Posts Tagged ‘bob clark’

Okay, fair enough, I’m mixing holidays here by including a Christmas horror flick in with out (post-) Halloween roundup, but what the hell, it’s the day after Thanksgiving, and I just caught this on demand last night (sorry I can’t therefore fairly critique any of Dimension Films’ DVD and/or Blu-Ray specs as I haven’t seen this on either format — and frankly don’t intend to)  so what the hell, we’ll do it now since my head is still reeling a bit and feel the desperate need  to regurgitate some thoughts on this abomination and get it over with. Yes, friends, your humble host just needs to talk and this blog is my (free, I admit) therapy session.

I’d been resisting seeing writer-director Glen Morgan’s 2006 remake of Bob Clark’s canuck horror classic Black Christmas since I hadn’t heard much good about it, and the original is such a beloved holiday staple at the TFG household that I didn’t feel the need to piss all over tradition. That being said, I was bored, it was on — and oh, dear God, I am so sorry.

On paper, it looks like things ought to work — Morgan did a great job with Final Destination, the late, great Clark himself was on the set almost every day by most accounts (not interfering or even advising, it’s been said, just having fun observing — he should have stuck his nose in a lot more frequently), in a nod to the original, SCTV alum Andrea Martin is on hand as the drunken house mother, and if you’re going to have a case of spoiled sorority hotties, the like of Lacey Chabert, Michelle Trachtenberg,Katie Cassidy, and Mary Elizabeth Winstead are a solid, straight-from-central-casting bunch. But —

To be honest, the whole things goes off the rails more or less from the start when we learn that the emphasis this time around isn’t going to be on the various personalities of the soon-to-be-victims (a real strong point in Clark’s film — arguably the first modern slasher flick, although Carpenter’s Halloween distilled the formula down to its basic elements and has been the prototype followed ever since), who here are reduced to less-than-cardboard cut-outs, but instead we’re going to be inundated with Billy backstory until you just can’t take it anymore.

The first time around, Billy was a mysterious cackle on the other end of the phone line whose origins and motivations were slowly revealed as the film progressed. Not so here, as it’s all Billy, all the time, right out of the gate. We see that he’s born with some rare liver disease that makes his skin yellow. We see his mother reject him and keep him locked in the attic. We see his mom kill his dad. We see her bring home a new replacement, and when step-daddy can’t get it up, we see her come on up to the attic and force Billy to finish the job. We see the birth of Billy’s sister/daughter, Agnes, his Christmas day 1991 massacre of his family (except for sis/daughter), his incarceration in a nut ward,  and his escape on Christmas Eve 2006 — in short, there’s no freaking mystery here at all, apart from why a snooty sorority would buy the cursed house where a mass murder took place. It’s not even much of a secret who among the sisters is really Agnes and therefore knows exactly what’s going on when the (admittedly gruesome, but less-than-inspired) murders start taking place in the house. In short, what we’ve got here is another “let’s-tell-the-killer’s-whole-life-story” remake that ends up leaving no time to make the present-tense scenario interesting because it’s so focused on the flashback sequences (granted, the film’s sparse 78-minute runtime could have been padded out a bit to make the 2006 scenes more involving, but let’s be honest, cutting this thing short is probably the only favor Morgan did his audience).

So what we’re left with is, I guess, an overly-obsessive, Billy-centric story that sacrifices everything by way of horror, suspense, and mystery in order to tell us way more than we ever wanted to know about one character at the expense of all the others, who are left to die in a rote, by-the-numbers sequence of slasher set-pieces that the director just doesn’t seem to give much of a shit about because all his creative energy is spent demystifying one of the more unique, beloved, and quirky killers in horror film history, one whose appeal was largely based on the fact that, you know — we didn’t know every single fucking thing about his life!

Whew! — okay, time to calm down (free therapy, remember?). Honestly, though, this film has more or less nothing going for it, even though Morgan is obviously a fan of the original — too much of a fan, truth be told, and that’s the problem. His nerdy (normally not a term we use as an insult around here) compulsion to explain the entire life history of his favorite cinematic stalker ultimately transforms his remake from the respectful homage he no doubt intended it to be into an insult.

In the true spirit of Christmas, I’ll use the Christians’ favorite term for this sort of thing —blasphemy, plain and simple.

"Deathdream" Movie Poster

Years before Michael Cimino and Oliver Stone dealt with the trauma of returning Viet Nam veterans in their Oscar-winning films “The Deer Hunter” and “Born on the Fourth of July,” independent exploitation filmmakers were going where Hollywood still didn’t dare to go. More specifically, legendary director Bob Clark of “Porky’s” and “A Christmas Story” fame was going there, and at the time he was working in the regional independent exploitation milieu.

Before heading north of the border to lens the slasher classic “Black Christmas,” Clark cut his teeth on a couple of low-budget horror flicks in Florida. The first, “Children Shouldn’t Play With Dead Things,” is a pleasing if ultimately forgettable effort, but the second, 1974’s  “Deathdream” (also released under the titles “Dead of Night,” “The Night Andy Came Home” and “The Night Walk,” among others), is a bona fide classic. Not only did it beat Cimino and Stone to the punch in terms if its harrowing subject matter, but it one-upped George Romero in using the zombie film as contemporary sociopolitical allegory because while Romero offered hints of his zombies (and remember, he specifically referred to them as “ghouls” at the time) and even moreso the human survivors confronting them as being stand-ins for a host of current issues, Clark dealt with those issues in a much more head-on manner in “Deathdream.” When Romero returned with “Dawn of the Dead,” he tackled the political in a much more direct manner, and while I can’t say for certain that Clark’s film emboldened him to do so, it certainly couldn’t have hurt matters any .

Also worth noting for history : this film was originally released with a PG rating, but was later re-rated with an R somewhere along the line as it continued to play regional drive-in and grindhouse circuits. You could get away with a lot under the PG label in the early years of the MPAA rating system.

I’m no prude, but considering the subject matter and some of the (effective for a film with literally ten times its budget) gore, I think an R does seem the more appropriate classification, but what the hell do I know? Read my little brief overview of the plot details  (or better yet see the film) and decide for yourself —

Andy at the beginning ---

Charles Brooks (John Marley, the guy who found the horse’s head in his bed in “The Godfather”), his wife Christine (Lynn Carlin,  “Faces” ) and their daughter, Cathy (Anya Ormsby)  are sitting down to dinner when two messengers from the army arrive with the telegraph that every parent with a child in the service dreads : their son, Andy, has been killed in Viet Nam. Needless to say, the entire family is devastated beyond words.

Later (what one assumes to be) that same night, though, a truck driver picks up a hitchhiker on a lonely stretch of two-lane road somewhere in Florida. He’s dressed in army fatigues and and isn’t much of a conversationalist, but the trucker learns that he’s just come home from Viet Nam and is on the way to see his family.

In short order, Andy (a young Richard Backus) turns up on his parents’ doorstep. Convinced that the telegram was nothing more than a horrible mistake, his family is at first so overjoyed to see their son that they let Andy’s strange behavior slide. He won’t go see the family doctor for a physical. He sits silently in his room at all hours rocking back and forth in a chair. He seems quiet and distant, He has no interest in seeing his former high school sweetheart, who still carries a torch for him or any of his former friends, for that matter.

Of course, when the death of a truck driver is reported on the news, his family don’t suspect a thing. But when other bodies start turning up, including the family doctor he refused to visit, Andy’s father, at least, begins to fear the worst, even if his mother willfully refuses to put two and two together.

Andy’s a zombie, you see, and he needs blood to survive. Or things start to get real ugly real fast. And the longer he hangs around, the more blood he needs. When he finally relents and goes out on a double-date to the drive-in with his former (although not in her mind) sweetheart and his best buddy and his girl, he’s dressed in dark sunglasses and a crisp white suit-type outfit that covers him from head to toe. He shouldn’t be going anywhere and he knows it, and his deterioration and berserker rage at the drive-in is a classic scene in the annals of horror.

--- and at the end

It goes without saying (but I’m saying it anyway) that the plot’s pretty simple and straightforward here, but the actors really bring the material to life. Marley is superb as the father who walks a delicate balance between being overjoyed at seeing the son he never thought he’d see again and suspecting the harsh,brutal truth about his condition. Carlin delivers a heartwrenchingly realistic portrait of a mother who will protect her son from anything, even when the reality of what he’s become stares her in the face. What could be portrayed as a simple case of denial in the face of everything is instead a gut-wrenching portrait of motherly love even when said love flies in the face of reality itself. And Backus is magnificent as Andy, conveying cold menace yet also a sense of tragic victimhood at all times.

As for the ending — -well, it’ll rip your heart out. That’s all I can say. The story can obviously only finish one way (although I won’t spell that out too specifically), but the pain and anguish that occur when the inevitable happens makes for a truly heartbreaking goodbye, not just for B movie, but for any movie.

"Deathdream" DVD from Blue Underground

The fine folks at Blue Underground released “Deathdream” on DVD a few years back in a truly superb package that contains an excellently-restored 1.85:1 anamorphic transfer of the film. two separate feature length commentaries (one from director Clark recorded not too terribly long before his sudden and tragic death in an auto accident, the other from screenwriter Alan Ormsby), an extended version of the powerful ending sequence, a poster and still gallery, the original theatrical trailer, and a new interview with star Richard Backus.

Best of all for horror fans, though, is the mini-documentary “Tom Savini : The Early Years.” Included because “Deathdream” was the first film on which the legendary make-up FX man cut his teeth before his his horror-history-making work for George Romero on “Dawn of the Dead,” this is a fascinating look at the early life and work of a guy who literally revolutionized the movie business. The fact that he was a Viet Nam vet, to boot, makes it doubly thematically appropriate.

Don’t let my rather quick synopsis of the plot fool you (your reviewer didn’t want to give away too much in terms of detail, but the truth is that this is a film I could literally spend hours talking about) : “Deathdream” is a painstakingly detailed account of one young man’s desperate struggle to continue surviving after he’s already dead, and how his quite literal descent literally rips his family apart. And while there weren’t any literal zombies who came home from Viet Nam, the number of walking wounded was incalculable. They’re coming home from Afghanistan and Iraq today, making this film as timely as ever. Leave it to low-budget regional filmmakers to blaze the trail and let Hollywood know it was “okay” to deal with subject matter like this.

Finally, it’s worth noting in closing that the Viet Nam war was still going on when this film was made, while it was over and done with by the time “The Deer Hunter” came along. That’s guts right there. Hollywood was still producing John Wayne movies cheering the “glory” of the war when Clark was showing us its’ horrific consequences in a cheap zombie flick.

“Deathdream,” therefore, is not only one of the most emotionally affecting horror films ever made, it’s also one of the gutsiest.