It’s been three days since it arrived on the web and yet the verdict is still out on Rob Zombie’s “reimagining” of John Carpenter’s classic slasher film Halloween. The new ‘teaser’ trailer, providing only the slightest glimpses of lead villain Michael Myers and the concerned psychiatrist chasing after him (the desperate Dr. Loomis is played this time around by Brit legend Malcolm McDowell), promises a lot – and Zombie himself instills a similar feeling of anticipation. After all, this was the man (rocker turned director) who delivered one of 2005’s best films, the excellent exploitation retread The Devil’s Rejects. Similarly, he’s a very serious student of the horror genre, as his flawed if still fascinating debut feature, House of 1000 Corpses, confirms.
But taking on a legend like Halloween doesn’t seem like the smartest move for this fledgling auteur. Unlike Marcus Nispel’s work in the remake of The Texas Chain Saw Massacre, or Zach Synder’s efforts to bring Dawn of the Dead up to date, Zombie already has an established style. Call it schlock shock sensationalizing or Grand Guignol grindhouse, but he’s not the unknown quantity of say, Alexandra Aja or Christophe Gans. Here’s a man steeped in the creature feature concepts of the past, a person who’d fit in perfectly among classic TV horror hosts, the monster spook show spectacular, and as a standing member of the legendary 40 Thieves of exploitation. So why take on Carpenter’s signature film? Why bring so much potential criticism down on your recently revised reputation?
The answer appears to be twofold. First, it’s an obvious case of paycheck payback. Zombie’s Corpses was a trouble production from the very beginning, a full blown work of motion picture macabre in an era as yet unprepared to embrace same. For his tireless efforts, his release dates were endlessly bumped around, his vision eviscerated by mandated studio and MPAA cuts, and actual ownership of the title was tossed from distributor to distributor. That anyone got to see the final film is amazing in and of itself. But then Zombie played on that cinematic sob story, parlaying his problems into a gig creating an Evil Dead II style sequel. Unlike Corpses, The Devil’s Rejects had a clear intent – to mimic the drive-in grime and slime of the ‘70s slick sick flicks. As usual, success bred options, and taking a stack of greenbacks from MGM and Dimension for this remake was obviously something Zombie wanted – or needed.
The second response is far more compelling. A study of this new teaser trailer indicated a less stylized, more aggressive approach to the Michael Myers story. Carpenter, clearly a student of old school suspense and masters like Alfred Hitchcock, wasn’t aiming to dissect or probe the disturbed psychopathic mind. Instead, he wanted to manipulate the language of film to create the ultimate edge of your seat entertainment. He also wasn’t out to start the slasher fad (which, unfortunately, he did) nor did he think his initial effort would begat a continuing scare series. In essence, Halloween was a one shot deal that de-evolved into a callous cash grab. Any substance sustained from the way Carpenter imagined the story has long since disappeared into a ridiculous realm of repetitive revamps.
But Zombie’s concepts appear more honest, draped in reality and stripped of the first film’s slayer as superhuman characteristics. Delving deeper into Michael Myers backstory (the trailer offers fleeting glimpses of animal abuse and youthful violence – standard serial killer profile stuff) and envisioning his holiday night of terror in more everyday small town terms (another amazing shot comes near the end as a seemingly silent house reveals a death struggle at its doorstep), Zombie is apparently looking to bring Halloween into the vaguely voyeuristic 21 century.
Back when Carpenter created the story, there was a sense of neighborhood nonchalance in his tone, an acknowledgement that friends and family were beginning to close themselves off from one another over a palpable feeling of distrust. Gone were the days when front doors remained unlocked and homes were warm and inviting. In the nasty new world, undeniable dread was just a turn of the latch away, and Carpenter made grand use of such startling social designs. Zombie has no such logistical luxury. The present world is one in complete sync with suspicion and fear, a place where panic has unseated common sense as the overriding interpersonal emotion. Thanks to years of media fear mongering, and the government’s desire to use alarm as politics, he faces a populace already antsy and ready to react.
The teaser seems to tap into this idea in ways both obvious and indirect. We see a shot of Michael Myers entering a home, butcher knife poised to do some decidedly deadly damage. Quickly the camera pans over to a shocked girl sitting motionless in a stairwell, her defeated screams and lack of action indicating a repugnant resolve. It’s as if she’s already given up on life before our villain has a chance to take it from her. Similarly, there is a moment when our fiend is featured full faced (behind his shoddy Shatner mask, as always), Zombie’s lens focusing directly on the killer’s cold, empty eyes. In the background, McDowell is narrating, making his case for Michael as monster. But the two concepts don’t quite match. The words are alarmist, but we’ve actually seen that vacant look before. It’s a blankness that’s paraded out before us everyday during endless crime updates on the 24 hour news channels.
Still, the biggest hurdle Zombie faces here is making an idea that once seemed so novel – the unhinged spree killer – into something fresh and inventive. Thanks to endless Dateline ‘documentaries” and other fictionalized versions of the mass murderer’s mentality, we know this kind of character well. In fact, it’s become a thriller cliché; the mindless maniac with the singular desire to slay. From what we can decipher in the trailer, Zombie hopes to combat this by bringing clear-cut authenticity and realism to the narrative. By keeping the surroundings as recognizable and mundane as possible, while inserting within this scenario a shockingly non-supernatural “boogie man”, he hopes to bridge the gap between one trick pony and real onscreen terror.
It remains an uphill battle. Messageboards have been aflutter with negative views of this project ever since a copy of the supposed script was “leaked” onto the web. Those who revere the original have argued over every artistic choice Zombie has made, from dealing with Michael Myers as a young boy to jerryrigging some of the narrative’s most memorable shock elements. And since he proved at least twice before that he can handle original takes on horror and violence within the genre, many find it hard to dismiss the substantive stench of ‘sell-out’ clouding this entire enterprise. Following this fledgling filmmaker over the last decade or so, ever since Beavis and Butthead made his band a hilarious household name, it’s hard to imagine that Rob Zombie is only doing it for the dosh. Until August, when we get a more complete glimpse of his Halloween vision, we’ll be left wondering just how this entire nightmare scenario will play out. The odds, unfortunately, are in its favor, no matter the promise temporarily ‘teasing’ us.
View the Halloween (2007) Teaser Trailer Here
We all know how critical it is to keep independent voices alive and strong on the Internet. Please consider a donation to support our work as independent cultural critics and historians. Your donation will help PopMatters stay viable through these changing and challenging times where costs have risen and advertising has dropped precipitously. We need your help to keep PopMatters strong and growing. Thank you.
// Moving Pixels
"Door Kickers is not a multiplayer game, but for a while there, I couldn’t tell the difference.READ the article