For most of us cinephiles, we remember the first time we saw a movie, whether it be in the theater, or at home. If the film shakes you, positively or negatively, there’s a residue left that seeps into your memory and makes it challenging to let go. Well, I don’t want to- so I’m going to highlight some Kristy horror history for this wonderful, special, month of October.
Well, here it is, the last day of Spooktober. Because of a vacation that swept me up, and off my feet, I didn’t get to finish these by the end of last month, but- isn’t Spookytime, kind of every day?
It seemed fitting to finish with the film named after the last day of the month (and of course) the original, John Carpenter one. I’ve got some thoughts about the sequels, Rob Zombie’s takes, and the newest by David Gordon- Green, but I’m just going to spend the last of Spooktober 21′ talking about the O.G. Not only was this the first of its namesake, but it was really the defining slasher that would spawn many others, each hoping to capture its atmosphere and thrills.
I first saw this at a young age (of course) and I remember loving it immediately, struck by the quaint neighborhood and the day to day lives that seemed so innocent and bland, as they suddenly became haunted. Even just Michael Myers watching from behind shrubbery seemed ominous.
It’s Halloween night in Haddonfield, Illinois, and a group of teenagers are being stalked by a killer who has escaped a local Sanitarium 15 years after murdering his sister. Laurie Strode (Jamie Lee Curtis), is known by most even slightly aware of pop culture for good reason: she’s a memorable, tough and a relatable female protagonist. Curtis, who is the daughter of Janet Leigh (known for the iconic Psycho- you may have heard of it) really gave us the iconic scream queen we wanted, and needed.
The movie is also surprising, for its subgenre, in a way, because of its disciplined use of gore and blood. When you think of Halloween, it is the dread that’s coming for the characters, in the face of (Well, William Shatner) but, ultimately, evil.
Halloween is generous with its pacing, and by the time Michael Myers makes his first kill, it’s built up with a unique amount of suspense. There’s no reason a film like this needs a fast-paced murder fest. Rack up the tension, and when they come, the audience will feel them significantly more.
John Carpenter has mastered how to do horror (and movies in general) and knows how to capture a mood that embodies a film. This is meticulously made, with every decision working to craft the stylistic, iconic film many of us hold so dear.
The simple (not to be confused with bad) and enduring score by Carpenter is like the icing on this diced up cake. It’s like the inner dialogue for our killer, never letting up and making the entire film musically endowed with a spooky cadence. As he never speaks, and doesn’t give us any reason for his actions, so much of Myer’s is unexplained and unsettling. He’s a seemingly soulless, villain, and from the unforgettable prologue of the film, the frame of mind for the film is set.
Halloween resounds due to its expert work of direction and carefully built tension with a reminder that darkness exists in even the most peaceful of places. It’s still scary today, and a staple of the holiday-watching season.
Happy Halloween beasties! With so much more horror to talk about, this won’t be the end.