Film Friday: Halloween (1978)

I enjoy Halloween. I like Donald Pleasence and Jamie Lee Curtis, and I enjoy John Carpenter’s style. The story is good enough, if you switch your brain to “off” before starting the film. And it’s just creepy enough to enjoy. So why do I have so much ill will for this film? Because Halloween gave birth to the modern slasher flick, and it established every one of the genre’s stupidest conventions.

** spoiler alert **

The Plot

Halloween is the story of Michael Myers. He kills people. Why? Because they were there? The film doesn’t know why and doesn’t really care. As the film opens, Myers escapes from fifteen years of custody and returns to Haddonfield, Illinois, where he apparently intends to kill anyone who appears on film. His sister, Jamie Lee Curtis, appears on camera. So does Donald Pleasence, who is ostensibly hunting Michael Myers, though really he seems more interested in running around town proclaiming that he is "too late" to do whatever it was he was planning. For the next 91 minutes, Myers kills everyone except Curtis and Pleasence. Roll the credits.

So What’s The Problem?

My problem with Halloween stems from the total nonsense Carpenter uses to create his villain and the fact this nonsense became the template for slasher flicks. For example:

• We begin with Myers’ character. He has no personality or emotions and he does not speak. He is, for lack of a better word, functionally catatonic. Yet, he's also somehow a genius who can plot revenge, track people down, and do things he never learned to do (like drive) with little or no difficulty.

• Moreover, despite being effectively catatonic, Myers has the moves of a hyper-trained special forces operative. . . maybe even a Hollywood-style ninja. How?

• He's stronger than ten people, even though he’s never worked out in his life, and he cannot be brought down by mere physical injury. Indeed, no matter how much you wound him, he shows no signs of being wounded. Nor can he be killed because he’s crazy and crazy makes to invulnerable to bullets. Yeah, that makes sense.

• Strangely, Myers has the ability to know where characters will be in the next scene. Indeed, somehow he manages to place himself perfectly to surprise any character that separates from the others.

• He also has the ability to hide in plain sight, to hide behind objects that are too small to conceal his body, and to appear and disappear through closed doors and windows without making a sound. He's ultra swift and super silent.

• He also can move vast distances instantly, e.g. between houses on different blocks. Not to mention he can find the home of the person a character is talking to on the phone. . . as if he has callee id.

Does any of this make any sense? No. But for Carpenter it didn’t have to. Carpenter wasn’t making a movie with a complete story. He was making a series of murderous vignettes, which he then strung together to form a movie. We accept the lack of coherence between the vignettes because Carpenter has enough talent as a filmmaker to disguise those problems and because he gives us a strange enough villain that we spend more time pondering what he is doing rather than trying to determine how he's doing it.

The whole film is gibberish. But that wouldn't bother me if this has just been a one-off film. But it didn't stay a one-off. The formula escaped and became the template for every stupid slasher flick that followed over the next thirty years. Ug.

So What Does Halloween Mean?

Halloween has no meaning. Some have suggested Halloween is a social critique of the immorality of young people in the 1970s. They point out that Myers’ victims were all sexually active and abusing alcohol or pot when they were killed. By comparison, the lone survivor, Curtis, was chaste and innocent. . . except for that scene where she was smoking pot. So scratch that one.

More interestingly, the film may have been intended to include a feminist message. The producer, Debra Hill, was a feminist. And she and Carpenter often included “strong roles” for women in Carpenter’s horror movies. The role of Laurie Strode (Jamie Lee Curtis) is cited as being one of these roles because Curtis survives and she does so with her own wits. But if that’s true, then the fact that Halloween became the template for the ensuing wave of slasher flicks should come as a special disappointment to feminists. Indeed, modern slasher flicks are often about as misogynistic as rap videos -- using heavy doses of T&A to put a lot male A's in the seats.

In the end, I think that it’s impossible to get any meaning out of Halloween because the movie makes no sense when you break it down. The truth is this film is nothing but exploitation. Carpenter set out to create a film based entirely on shock rather than horror, a film with no intellectual pretenses, a film that would scare you simply by shouting “boo” over and over again, and he succeeded beyond measure. Indeed, the $320,000 they spent on this film turned into $55,000,000 in gross revenue. But that's about all the depth you'll really find.

The Nature of Evil -- The Anti-Liberal Evil

So what does this film tell us about the nature of evil? Not a whole heck of a lot, with one exception. I would argue Myers’ character is a response to the prior two decades of liberalism. How’s that for unexpected!

In the 1960s and 1970s, liberals constantly whined about root causes "making" people into criminals. Everyone had to have a reason, something that pushed them to become evil. Liberals just would not admit that some people were simply rotten. Myers is one of the first human character in many years (probably since In Cold Blood (1967)) who was evil because that was his nature. He wasn’t rebelling. He wasn’t backed into a corner or exploited. He wasn’t abused as a child. He wasn’t drugged or programmed by the government. He was just evil. In fact, the biggest disappointment of the remake in 2007, directed by Rob Zombie, other than the dreadful quality of the film, was that Zombie explained Myers’ evil as being the result of his coming from a broken home and being bullied in school. Boo hoo.

So in the end, Halloween was an ok movie that should have slowly faded into movie history. Sadly, it didn’t. Instead, it became a template for slasher flicks. And slowly, but surely, this template has come to dominate the horror genre because it takes no talent to write or direct a knock-off of this film. And that’s Michael Myers’ greatest evil.

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Film Friday: Prince of Darkness (1987)

Continuing our discussion of the nature of evil, today we turn to John Carpenter’s Prince of Darkness. This relatively unknown movie is one of my favorite horror movies and is possibly Carpenter’s best. What separates this movie from the pack is the clever manipulation of our emotions to generate fear and the use of intellectual horror to create a terrifying movie. In essence, it inspires helplessness.

** spoiler alert **

The Plot

As an old priest dies, the last member of a forgotten order -- the Brotherhood of Sleep, Father Loomis (Donald Pleasence) is sent to wrap up his affairs. Pleasence discovers something in the basement of the closed church where the old priest lived as a caretaker: a glass cylinder containing a swirling green fluid. Pleasence calls upon Professor Howard Birack (Victor Wong), an expert in subatomic physics. Wong agrees to bring a group of students from several scientific disciplines to examine the cylinder. This group includes Jameson Parker (Simon and Simon) and his love-interest Catherine (Lisa Blount).

As they begin their investigation, they learn the object does not obey the normal laws of physics, and it's locked from the inside. They also begin to experience the same dream whenever anyone takes a nap. This dream purports to be a warning from the future of something evil that emerges from the church. Meanwhile, Pleasence and Wong study the diary of the old priest, which identifies the green fluid as the Antichrist. And it’s alive.

What Sets This Movie Apart

What sets Prince of Darkness apart from other horror movies is that Carpenter seeks to generate emotional and intellectual terror rather than shock to drive this film.

Emotional Terror

To create emotional terror, Carpenter uses our fear of helplessness against us. He does this by putting the characters into a creepy setting, exposing them to danger of which we are aware, and then making them oblivious until it is too late.

Carpenter starts with a truly creepy setting: an old church. But, interestingly, he doesn’t cheat to make it creepy, as so many other horror movies do -- think about how many horror movies take place in decaying castles with rooms that scream “fire damage” or spaceships, e.g. the Event Horizon, decorated with black walls and random spikes sticking from the walls. Indeed, the church is exactly what you would expect. Its room are the right size and shape. The walls are painted like you would expect for an old church. The floors are made of wood and the furniture fits the decor. You wouldn’t want to live there, but you wouldn’t run for your life either. This is the kind of building we’ve all been in and can relate to and that gives the movie an instant authenticity that so many horror movies sacrifice in trying to create their ambiance.

Carpenter then makes the church feel claustrophobic by making us feel trapped. When the scientists arrive at the church, we see homeless people gathering outside. As the movie runs, more and more gather, and soon we realize there will be no escaping the church. Yet, we recognize the danger long before the characters do. This not only triggers our fear of being trapped, but it also triggers our natural instinct to help others. But since we cannot help them, we feel helpless, which brings on a sense of fear.

Carpenter then plays on our fear of being alone, our fear of losing our identities, and our fear of betrayal. As the thing in the basement begins to take people over one at a time, we find ourselves terrified as we helplessly watch unsuspecting students and scientists milling around as the possessed people approach them. There is little more terrifying than watching a monster slowly walking toward an unsuspecting character. What’s worse, everything that happens is avoidable if only the characters could put all of their knowledge together, but they cannot -- only we can, and we cannot help them. This fills each scene with terror as we can see the danger standing there in plain sight, but the characters simply cannot see it for themselves. Thus, the film fills us with a sense of helplessness in the face of this terror.

Also, the entire time, Carpenter cleverly uses the soundtrack to manipulate us. The music sits entirely in the background and you barely notice it. Yet, Carpenter uses the bass to drive your heart rate -- just as sitcoms use laugh tracks to trigger laughter. In this way, he expertly controls the tension of each scene without the audience even realizing it.

Intellectual Horror

In addition to playing on our emotions, Carpenter offers genuine intellectual horror -- something increasingly rare in horror movies. Intellectual horror comes not from shock, but from finding something that terrifies the audience deeply and putting them into a state of mind where their deepest fears could be realized. In this regard, Carpenter aims right at the heart of our belief system: be it religion or science.

What Pleasence discovers in the diary of the dead priest is fascinating and terrifying. Pleasence discovers that Christ was real, though he was merely an advanced being, not the son of God. His purpose in coming to Earth was to warn mankind that an evil creature, a sort of Anti-God, was trying to break into the universe. To help this Anti-God achieve that goal, there was an Antichrist (the son of the Anti-God) who would open a doorway. But Jesus trapped the Antichrist in the cylinder and gave the cylinder to the human race to guard.

This discovery causes Pleasence to lose his faith. He realizes this Anti-God is real evil, and it horrifies him that the church decided mankind wasn't ready for this knowledge and decided instead to treat evil as a theoretical concept to be found within each of us. Consequently, not only is his theology premised on a lie, but mankind has failed to heed the warning of Jesus and now stands unprepared to combat this evil.

But, at the same time, the movie tells us that science is wrong as well. Not only are the rational scientists given undeniable proof of the supernatural, but they are confronted with the realization that everything they thought was true about the universe is false, and the laws of physics which they thought controlled the universe are in fact meaningless. Indeed, this creature obeys no laws of physics. Interestingly, this is essentially how science would define “evil” if it were asked -- a lack of order or structure to the universe.

Accordingly, we are confronted with a world in which the things we rely upon to explain the world -- religion and science -- are suddenly shown to be false. Intellectually, there can be little more terrifying than realizing that nothing we know is true. Not to mention that we now know there is something nightmarish waiting to break into our universe and there are fates worse than death.

In the middle of this, Carpenter raises questions of self-sacrifice. What would you do to save the world? And to what could you condemn another person to save the world? Moreover, Carpenter smartly lets the characters engage in discussions of theology and scientific theory throughout the film. Thus, he puts the audience into the right mindset to consider these issues as they arise -- unlike most horror movies which simply dump these questions on the audience unexpectedly at the end.

The Dream

Finally, we must mention the dream, which Carpenter uses expertly. First, by having everyone have the same dream, we grasp that the dream must be something other than everyone just having nightmares, i.e. it is a real warning. Secondly, by letting the dream unfold in pieces, Carpenter gives the audience time to speculate as to its meaning and how it will finish. When you let the audience fill in the blanks, as Carpenter does, they will always find something more terrifying than you can present because they will fill in with the things that scare them personally. But most importantly, Carpenter uses the dream to raise the odds the characters face. In a normal horror movie, good will defeat evil unless evil achieves some goal. But here, we know from the dream that a future exists where evil has prevailed. Thus, rather than fighting to prevent something that is in doubt, these characters are struggling to overturn something that appears inevitable. Intellectually, this raises the level of the challenge significantly. And since we’ve been told that neither science nor religion has the answer, we have no idea how we can fight this thing, i.e. we are left intellectually helpless. Thus, the audience spends the movie struggling to find the answer to avoid a nightmare that seems inevitable. That is intellectual terror.

Try finding that in a slasher flick!

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