Fancy Clown
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20. Halloween (John Carpenter, 1978)
Halloween is a bit of an oddity in that the until the last fifteen or twenty minutes of the film, the pacing remains constant, metered out by the repetition of Carpenters excellent soundtrack. Its all very methodic, almost leasurly, as creeping wide shots slowly bring us to the inexorable fate of Laurie Strode walking across the moonlit street to the house opposite her: a 100 step walk stretched out to dreadful infinity. And for those fifteen minutes that follow, the film is unrelenting madness. But that madness cuts off almost as soon as it begins, ending at its peak terror and denying the audience of any catharsis, or even breathing room, they likely yearn for.
Its a structure that probably shouldnt workI would even forgive most people of considering the film boring their first time aroundbut it is essential to creating the feeling of an orderinary Halloween night that has been intruded upon by unspeakable evil.
Even the small stakes of the film, localized mostly to two houses on a practically anonymous suburban street, and a victim count far smaller than the typical slasher, serve to heighten the horror. This is a thing that could happen on your peaceful little street, in your safe little neighborhood, and even though neighbors are all around you, youre really just as isolated as if you were in the desolate settings most horror films place their victims in. at
At least thats what this film wants you to think, brilliantly including the scene of Lauries neighbors responding to here desperate screams for help by closing their blinds and turning off the porch lightthat illusory beacon of hope that cuts through the blackness of the night that cloaks the monster.
And while Halloween isnt as terrifying as Black Christmas, the twisted holiday slasher it Carpenter was apparently inspired by, its use of framing and lighting to keep the Shape hidden like a wraith in the most uncomfortable portions of the screen, only to emerge out of the darkness like the shark from Jaws, is a master stroke of visual horror and perhaps the finest of many fine collaborations between Carpenter and his long time cinematographer Dean Cundey. And the void-like ending, which transforms one brief night of horror into a never ending ending one (literally as well, given how undying this franchise is) will leave you with plenty of time to ruminate on the many striking images it conjures until the sun rises once again.
Halloween is a bit of an oddity in that the until the last fifteen or twenty minutes of the film, the pacing remains constant, metered out by the repetition of Carpenters excellent soundtrack. Its all very methodic, almost leasurly, as creeping wide shots slowly bring us to the inexorable fate of Laurie Strode walking across the moonlit street to the house opposite her: a 100 step walk stretched out to dreadful infinity. And for those fifteen minutes that follow, the film is unrelenting madness. But that madness cuts off almost as soon as it begins, ending at its peak terror and denying the audience of any catharsis, or even breathing room, they likely yearn for.
Its a structure that probably shouldnt workI would even forgive most people of considering the film boring their first time aroundbut it is essential to creating the feeling of an orderinary Halloween night that has been intruded upon by unspeakable evil.
Even the small stakes of the film, localized mostly to two houses on a practically anonymous suburban street, and a victim count far smaller than the typical slasher, serve to heighten the horror. This is a thing that could happen on your peaceful little street, in your safe little neighborhood, and even though neighbors are all around you, youre really just as isolated as if you were in the desolate settings most horror films place their victims in. at
At least thats what this film wants you to think, brilliantly including the scene of Lauries neighbors responding to here desperate screams for help by closing their blinds and turning off the porch lightthat illusory beacon of hope that cuts through the blackness of the night that cloaks the monster.
And while Halloween isnt as terrifying as Black Christmas, the twisted holiday slasher it Carpenter was apparently inspired by, its use of framing and lighting to keep the Shape hidden like a wraith in the most uncomfortable portions of the screen, only to emerge out of the darkness like the shark from Jaws, is a master stroke of visual horror and perhaps the finest of many fine collaborations between Carpenter and his long time cinematographer Dean Cundey. And the void-like ending, which transforms one brief night of horror into a never ending ending one (literally as well, given how undying this franchise is) will leave you with plenty of time to ruminate on the many striking images it conjures until the sun rises once again.
Its about a young girl heading off to veterinary school and she just so happens to be vegetarian. During hazing week, she is coerced into eating meat and things spiral out of control afterwards. Her older sister who attends the school already isnt the best influence, either.
