William Friedkin
While
not ostensibly a horror film director by nature or ouvre, the irascible,
confrontational William Friedkin has managed to create some of the most deeply
disturbing and unsettling films in cinema history. From the legendary horror film The Exorcist, the nightmarish industrial
fever dream Sorcerer, the gay
undercover cop thriller Cruising, and
most recently, his two collaborations with playwright Tracy Letts’ Bug and Killer Joe, Friedkin has managed to fearlessly push the envelope
with respect to what’s acceptable in mainstream cinema. In almost every film mentioned, there’s a
moment of pure shock that is so strong it’s likely to take some viewers out of
the film as they try to deal with what they’ve just witnessed. Almost as powerful, if not more, is
Friedkin’s unique use of subliminal imagery, implanting an image in the
viewer’s mind they’re not consciously aware of and thus sneaking past
preternatural defense mechanisms. Equal
to his provocation on filmgoers and the general media is his toughness with
respect to his cast and crew.
In
all three of his late 70s and early 80s works, Friedkin’s actors can’t help but
walk away weary and worn from the ordeal he has subjected them to. In an outtake shot on the set of The Exorcist, you can hear him barking
at his crew. The nightmare Friedkin put
his cast, crew (and himself) through to realize his remake of The Wages of Fear isn’t far off from the
mayhem caused by Francis Ford Coppola’s production of Apocalypse Now. Elaborate
sets had to be built, torn down and relocated, and the locations got the entire
cast and crew sick with Malaria. In Cruising, with its rampant, illicit gay
sex happening all around a clearly mortified Al Pacino, Friedkin tested the
boundary of what sorts of situations you can drop your actors and viewers
in. And most recently with the NC-17
rated Killer Joe, Matthew McConaughey
sexually assaults Gina Gershon with a fried chicken drumstick.
Unlike
other directors who buckle under the weight of financial pressure or public
opinion, Friedkin charges through undeterred with a clear vision in mind. There’s a matter of fact realism to the shock
factors in Friedkin’s work that’s penetrative and manages to burrow itself into
the viewers’ psyche. People come away
from his films shaken for how they transgress and shatter softer sensibilities. While the demonic possession film became a
genre here to stay, there’s a reason they all take from The Exorcist and why films influenced by it feel childishly
inadequate in comparison to the wrath Friedkin has wrought.
David Lynch
Nothing
in life is more frightening than what we dream about? Whatever fears we harbor in our daily routine
is sorted out during sleep, in which the human mind confronts these fears and
either manages to wake us from sleep or leave us feeling very afraid the
following day. David Lynch, one of the
most popular and influential film surrealists in the world, knows this
condition all too well and has managed time and time again to create images and
scenarios that are, simply put, scarier than anything. Like William Friedkin, Lynch is not overtly a
horror director, but his work gets so far under the skin of viewers that they
actually trump more than half of the terrors envisioned by most horror
films. With Eraserhead, Lynch took our average personal fears about parenthood
and created one of the most horrifying treatments of the topic of all
time. Anyone who has dealt with bringing
a child into the world, having their life abruptly change with the newborn,
will recognize the anxiety and apprehensions Lynch is tapping into. The way our mind can shift from serene calm
to unequivocal fright in the blink of an eye within dream states is also
exploited to marvelous effect by Lynch.
Because
Lynch’s films aren’t fantastical but are reflections of the world around us
filtered through the minds of his characters, they are essentially nightmarish
visions of the world we live in. While
most villains prefer to hide in the shadows, much like Robert Blake’s grinning,
pale faced devil with no eyebrows in Lost
Highway, they approach and address us directly. When Blake’s demon explains to Fred Madison
(Bill Pullman) they’ve met before and he’s standing in front of him as well as
residing in his house there and then, Fred scoffs. The demon hands him his cellular phone and
asks that Fred dials his house number, and when Fred does, the demon answers on
the other end. Simply put, in Lynch’s
nightmares, there is no escape from the captive evil winking and smiling right
at us.
Sam Raimi
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Before Spider-man, Raimi set in motion an evolution from 1981's traditional horror of Evil Dead, to Evil Dead II, which saw yet another hybridization of genres. Raimi began melting comedy into the horror elements, seeing Bruce Campbell as Ash maniacally severing his own possessed hand and chasing it around the cabin. In its final form, Army of Darkness adds yet another major genre into the mix, blending the previous horror and comedy under the guise of a medieval epic. There's nothing quite like it out there. Raimi kept introducing bigger, newer elements while never shedding what was great about the past, and maintaining his kinetic touch throughout.
Raimi would later take on western, drama, thriller, summer blockbuster, and fantasy films returning only once so far to his signature horror comedy roots in Drag Me to Hell. Raimi was a true innovator of horror, attaching, tearing off, and reattaching varying genres and technical applications to his method. I can't wait to see Raimi return to the director's chair for another original horror film.
David Cronenberg
If
anyone can be called a maestro of the grotesque, it has to be the prolific
horror/sci-fi director David Cronenberg. No other director has so meticulously
explored the disgusting limits that a human body can be put through. In his
earlier films such as Shivers (1975)
and The Brood (1979) he explored the
subversive qualities of human sexuality--centering on the rampant hedonistic
casual sex of the late seventies and the fetishistic nature of motherhood and
childbirth. The images were shocking and lurid but at the same time alluring
and provocative. This view of sexuality would prove to be a theme in almost all
of his horror films, up into much later in his career.
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As
Cronenberg advanced into the nineties, his horror became more metaphorical and
nuanced. With films such as Naked Lunch
(1991), Crash (1996), and eXistenZ (1999) he chose to explore the
personal turmoil of the characters as they dealt with their many inner demons.
Sexual obsession, drug addiction, and existential crisis were the subjects more
so than straight gory horror. These films are no less frightening and in some
ways more unsettling with the added subtleness. That is not to say that
Cronenberg completely revised his style, as Naked
Lunch in particular has some of the most bizarre imagery ever put into
film. It was merely the result of a director maturing and expanding his
filmography to its logical conclusion.
David
Cronenberg has seemed to move away from horror in his later years, instead
choosing to direct thrillers and crime dramas. Even though he is taking a new
direction with his films his contribution to the horror genre has been
considerable and far-reaching.
John Carpenter
Was there any director in the 80s as on
fire and unstoppable as John Carpenter? In retrospect, it sure seems that way.
In reality, most of his films from that era were box office flops. It’s hard to
believe when you look at the canon of this horror icon who practically
kickstarted an entire genre with Halloween. He followed that up with The
Fog, Escape from New York, The Thing, Christine, Starman,
Big Trouble in Little China, Prince of Darkness, and They Live,
all in the span of a decade. Yet his last wide theatrical release was 13 years
ago, with Ghosts of Mars. Let’s all say it together: Where are you when
we need you?
So what happened to this masterful
director who was clearly at the top of his game for so long? The term “burned
out” very well may apply. Or perhaps it is simply because Carpenter believes
there is no longer as high a demand for the kind of film he is interested in
making. If that is how the man feels, we couldn’t disagree with him more. While
the average American is certainly dumber than the hammered feces stuck to the
box of rocks people are pointing at as a reference, the world could not be more
ripe for the sociopolitical commentary Carpenter was so adept at lacing
throughout his later 80s works. All Masters of Horror episodes and The
Ward aside, this young millennium is sorely lacking John Carpenter, and we
think it’s about time this modern master remind us why he was once known as the
best.
Dario Argento:
This week on a special episode of “What in
the Flying Fornication Happened Here?” we have Dario Argento, once called the
“Italian Hitchcock.” For those of us unfortunate enough to sit through Mother
of Tears and his newest cinematic magnum opus, Dracula 3D—and I
couldn’t even finish typing that sentence without laughing—calling this
nickname a stretch sounds like a kindness. Once upon a time, the moniker not
only applied, but was embraced fully by fans and critics. Once upon a time,
there was Deep Red, Tenebre, Suspiria, and Inferno.
Anyone who has seen these films has felt what it is like to be in the hands of
a master manipulator who played his audience like a piano.
With this body of work, it boils down to
that single question: What the hell happened? Well, us at Movie Sleuth believe
it began in 1987. This year marked the release of Opera, a phenomenal
piece of filmmaking… if you stop the film before the director’s original
ending. This is one instance where “American studio tampering” not only made
the right call, but was the welcome bit of slap-chop editing the film needed.
The American-released version of Opera ended on a perfect note;
Argento’s ending takes what is essentially a masterpiece, and dilutes it
through a filter of skunk piss. This ending is so absurd, so nonsensical, so
completely and utterly inept in its storytelling, that it no doubt represents
the spring board Argento leapt off to the death of his career. Oh, he’s still
making movies? Well, he shouldn’t be. Take our word for it, and file the name
Dario Argento in your grey matter with a firm 1987 cutoff date. Not only will
you not regret it, but you’ll save yourself the heartbreak of seeing exactly
how far the high and mighty have the insane capacity to fall.
James Wan
There's
no two ways about it, James Wan got lucky by bringing out the right movie at
the right time. The original Saw, when you boil it down, is a basic
horror mystery with a pretty good—though logically perplexing—twist ending, and
a marketable villain. After Darren Lynn Bousman and his ilk had their way
with Wan's original vision, putting out an annual dose of torture porn for a
grand total of six sequels, there wasn't much respect remaining for a franchise
that began with Wan’s unique style.
Mr.
Whannell, you are the weakest link. Bye bye.
What
happens when you take Leigh Whannell out of the equation? You get The
(mother-effing) Conjuring: immaculately crafted, well acted,
impeccably scripted, and pants-fudgingly frightening. It not only represents
the true arrival of an exceptional talent, but is the definitive bookend on the
demonic possession genre. Between The Exorcist and The Conjuring,
it’s over. Everyone else can pack it in. This is a born filmmaker finally
living up to his full potential. With his previous films, the whip-snap editing
and eye-popping vistas came across as little more than an attempt to divert the
audience from the weakness of the story. Here, everything is fluent and damn
near perfect. James Wan makes a solid case for being the most visually gifted
horror director working today. His use of wide angle lenses spins apprehension
and claustrophobia out of thin air, and the horrifying beauty of the palette he
paints with them is second to none. It took almost a decade, but Mr. Wan, you
have finally come into your own, and I can’t wait to see what comes next.
Clive Barker
There aren’t too many people that can say
they are accomplished writers and
directors but Clive Barker wears both of these hats well. Barker is considered
a juggernaut in the horror industry having penned many popular horror novels
and anthologies. He is best known for the Hellraiser
movie series and his penchant for
S&M tinged horror themes. Unfortunately, Barker only directed the first Hellraiser film and the quality took a
sharp decline with each successive sequel.
Some of Barker’s films have been financial
flops (Nightbreed immediately comes
to mind) but they always end up garnering a cult following. He fared somewhat
better with Lord of Illusions and
parts of that film are truly frightening. Demons and the occult are two themes
that often run through his movies and he always does an excellent job in
portraying unfettered evil and debauchery. Barker dabbles in other artistic
mediums frequently (sculpting and painting) and his imagination leads to
inventive and creative imagery in both his films and books.
There have been many great films based on
Barker’s work: Candyman, Rawhead Rex, and Midnight Meat Train to name just a few. He was also the executive
producer on the critically acclaimed Gods
and Monsters, a thriller starring Ian McKellen in one of his most
unsettling roles ever. Overall, Barker’s influence on horror is incredibly far
reaching—he has his hand in many pots. Whether it’s films, novels, comic books
or even video games you can be sure that if Clive Barker is involved it will be
scary as hell.
Ti West
In a society where horror movies are rarely original
and styles are consistently replicated over and over again, Ti West has made a
name for himself with his fresh ideas and brilliant storytelling. His 2009 retro-inspired piece The House of the Devil gained an instant
cult following and pleased horror fans with its super dark and gritty
style. While West isn’t an overly visual
director, the style conveyed in Devil
feels straight out of the 70’s. Grainy
film effects, a tasteful use of violence and a haunting sound design created a
wonderful old school package for the modern day. His second major outing, Cabin Fever 2: Spring Fever is something that is going to go
ignored – hey, we all make mistakes.
Moving into 2011’s The Innkeepers West
proved to everyone that he can flawlessly tell an eerie and very memorable
ghost story. This film showcases why
West is a modern day horror genius. Shot
in a very basic fashion, Innkeepers
relies on its story, dialogue and atmosphere to drive the entire piece. There’s no reliance on the cliché jump-scare
technique and rarely do you get a glimpse of what’s haunting the hotel. West does a phenomenal job at making
audiences fear the unknown which when broken down, is the very essence of
horror.
Tobe Hooper
Mr. Hooper's career has spanned an illustrious 40 years in which he's created genre defining films that would push the envelope of terror while bringing one of the most legendary horror icons to the screen. His original The Texas Chainsaw Massacre would become an influential piece of cinematic history that's spawned many imitators and numerous horror entries that pay homage to Hooper's highly original and uniquely brutal vision. Leatherface stands tall besides other well known legends like Freddy, Jason, and Michael Myers but is probably the most misunderstood and twisted of the troupe.
Hooper hasn't made many movies but he made his mark early on with numerous modern directors citing him as one of their main influences. Rob Zombie used Texas Chainsaw as his main reference point with House of a 1000 Corpses while Hooper continues to direct lower budget horror fare.
-CG
-J.G. Barnes
-Andrew Kotwicki
-Blake O. Kleiner
-Michelle Kisner
-Shayne McGuire