John Carpenter’s Halloween (1978)

halloween-1978-poster

What is there to say about “Halloween” which hasn’t already been said? It has been discussed ad nauseam, and even Carpenter must be sick of talking about it all the time. Granted, he did take the time to record a new commentary track with Jamie Lee Curtis for Anchor Bay’s 35th anniversary edition, but when the 25th anniversary edition came out it just had the same commentary track from the Criterion Collection laserdisc.

We all know the story, and this is in large part due to the countless imitators who rushed to create their own psychotic killer following “Halloween’s” astonishing success. At the time of its release, it was the most successful independent movie ever made. Made for about $300,000, it ended up grossing over $50 million. “Friday The 13th” would never have existed without “Halloween,” and that franchise is far more responsible for those clichés horror movies exploit to infinity.

What I love about “Halloween” is how down to earth it is. All of these characters come across as very relatable. The way the script is written and how the actors played their roles, they easily reminded us of people from our own lives we grew up with. The only character in the whole movie who is NOT down to earth is Michael Meyers as he is a killer who has no real motive for why he heads back home to kill. As the movie goes on, we eventually stop seeing him as a person and instead as a force of evil which cannot be easily stopped.

We have all lived in a town like Haddonfield, a small town where families can raise their children in peace, or so it would seem, and the problems they face there end up paling in comparison to those they were forced to endure in the city. The parents see small town life as a home away from reality, but for the children it is reality. It is all they know. So when multiple murders occur there, it threatens to define the town more than anything else. Was there anything interesting about Haddonfield before young Michael Meyers took a knife to his sister when he was only a boy?

I also love how “Halloween” was shot. Working with Director of Photography Dean Cundey, Carpenter creates truly unnerving visuals of a killer lurking in the shadows. One moment Michael appears in the frame, and in the next he is gone. Michael could be anywhere and there is no escape from him. How does one escape from evil anyway? One of Carpenter’s main themes with “Halloween” is how evil never dies. It is a force which is with us whether we like it or not, and it is always just around the corner…

One of my favorite shots is when little Tommy is fooling around with Lindsay as they watch Howard Hawks’ version of “The Thing.” But when Tommy turns around and looks out the window, he sees a man carrying a lifeless body from the garage to the front door. The bullies at school kept warning him about the boogeyman coming, and it is an unfortunate and infuriating coincidence that they are correct. It is one of the creepiest images from “Halloween,” and it is one which always stays with me. Don’t you wonder what your neighbors are up as you look at their houses across the street?

The other brilliant thing about “Halloween” is how it was edited in such a way where you cannot be sure when or where Michael will appear next. The best example of this is when Laurie Strode is running away from Michael. Carpenter puts us right in her shoes as she desperately tries to escape the madman who wears an altered William Shatner mask. The editing plays with your emotions beautifully. You want her to escape, but you soon feel as helpless as her as she yells at Tommy to wake the hell up.

The moment where Laurie is at the front door of Tommy’s house, screaming for him to let her in, is one of the scariest scenes I have ever seen in a movie. It intercuts with her banging on the door while the Shape approaches her, and Carpenter succeeds brilliantly in leaving us stuck in a place we are desperate to escape from. Like her, we are begging for Tommy to unlock the door to where we want to yell at the movie screen, TV set or whatever device you are watching this movie on.

And who could ever forget the music? Carpenter’s score for “Halloween” ranks among the greatest horror movie scores ever composed to where I would put it up alongside Bernard Herrmann’s score for “Psycho.” Carpenter’s musical work has been done mostly in a minimalist style, very much unlike the bombastic orchestral scores from every other Hollywood composer. After all these years, the main title for “Halloween” is a piece of music I never get sick of listening to. The music succeeds in heightening the ever growing tension which never lets up even after the movie is ovr.

The final shot is unnerving and utterly perfect in the way Carpenter shows how evil never dies. We see images we have become familiar with throughout the movie, and they now have the stain of evil on them. The point is point he could be anywhere at this point.

This is definitely one of my all-time favorite movies, and the recent 35th anniversary edition Blu-ray reminded me of how I never get tired of watching it. Jamie Lee Curtis is great here as Laurie Strode, the only one who is the least bit observant about what’s going on around her. Then you have P.J. Soles and Nancy Loomis as Laurie’s so-called friends who frolic around, completely unaware of the killer stalking them from a distance. And you have Donald Pleasance, and his Dr. Loomis is a character which pretty much came to define the latter half of the franchise.

Many say “Halloween” originated the undying cliché of how teenagers who have premarital sex and do drugs are the first ones to be killed off. In the Criterion commentary, both Carpenter and the late Debra Hill make it abundantly clear they were not trying to lay any sort of judgment on these characters. Religion was not intended to shoved down our throats by anyone involved with this movie. These characters don’t get murdered because they are sinners, but because they aren’t paying attention to what is going on around them. Laurie Strode, on the other hand, is always very suspicious of her surroundings.

John Carpenter’s “Halloween” will always remain the best of all the so-called slasher movies in my humble opinion. There is no way anyone can top what he did with the 1978 classic, and this is even though Rob Zombie’s take on Michael Meyers was better than people gave his “Halloween” movies credit for. It has reached such a high level of praise in the ever growing pantheon of cinema to where duplicating its power is extremely difficult to pull off. The fact it still has the power to unsettle generations of audiences is a testament to Carpenter’s brilliance as a director, and its amazing success led him to make many other great films which continue to stay with us long after the end credits have finished.

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