Of course it wasn’t as much of a flop as often thought (budget circa $15 million, US box office circa $20 million) but director John Carpenter was under no illusions as to how the studio (Universal) perceived his ‘Thing’ in the immediate aftermath of its 25 June 1982 release, not helped by the appearance of ‘E.T. The Extra-Terrestrial’ two weeks before.
Come to think of it, has there ever been a less suitable ‘summer movie’ than ‘The Thing’? Carpenter agreed – he reportedly virtually begged Universal to delay the release date to Halloween 1982, avoiding comparisons with ‘E.T.’, and change the title to ‘Who Goes There’. They refused.
Then there was the changing nature of horror-film audiences to contend with. After a market-research screening, one teenager apparently approached Carpenter pleading complete ignorance regarding the ending. When the director responded that it was up to their imagination, the co-ed mumbled, ‘Oh, God, I hate that…’
With hindsight, maybe we can also point a finger at the marketing. The standard Hollywood thinking – as per Art Linon’s book ‘What Just Happened’ – was that the marketing people would always blame a film’s poor box office on anything but the marketing, and generally keep their jobs in the event of a bomb. That would definitely not be the case now…
Above is the original poster – hardly a classic of its era, with very little if nothing to do with the film. The below VHS rental cover is surely what they should have gone with, complete with classic tagline and surreal main image.
Still, the movie is as fresh and troubling today as it was 40 years ago, and anyone who hasn’t seen it should check it out ASAP, on as big a screen as possible. Happy birthday, Der Thing!
A babysitting uncle (later reprimanded by my mum!) showed my brother and I John Carpenter’s classic 1978 film ‘Halloween’, recorded from TV after its first (edited) UK showing, sometime in 1982 or early 1983.
I loved it but it scared the bejesus out of me. Well, I guess everyone’s entitled to one good scare on Halloween.
But Rick Rosenthal’s 1981 sequel, released 40 years ago this weekend, was a definite no-no. There was no way my parents would let my brother and I watch it, though I distinctly remember us creeping along the upstairs corridor and spying on them watching the rented video with friends.
‘Halloween’ has of course been through numerous/confusing sequels and reboots. The new ‘Halloween Kills‘ is supposedly a ‘proper’ sequel to the rebooted ‘original’ of 2018 (which I tried to watch recently, but didn’t last beyond the first five minutes…).
But back to John Carpenter’s original 1978 classic. It was a huge hit. Once the money started rolling in, a sequel was on the cards, one that Carpenter was unable to veto due to his original contract (he also allegedly missed out on a huge amount of royalties too).
So he reluctantly hooked up again with Debra Hill to write the screenplay and co-produce. The result was one of the last big ‘slasher’ hits, outside of the endless ‘Friday The 13th’ sequels, earning around $25 million worldwide against a $2.5 million budget. And this was in the days when sequels were not commonplace.
But how does ‘Halloween II’ stand up today? First, the good stuff:
Director of photography Dean Cundey was lured back from the original, passing up the opportunity to work on Spielberg’s ‘Poltergeist’, and his original angles and Panaglide compositions elevate the film way beyond the standard slasher fare.
The hospital setting
It’s a great idea to set the film in a suburban hospital, and gives a claustrophobic sense of isolation, of course a descendant of Carpenter’s ‘Assault On Precinct 13′ (via, originally, Howard Hawks’ ‘Rio Bravo’ and George Romero’s ‘Night Of The Living Dead’).
It’s a neat concept to start the film right where the original ‘Halloween’ ended.
Once again he fully embraces the role of Dr Sam Loomis. He takes it seriously and does a stand-up job, complete with a few memorable line readings.
The Chordettes’ ‘Mr Sandman’ intro and end credits
A very creepy choice, possibly influenced by the use of music in ‘The Shining’.
But then there’s the bad stuff:
Lack of Jamie Lee Curtis
She spends most of the movie either in a hospital bed or limping/crawling around (wearing a very odd wig). As good a performance as she gives, the film suffers from her inertia.
Too much dialogue/exposition
There are way too many slow, boring plot/dialogue longeurs.
Lack of engaging/likable characters
As workmanlike as the mostly young cast are, they can’t replicate the natural rapport that existed between Jamie Lee, Nancy Loomis, PJ Soles etc. in the original film.
Dick Warlock as The Shape
The original film mostly used Nick Castle as The Shape, but experienced Hollywood stuntman Warlock got the role here, and he moves way too slowly and stiffly (and the William Shatner mask doesn’t quite fit…). And the closing fire stunt may have won him some brownie points in the industry but looks absurd now.
Carpenter took a look at the first assembly of ‘Halloween II’ and decided it was too long and not scary enough. He shot a few additional scenes, adding some gore and spikes. Sadly this resulted in too many bad memories of standard slasher movies, and resulted in a lot of dodgy reviews. Carpenter was also fairly disgusted with himself for ‘messing’ with another director’s work – ‘I did something I don’t believe in. I did something I would hate for anybody to do with me. It was an evil thing to do and I didn’t enjoy any of it,’ he told biographer Gilles Boulenger.
Alan Howarth overdubbed onto Carpenter’s original 16-track tapes, adding copious synths and and drum machines – there’s a lot of bluster but unfortunately Howarth adds little to the original soundtrack.
In conclusion: I’d argue it’s a decent-enough sequel, despite the obvious problems. The last 15 minutes offer creeps, shocks and thrills, and the hospital setting works excellently.
What with ‘The Lighthouse’ and ‘Bait’, you can’t move for nautically-themed movies at the moment.
But it’s arguable whether either are as effective as John Carpenter’s ‘The Fog’, released 40 years ago today.
But then I’m biased: aside from Carpenter’s ‘Halloween’ and ‘American Werewolf In London’, it was one of the first scary movies I was allowed to watch in my teenage years, and subsequently inspired a dodgy short horror novel of my own (‘The Ghost Of The Drowned Sailor’…).
Revisiting it this week for the first time in ages, it delivered all sorts of treats though these days is scarcely mentioned alongside ‘Halloween’, ‘Assault On Precinct 13’ and ‘The Thing’ in the list of bona fide Carpenter classics.
Shot mainly in coastal California around Point Reyes, Bodega Bay and Inverness, ‘The Fog’ was a brave move on Carpenter and producer/co-writer Debra Hill’s part, following up ‘Halloween’ by mostly eschewing the slasher format (it’s interesting to note that both ‘The Shining’ and ‘Friday The 13th’ were released two months later, in May 1980) in favour of a seemingly old-fashioned ghost story inspired by a trip to Stonehenge and the writings of Edgar Allan Poe.
This attempt at a different kind of movie caused problems when Carpenter’s original cut was deemed too moody and not supplying the requisite scares for post-‘Halloween’ sensibilities.
Many scenes were re-shot and some new ones added just a few months before release, including the opening ghost story, ‘Close Encounters’-style scene-setting and top-of-the-lighthouse finale. The music and sound effects were also reworked.
Watching the 2002 DVD edition, the first thing I noticed is the gorgeous lighting and camerawork. Its sharp, crisp colours and composition are a great testament to the lab technicians (heralded by Carpenter on his DVD commentary) and director of photographer Dean Cundey, who has since gone on to be one of the premier DPs in Hollywood.
Also the impressive miniature/model work, widescreen lenses and evocative coastal locations give a lot of bang for relatively little buck (‘The Fog’ was eventually brought in at just over $1 million).
She and co-writer Debra Hill manage to root the hokum in a credible, sympathetic, rounded character. It’s also great fun to see Janet Leigh appearing in the same movie as her daughter Jamie Lee Curtis, and Nancy Loomis delivers her usual amusingly insouciant line readings.
Effects man extraordinaire Rob Bottin features as head ghost Blake, heading up a very rock’n’roll-looking bunch of ghouls, though arguably the movie would have benefitted from a little less ‘show’ and a little more ‘tell’ in the last 20 minutes. Seeing Blake in plain sight at the end is always a bit of a disappointment, despite the glowing red eyes.
But editors Charles Bornstein and Tommy Lee Wallace deserve much credit for building tension in the last third with shrewd, snappy cutting (sometimes seamlessly between studio/location shots).
Carpenter’s excellent soundtrack cribs a little from Michel Legrand’s famous score for ‘The Go-Between’ but has some marvellous sections, particularly during Barbeau’s ‘look for the fog’ closing speech (obviously very influenced by a similar ending to Howard Hawks’ ‘The Thing’).
‘The Fog’ was a hit (despite Siskel and Ebert’s stinking review, see below), earning around $20 million against its $1 million budget.
It was a lot of fun to revisit it again, and looks like just the low-budget horror classic I always remembered it to be, with more imagination and storytelling elan than 99% of other genre offerings.
Happy birthday to a true cult classic. Now, what’s that sound? Who’s rapping on my door? At this hour…?
Carpenter (centre) and band overseen by Jamie Lee Curtis and Nancy Loomis in ‘Halloween’
It’s surprising that John Carpenter has taken so long to perform his own music in concert.
The director of ‘Halloween’, ‘Assault On Precinct 13’, ‘The Fog’ and ‘The Thing’ is well-known for his incredibly effective, synth-laden soundtracks, and he’s also been known to let his hair down in after-hours rock band The Coupe De Villes with movie biz friends Nick Castle and Tommy Lee Wallace.
But it’s actually a perfect time for him to be fronting his own band. Watching Adam Curtis’s impressive ‘HyperNormalisation’ documentary last week, I was struck how many current bands are clearly influenced by Carpenter’s music (which has also frequently turned up in Curtis’s docs).
Though apparently not in tip-top health (it’s hard to resist quoting that great line from ‘Assault’: ‘He don’t stand up as good as he used to…’), Carpenter was clearly having a ball on this short UK tour, bopping around behind his keyboard and booming out pre-rehearsed lines like ‘Good evening, London, I’m John Carpenter!’ and ‘Horror movies will live forever!’.
The beautiful Art-Deco Troxy venue was specially decked out like the ‘Escape From New York’ set, while a large screen behind the stage projected key scenes from his many classic movies.
Carpenter mixed up tracks from his soundtrack work with some from recent non-soundtrack albums Lost Themes 1 and 2. The theme from ‘The Fog’, embellished with some baroque church organ, sent a chill down the spine while ‘They Live’ and ‘In The Mouth Of Madness’ were graced with some great, sleazy noir lead guitar from Daniel Davies.
‘Halloween’ and ‘Escape From New York’ were greeted like hit singles by the near-sold-out crowd. Newer track ‘Vortex’ showed how distinctive a musician Carpenter really is, the opening piano chords instantly recognisable as his soundworld. Other tracks had hints of Metallica, The Knack and even The Police at their rockiest.
A couple of bum notes: the venue sound was not great and the band were a bit brittle at times – you occasionally wanted a bit of double-bass-pedal mayhem from drummer Scott Seiver. There was also a bit too much DX7 and not enough booming Moog in the synth department. And where was the video for ‘Night’?
But all in all this was a great way to pay one’s respects to a master of mood and texture and a damn good musician to boot. Go ahead, John. We await the Coupe De Ville’s debut London gig with anticipation.