The original slasher film that frightened a generation

Rating: 10/10 (1 November 2006)

Here is where it all began. Before it became milked to death. Before it became an extended cliché. One of the defining horror films of our generation. John Carpenter's classic Halloween.
The slasher film genre is something that has been hijacked by Hollywood. It's been done so frequently that it's become tedious. All shock tactics and no style. Occasionally we get one that surprises us. Like the superb Scream. It was a witty, cutting satire of the whole genre, deconstructing the clichés and expectations while telling a good horror story at the same time.
But back in 1978, nobody had ever heard of the slasher film. People didn't know it existed. Or knew what a verdant pasture there was to be mined. But John Carpenter knew it. And he managed to tap into that undiscovered world with an astonishing skill. Halloween was so ahead of its time. And is a far superior film to all the others who jumped on the bandwagon but failed to understand what made Halloween stand out as a classic.
Carpenter has set out to make a horror film. Through and through. Halloween is a film that's not about characterisation and depth. It's about scaring the living hell out of you. And making you realise that even in the heart of suburban normalcy, you're not always safe.
The character of Michael Myers is given such scant motivation. He never speaks. We never see the face behind his white mask. We know practically nothing about him. He exists as a physical manifestation of pure unadulterated evil.
The opening scenes are the most effective because they leave such a lasting impression. The opening credit sequence is quite absorbing. The image of a jack-o-lantern grinning evilly as the camera closes in on it. But the added bonus that helped propel Halloween to classic status is the wonderful backing music, composed by Carpenter himself. So effective because of its sheer simplicity. Striking the notes of two piano keys, it helps to establish a jarring mood from the onset that never lets up.
The next scene provides one of the most absorbing three minutes of suspense ever put on film. Something we wouldn't see again until Drew Barrymore's infamous stalk and slash job at the beginning of Scream. We see through the eyes of Michael Myers. We don't know it's him at first, but the brilliant camera-work allows us to experience exactly what he's experiencing. Watching the outside of a house. But slowly...ever so slowly the camera moves position to one of the windows. We see a couple of teenagers making out. Then with a shocking rapidity, the mask comes on. We see a jack-o-lantern on the porch so we know its Halloween. We continue to see through the eye-holes. There is something almost voyeuristic to this moment. The scene changes to inside the house. Slowly creeping up the stairs. Until the eyes lock upon the girl. Out comes the kitchen knife. And the rest is history. The final shocking moment comes when the killer is unmasked...and revealed to be a six-year old boy.
Back in 1978, that type of image would have been unthinkable. Its amazing Carpenter got away with it. But it works. And sets us up for the thrill-ride to come. Halloween was the film that discovered Jamie Lee Curtis. And she acquits herself quite admirably in her feature film debut. She makes the character of Laurie Strode quite an intelligent heroine. Someone who is far more interested in her studies than boys. She is also a caring and considerate person. Willing to put others before her own safety. Like towards the end when she's babysitting two kids. Rather than leave them to Michael's devices, she goes all out to save them.
Halloween is a film that takes some time to get going. For the most part, it waits a while. The camera angles are set up to appear like stalking movements. Like the image of Laurie in the background. And the image of Michael's shoulder in the foreground. Michael Myers is an ever present menace in this small town. Because Halloween was filmed on such a tight budget, it means they didn't have enough money to have extras on the streets. For example no trick or treaters. But that in actuality works in the film's favour. It creates a heightened sense of loneliness and isolation.
As night closes in, Michael's voyeuristic impulses begin to take on a life of their own. And he can no longer contain himself. One by one he starts slaughtering the promiscuous girls in town, leaving the virtuous Laurie left. There is a hidden subtext there about chastity surviving over promiscuity. Whether deliberate or not, it definitely feels that way. Something Scream made a point to comment on!
Halloween is also a film that has a sense of humour about itself. The image of a grinning jack-o-lantern crops up frequently throughout. Almost acting as silent witnesses to the events. Even Laurie is watching The Thing on TV, mirroring what is going on in the real world. And even the intervention of Donald Pleasence at the end turns convention on its head. Portrayed as a crackpot beforehand, he arrives as the cavalry to save the day.
Halloween is a film that works wonders. John Carpenter economises the budget restrictions and produces a taut, expertly paced horror show. They never should have bothered to make sequels. The wonderfully ambiguous ending would have been the perfect cap on events. But like with Freddy Krueger, the sequels only served to dilute the character of Michael Myers. The less we knew about him, the more fascinating and menacing he was. But still, the original Halloween is a master classic of horrific events, and a genuine perennial favourite every October 31st.