As the spooky season raises its sharpened axe to soon fall upon us, the ghouls and goblins of Film Ireland wallow in the terror of the films that embrace the nutty freaks, bloody psychos and raging spoonatics with our ‘Bloody Countdown to Halloween’ – cue Vincent Price laugh…
(John Carpenter, 1978)
One of the original slasher movies; my mum wouldn’t let me watch Halloween when I was a ‘tween. She claimed (and rightly so) that it would give me nightmares. In retaliation, myself and my merry young amigos arranged an evening of horror at one of the less clued-in parental homes, where we had a triple bill of Jason, Chucky and Freddie himself. A few bowls of popcorn, two multipacks of sweets and a whole host of nervous squealing later, my devious band and I had one of the most fearful and restless sleepovers in history.
Although not quite as frightened during my latest viewing, as I had been in that golden era of the mid-nineties, I was taken aback at how, after over three decades, the classic film’s tension and story still remain strong. Halloween was the ultimate low-budget independent horror, with meagre funding of $320,000. However, not only did it manage to gross over $60,000,000 but it spawned one of the most well-known and profitable franchises in horror movie history. The Halloween universe now spans a total of 10 films as well as a number of books, graphic novels and a range of stylish masks – the original of which, Jason’s mask, is actually an old William Shatner death mask from a Star Trek episode, only painted white.
By taking time to get to know the likable characters and their small cosy world of Haddonfield, Illinois, and then introducing an almost supernatural element of threat and terror, Halloween challenges the ideas of home and safety. In fact, Michael Myers is such a great evil figure because although we know his backstory, we essentially see so little of him that we can create the monster in our own imagination; a much scarier world than that any Hollywood prosthetics of CGI could ever create.
‘Honey, I’m home.’
Apart from the odd slices of ham, there are some truly talented actors in the cast; the highlights being Donald Pleasence as the hapless Dr. Loom, and a young and talented Jamie Lee Curtis playing the prim and proper Laurie Strode. (Spoiler) It’s Laurie’s strong will and lack of interest in the less-fair sex that ultimately sees her survival.
Meanwhile her more promiscuous classmates get hacked to pieces mid-to-post coitus as a severe punishment to their loose morals.
Here’s an interesting side note courtesy of IMDB: the adult Michael Myers was portrayed by Nick Castle in almost every scene, except for a number of pick-up shots and the unmasking scene, where he was replaced by Tony Moran. Castle was an old friend of John Carpenter and went on to be a successful director himself, now with the children’s movie Dennis the Menace under his belt – a far cry from his previous position, stalking and murdering young teens.
One of the best, and also the most frustrating aspect of this slasher classic, is its lack of reveal. This is instrumental in creating the tone, both with the gore as well as in constructing the mystery of Jason’s character. John Carpenter does a superbly subtle job of building the tension excruciatingly slowly so the viewer is both rooting for the spunky teens but also dying for some gory action. Then the murderous rampage is delivered in a swift and clean blow, so by the time the credits roll, you’re left abruptly with an odd sense of unease as the iconic music plays in the background – it’s hard to imagine that Williams composed and recorded that eerie soundtrack himself within four days. Legend.