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).
‘The Fog’ also benefits from an excellent central performance from Adrienne Barbeau as the Hawksian, Bacall-voiced DJ Stevie Wayne (and spinner of Steely Dan-approved big-band and light jazz/fusion tunes).
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…?