From Hal Holbrook

The Fog: A Chilling American Ghost Story

John Carpenter’s The Fog. 1980. Directed by John Carpenter. Written by Carpenter & Debra Hill.
Starring Adrienne Barbeau, Jamie Lee Curtis, Tom Atkins, Janet Leigh, John Houseman, Hal Holbrook, Charles Cyphers, George ‘Buck’ Flower, and Jim Haynie. AVCO Embassy Pictures/EDI/Debra Hill Productions. Rated R. 89 minutes.
Horror

★★★★★
the_fog_poster_by_cakes_and_comics-d5ht3iy
An impressive aspect about John Carpenter, other than stuff I’ve already talked about in reviews, is that his filmography as director has covered such ground in terms of genre. While a lot of it is horror-centric, within horror he crosses over into science fiction, the thriller, and even ghosts/the supernatural. He can cross any genres and make them work well with his slow and steady pacing, his suspenseful style. The ghost story style plot works for Carpenter, as he has a way of creeping up on you, every frame draped in the lurking presence of danger.
The Fog is a super interesting story of ghosts looking for revenge and a town with deep, dark secrets. Carpenter and frequent partner-collaborator Debra Hill came up with a nice screenplay, which he in turn crafted with style into one hell of a creepy horror movie.
tnt24.info_Mg³a_-_The_Fog_1980_Horror_HDRip_XviD_AC3-HQVIDEO_RUS_.4060__97446In Antonio Bay, California, a one hundred year celebration is about to happen. Kathy Williams (Janet Leigh) is busy preparing the town for its big shindig, while Father Malone (Hal Holbrook) is playing his part well enough, except his church is obviously in financial ruins; all the money flowing into big parades and such for the centennial. Then there’s Stevie Wayne (Adrienne Barbeau) who keeps herself and her son afloat, barely, by owning/operating the lighthouse radio station. At the same time, Nick Castle (Tom Atkins) rolls into town with a hitchhiking young woman named Elizabeth Solley (Jamie Lee Curtis).
But things start to go wrong, or at least they begin to get strange. A boat full of men doesn’t come in like they usually do, which prompts Nick to go looking for a friend who’d been on it. Once they track down the boat everything gets weirder, and not a soul is found aboard.
On land, Father Malone happens to find a diary lodged in the wall of his office at the church – it paints a gruesome picture of the residents in Antonio Bay during 1880 who did terrible, unspeakable things all under the guise of keeping their citizens safe from sickness. What has begun to happen in the little town turns out to be the revenge of those beyond the grave… those who will rise up from the water, in the fog, to come for every last descendant of the ones who took their lives.
FOG_1 screenshot_27Said it before, I’ll say it over and over: Carpenter’s scores are undeniably infectious. The swell of the electronic sound he often lays under a scene, how the swell then builds and builds, it’s so effective. I think that’s a big reason why I’ve always been so in love with 1980s horror – not only was I born in the ’80s, the music of those films was always so interesting, so brooding; not every last one of them, but so many, even the shit ones some times. But Carpenter infuses each of his films with such an intriguing sound in that way. It helps his style so much, the way he works off of suspense and tension. The music really lends itself to that. Particularly I love it here because the way the fog creeps in during many scenes almost matches the sound of the score. There’s more to simply throwing a bunch of special makeup effects and a fog machine into the shot – Carpenter actually crafts an atmosphere of genuine tension, his ghostly apparitions sneak into the frame and into our heads, they slowly take over the small seaside town. At the same time the terror slowly works its way up your spine and seeps into your brain. I’m not one to get JUMP UP AND SCREAM SCARED. But I love a good slow burning, deeply tense horror movie. Carpenter almost exclusively does this type of work.
Another big part of this film are the landscapes Carpenter includes. The cinematography from Dean Cundey, a Carpenter-collaborator on the regular, is fascinating. So beautiful, at the same time it sets up this incredibly desolate feeling. Much like his work in The Thing. Here, the way he captures so many of the wide open spaces, the ocean, the hills, it’s really disturbing in a gorgeous visual sense. There’s always a feeling of isolation in Carpenter’s work, whether it’s Assault on Precinct 13Halloween, or The Fog. Cundey is able to provide big lush visual feasts in which the suspense/tension of Carpenter comes out perfectly.
the-fog-1980-Screenshot-4There are plenty films which use radio deejays as plot devices, such as Spike Lee’s Do the Right Thing and Don McKellar’s Last Night. What I enjoy about Adrienne Barbeau in this film, as lighthouse personality Stevie Wayne, is that she’s not used as a plot device. Rather, Stevie is just a solid character who we come to know intimately through her soft and silky voice going out over the waves in the dark of night. Then once her plight begins, things feel more tense.
And this comes back to the fact I feel Carpenter and Hill are good writers. They’re not trying to do anything crazy here, nothing metaphorical or anything (though you can absolutely take away stuff like that if you want/look into it enough). But really they craft a nice story with good characters. They’re able to get you to care for these people and pity them for being caught in the crossfire caused by their ancestors; while hating what the people of Antonio Bay did back in the latter half of the 19th century, these genuine, nice characters don’t deserve to die for that – do they?
Stevie Wayne is not the only good character. I love them all. Hal Holbrook’s Father Malone is solid, right to the end. Aside from him there’s the always charismatic Tom Atkins, who I was recently enjoying in the underrated (and misunderstood) Halloween III: Season of the Witch. And last but not least, not at all, the wonderful Jamie Lee Curtis in another early horror movie performance; she is funny, sweet and has great presence in this film whenever she’s onscreen. The chemistry between Atkins and Curtis’ characters is phenomenal and adds a little something extra to their subplot, as they try to survive their time in Antonio Bay.

So many creepy moments and scenes. One of my favourites is when Nick (Atkins) is telling Elizabeth (Curtis) a story, then first a locker tips over scaring her before an actual body, its eyes gouged out, falls against her back; what an awesome two-punch technique! Love that one. Usually I’m not one for jump scares, but I love them when done right. Carpenter utilizes them appropriately a lot of the time, much as he started doing back in Halloween. He knows how to do them with an interesting touch instead of heavy handed, making it a cheap scare tactic.
But the best spots in The Fog are those that slowly catch you. Like when the fog overtakes everything in Antonio Bay, and one by one people start to get sucked in and killed by the ghosts of the lepers. I love how you know what’s coming, yet Carpenter draws you in and makes things incredibly suspenseful.
A top pick for favourite moment has to go to when Stevie (Barbeau) ends up climbing, climbing the lighthouse trying to outlast the fog coming for her. I’m afraid of heights (even though I once worked as an electrician in Alberta at ridiculous heights; never again), so this part really grates my nerves. In the best filmic sense. Also helps that this scene comes nearing the finale, obviously. There’s a great intensity watching Stevie try her damnedest to survive. A real trooper.
Another top pick – Elizabeth encounters a reanimated man. I won’t say anything further. Wildly creepy scene.
the-fogAnother 5 star ’80s classic from John Carpenter. He and Debra Hill did so well with this story. It’s a gothic, macabre piece of writing. Pile onto that the excellent cast, the score, all those awesome shots and effects – it’s a real masterpiece of ghostly horror. I can’t recommend this one enough. Always a huge fan of Carpenter, I consistently come back to this one because it’s spooky, it has great writing, and I’m always entertained. You’ve got to add this to any Carpenter marathon, as well as any proper Halloween/October movie list. It has a ton of great qualities, especially for a creepy night with the television on and the lights off.

Advertisements

The Creeper a.k.a Rituals: Early Canadian Horror

The Creeper a.k.a Rituals. 1977. Directed by Peter Carter. Screenplay by Ian Sutherland.
Starring Hal Holbrook, Lawrence Dane, Robin Gammell, Ken James, Gary Reineke, Murray Westgate, Jack Creley, and Michael Zenon. American Pop Classics. Rated R. 100 minutes.
Adventure/Horror/Thriller

★★★★

OLYMPUS DIGITAL CAMERAThis 1977 horror-thriller, The Creeper a.k.a Rituals, is one I’ve heard about for about for well over a decade now, almost two. Horror fanatic since the age of twelve, when I first discovered Hal Holbrook outside of those interests I soon came to discover he’d been in an early slasher type film. So sticking that in the back of my head, at the time with no real way to see the movie since it wasn’t at my local video store, I hoped someday I’d be able to finally see it. Somehow. Some way.
Well recently I tracked down a digitally remastered copy from American Pop Classics, which was reasonably priced and pretty decent looking for such a rare cult horror flick. This one came out on the verge of slasher horror becoming super popular, due to John Carpenter. It wasn’t the first, with classics such as Black Christmas coming out in 1974, Psycho having been released seventeen years prior. But still, I think The Creeper did some interesting things. This movie might not have hit it big, it didn’t at all from what I gather, don’t let that sway you. There’s a good bit of backwoods horror here and most certainly anyone who has seen it will find themselves influenced by its creepy qualities.
Rituals2-1600x900-c-defaultA group of doctors get together in the Canadian wilderness. They’re dropped off by plane out to some remote part of the forest. The men head to a place called “The Cauldron of the Moon” by Aboriginal peoples. Hiking through all sorts of terrain, the doctor friends camp for a while. However, once they’re shoes go missing, except for one man, things start to get scary.
The one with his shoes left decides to walk out for help. It’s after he leaves when the others discover something disturbing is happening in those woods. A deer head appears outside their camp, then the terror truly begins.
1200There’s a bleak atmosphere from the beginning of The Creeper. Everything is isolated, so far up into the backwoods. Even further, director Peter Carter captures the desolate feeling with a ton of great wide shots; the forest and the mountains together swallow up each of the characters. There are so many beautiful scenes. Even when one of the doctors ends up with his decapitated head on a pike, and another of them throws it down the mountain in anger, there’s this sweeping shot that goes over Hal Holbrook’s head as the head/stick goes flying; strange for it to be a beautiful shot, but it certainly is that.
Another thing I think helped overall is that this screenplay wasn’t the typical slasher horror writing either. Perhaps because it was one of the earliest slashers, a prototype, it didn’t fall for all the exact similar things later slashers made into the genre tropes. Better than that, the characters themselves were decently developed. There were a few points where I thought the development was subtle, things didn’t get spelled out obviously right in front of us; for instance, a conversation around the fire has two of the doctors revealing bits and pieces of their lives before the events of the film, sort of filling in gaps to who they are as people. A lot of modern slashers try to jam pack loads of exposition into their screenplays. Here, there’s enough to hook us, but also leaves some things to our imagination. Part of The Creeper‘s charm is, evidently, the way it sort of creeps on you. Between the isolation, the wide and desolate shots, as well as the characterization, everything in the film will grow and fester in you until the events start to get real terrifying.
hed-ritualsThe moments of slasher horror, so to speak, are pretty damn effective. From the beginning, when the deer head shows up, things are nasty enough. Solely because of the malicious intent. But things only get worse and worse. The decapitation, as I mentioned. Afterwards, one of the doctors ends up tied to a a stake and lit on fire. There are several truly gruesome aspects to the film.
I think it’s the very finale I found most jarring. There a two instances where the sound design uses an echo, which was interesting. It worked and had a strange effect. It’s unsettling, yet I can’t say exactly why. Sort of amplified the emotions happening at the time, almost as if the echoes were in the characters’ own heads.
Ultimately, what makes so much of The Creeper work in terms of its outright horror is the solid acting from Holbrook. He really has great skills. Even when the rest of the acting isn’t all perfect, Holbrook keeps us grounded and his intensity, the anxiety he gives us through his character, all the tension in him, it helps the horror and terror of the plot become more plausible, it feels more real. In particular, there’s a scene where Harry (Holbrook) discovers a deep cut around his femoral artery, and he stops for a moment, regrouping, as his friend is tied to the stake; the way Harry is calm compared to the other man, the demeanour he displays, this gives us such an excellent impression of this man’s character. I imagine Harry as a good doctor, someone who doesn’t allow the pressure to bear down on him. These few moments were great in this respect. Not only that, the entire sequence following after is horrific and Holbrook makes it come off spot on.
The final shot of Harry sitting on the highway was amazing – panning back behind him, the open road ahead, such a fitting way to end things after all the chaos. Everything becomes sunny, open, beautiful, as opposed to the darkness and horror in the forest. Love this finish.
rituals rough halWhile there are some aspects which could’ve been improved upon, The Creeper deserves a 4 out of 5 star rating. I truly feel this is a good slasher, especially considering this came a year before John Carpenter’s Halloween. With a good lead actor to hold things in place, some nice writing and very effectively creepy effects at key moments, this is a solid cult classic. It’s tough to find and the quality of the DVD I found isn’t even immaculate, nowhere near. But you’ll be surprised. This is a very subtle and low budget film, though, its merits are evident once you get through the film. For a rare movie, I’m pleased to have even gotten a copy. Check this out if you’re ever so lucky. You’ll find a nice dose of slasher horror in an unusual package.