A Look Back at John Carpenter’s Mostly Slash-Free Masterpiece

of john carpenter Halloween is a film that is often cited as the birth of the slasher film, but if you step back and break down the 1978 classic psychological horror film, it soon becomes clear that many of the sequels and films inspired by it That’s what gets it the slasher title. Instead of the stressful, low-budget, almost bloodless original. As we get closer to the night of ghosts, ghosts and boogeymen, and with halloween kills With the box office going ahead currently, there doesn’t seem to be a better time to take a look at the unexpected masterpiece, which was directed by a man who at the time didn’t aspired to make a horror film.

As a kid from the ’80s, I vividly remember visiting the local video store, where my parents waited behind the counter for the guy to watch whatever family-friendly movie I picked up. Trying to find her, I happily gazed at the cover of the video. In the horror section. I was fascinated by the images of Freddy and Jason, in movies like critters And return of the living dead part iii, and a film called . is called Halloween, which at first glance seemed to be just an image of a carved pumpkin, but then when you took a closer look, you could see that the final piece of the picture was actually the hand of a man holding a knife. Next to it was the tagline, “The night he came home.”

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The ambiguity of the hand combined with the mystery of who “he” was in my mind until I saw the movie for the first time. Review Halloween Three decades after I first saw that image, I can now appreciate how John Carpenter built the entire story of the film on that ambiguity and ensured that no sequel or remake was ever able to replicate it in the same way. Will not done.

The film opens with the credits where we first hear the disturbing theme music, written by john carpenter, which has a continuous and relentless clicking sound as its backbeat, a spine-tingling piano melody, strings and bass that come and form in a crescent before returning to their simple origins and repeating again. This theme is used throughout the film, almost in tribute to Steven Spielberg. jaw, whenever danger approaches and pushes you aside for something bad to happen.

In the opening scene, we are given a first person view of a brutal murder. Through the eyes of the killer we watch as events unfold slowly, until a knife flies in the air, a screaming girl is stabbed repeatedly and a bloodied corpse lies on the floor. She goes. Except, part of all of that is in the mind, as we never actually see ourselves stabbed, only the movement of the knife back and forth, the sound of the attack, and the very brief flashes that follow. Still, if someone asked if you saw someone stabbing you in that opening sequence, you’d be describing the most brutal scene imaginable, mainly because Carpenter took it so well to pitch it. Was careful that you imagine much more than you see. What we see, however, is the disclosure of the child who committed the murder; Michael Myers.

After a fifteen-year leap and introduction to psychiatrist Dr. Samuel Loomis, played by the brilliant Donald Pleasance, and Michael Myers’ escape from Smith’s Grove Sanatorium, Carpenter does what could never be done by anyone else. Is. Halloween Franchise – He makes up for the disclosure of Michael Meier’s masked face. Once you see the iconic mask, no one can pull off that kind of disclosure again. When Laurie Strode (Jamie Lee Curtis in her first film role) leaves the key in the Myers house, we get a partial shot of the back of a head inside the house, then a moment later we see someone’s arm in the garage overalls Laurie Goes away in a shot that lasts long enough to become almost too awkward to continue in view. Next we see that young boy Tommy has the same overall outfit, and this time we get a glimpse of his chin, which looks oddly white and almost like a mask, but we get a little more than that. do not seem. That’s when we begin to see Michael Myers in full, fleetingly following Laurie wherever she goes, behind bushes, behind a fluttering line of laundry, appearing in a shady doorway, but never Too long and just not long enough to make you think. This time something is going to happen. But it doesn’t happen. and here’s the carpenter’s Halloween succeeds where many of its sequels fail. as seen decades later saw The franchise, a tight, tense first film that draws on a simple story and makes you expect horror and violence that never comes until the final act, with the rising bodycount and bloody deaths in later entries changed over time. Halloween In a slasher film.

To prove this, with the exception of the murder of a dog and the mechanic, from whom Michael steals his overalls, both are committed off-camera, the first on-screen murder by Michael occurring approximately an hour into the 90-minute film. And even then, Annie’s death in her car is mostly viewed from the outside and you don’t actually see Michael slitting his throat as the carpenter again leaves blood and gore in your imagination. And this trend continues, even though the body count rises very slowly, we see no blood, no “injury description” and in most cases nothing more than the motion and sound of a knife, just like Hitchcock. Everyone has managed to believe they saw one of the most brutal scenes ever filmed in the Psycho shower scene. Michael stabs one victim, pinning her to the door in a darkened room, but the actual stab is locked again, with another victim strangled with a phone wire, only in a death that is close and complete. Then, in the final fifteen minutes of the film, Carpenter finally stuns, scares and with many bodies in a seesaw of tension building and releasing, his simple, nerve-jangling score is always present in the background. is because he builds a body falling from a ceiling, or Michael’s sudden appearance from a dark door.

The final ten minutes see Laurie fighting for her life as Michael follows her, screaming in the streets of Haddenfield until she makes it home with Michael right behind her. In the showdown that follows, Laurie stabs Michael with her knife, which is ironically the closest we’ve ever got to someone actually being put in, but as we know the killer always comes back, and Carpenter uses the rule to set a final scene and a moment that has been imitated in horror movies for decades. After slowly coming back from behind, as Carpenter doesn’t even at the last minute rush what time he can take, Michael grabs Laurie and in the fight his mask is removed and we see his face. Appears for the only time in the film, before he is shot by Loomis and falls to a fabled death from an upstairs window of the house. Of course, this is a horror film and so the next time Loomis looks out the window, Michael is nowhere to be seen and the film ends with a montage of film locations, with Michael breathing heavily as the carpenter’s lead. are mounted on top. The theme draws in and takes us out of the film into the belief that Michael is out there and could be anywhere.

For those who haven’t seen the original Halloween In the long run, or at all, many remarkable things can be taken from it. In the first film, there is no true connection between Laurie and Michael, as the brother/sister revelation is something that only came about in the sequel, which was the only other film to be written by Carpenter and which was to complete the story. . Laurie and Michael. However, anyone who watched the reboot of the franchise in 2018 will have noticed that in this new trilogy, Laurie and Michael are no longer related, as it ignores everything after Carpenter’s original ’78 film, and even That kind of changes the ending. It is said that Michael not only disappeared, but was later arrested and institutionalized.

However, while the new films bring something different to the ball game, they still fail to do as little as Carpenter did with his film. Halloween Made on a budget of approximately $300,000, and grossed $60–$70 million. Watching the film now, sit alongside some of its reboots and other modern-day “slasher” films that feel the need to deliver special effects, blood, and increasingly gruesome on-screen deaths with the belief that it will make the film scary. Will give Viewers, as testament to the belief that horror movies built on rising tension, not just that an extreme body count can be more effective and memorable, and not laden with special effects.

for everyone Halloween Carpenter’s expert, Michael Myers’ slow-paced unfolding film ensured that sequels would never rely on that sort of thing again, and succumbed to the horror movie lore that says once you To become a villain who becomes an iconic figure, you have to show as much of that villain as possible the work they do in a more elaborate way. In many ways, this is sad, because in every horror franchise, some of the best movie debuts have been lost among the crowd-pleasing, almost pasty, offerings that followed them. Perhaps it’s best to end with the words of John Carpenter, who explained Halloween As in “True crass exploits. I decided to make a movie I’d love to see as a kid, like a haunted house at a fair full of cheap tricks where you walk down the aisle and things jump on you.” goes.” And that’s exactly what they did, but they did it in style and in a way that should remind any budding filmmaker that you don’t need a big budget to make a truly horror film.

Original Halloween, and several of its sequels, are streaming on various platforms, and halloween kills Currently running a movie theater and streaming on the paid tier of Peacock.

Subject: Halloween

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