't even know where to start. Jamie Leigh Curtis, as Laurie, earned the moniker of "scream queen" after her work in "Halloween", but she's believeable as a smart, forthright, and resourceful heroine who endures the horrors of the night and survives.
If you stop and consider the premise of "Halloween", it's absurd: a guy skulking around in a jumpsuit and plastic mask wouldn't last five minutes on the main streets of Anytown, USA; and a psychiatric doctor offering dire warnings about his dangerous, escaped patient wouldn't actually be scoffed at, as Donald Pleasance's Dr. Loomis is here. But when "Halloween" has you in its grip, there's no logical thinking; you just settle in for the ride. (Note: If the original "Halloween" isn't enough for you, check out "Halloween IV" and "Halloween V" in their Blu-ray debuts from Anchor Bay. The releases, out this past summer, feature new transfers and tons of extras, including audio commentary, theatrical trailers, and behind-the-scenes footage.) (Tag: Classic, Auteur)
Wednesday, October 31: The Exorcist
So, it all comes down to this. The movie for Halloween night? "The Exorcist". Simply put, it's the scariest movie ever made. If you don't agree, it's because you haven't seen it lately. "The Exorcist" shocked audiences when it was released in 1973, and though the horror genre has progressed substantially since then, the film still stands as a pinnacle of accomplishment. "The Exorcist" elicits dread on levels both superficial and deeply spiritual, and even if you're not a believer, it's difficult to watch it and come away without feeling fundamentally shaken.
Based on the novel of the same name by William Peter Blatty, "The Exorcist" is the story of young Regan MacNeil (Linda Blair), who is living temporarily in Georgetown while her actress mother, Chris (Ellen Burstyn), is filming a movie there. When Regan begins acting strangely and experiencing alarming phenomena, Chris pursues medical solutions but can't find relief for her daughter. In desperation, she seeks an exorcism. Father Karras (Jason Miller), a Jesuit priest tormented by his possible loss of faith, confronts Regan and determines that she is possessed. Experienced exorcist Father Merrin (Max von Sydow) then joins Karras, and together they fight the demon - or demons - that have inhabited Regan.
"The Exorcist" became notorious for the intense scenes that stunned audiences during its initial release: the bed shaking, the head spinning, the "pea soup" vomiting, and other extremes that still remain beyond description. But it's easy to forget the buildup to these shockers, which is really what sets the stage for the full horror of the fight for Regan' soul. During the somewhat leisurely first part of the film we get to know Chris; we observe her acting on set in Georgetown and later walking the windswept DC streets to the haunting strains of "Tubular Bells". And we see her fierce love for her daughter. We watch Regan in typically girlish pursuits, because knowing that she's a sweet, normal kid reminds us of what's at stake when the demon settles in and it seems that Regan may be lost. The other dramatic thread that twins the battle for Regan's soul is Father Karras's fight to regain his faith; seeing him struggle with his spiritual convictions makes his final sacrifice all the more compelling and triumphant.
"The Exorcist" has remained the consummate horror film over the years because it works on so many levels. Watching a young girl undergo extreme physical mortification is raw and viscerally disturbing. Seeing a devoted mother suffer along with her daughter is heartwrenching. And witnessing the passion with which the two Jesuits wield the power of their faith in the final battle is fearsome and awe-inspiring. The humanity of these characters and their struggles simultaneously grounds "The Exorcist" in reality, renders it quintessentially terrifying, and lends the ultimate weight to its final emotional payoff. This one is a classic for a reason. (Tag: Classic)
And there's your list!
Thank you for joining us on this truly scary adventure. See you next year!
