Tag Archives: horror film

Happy Halloween

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We are spending it quietly this year, just staying in and watching The Haunting of Hill House.  We haven’t even carved a Jack O’ Lantern (that’s one my sister did a couple of years ago), but Andy doesn’t think there’s much point unless you can display it on your porch, which is difficult to do when you live in a second floor flat.

Still, here are some Halloween links:

In Praise of Fright Night (well, sort of)

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The forthcoming remake of Fright Night (1985) has spurred me on to write a post about the original film, which was a favourite of mine when I was a teenager.  I’m aware that this post may largely consist of me rationalising my attachment to a homophobic and sexist film, but what can I say? I loved Fright Night when I was a kid and, when I sat down and watched it again recently, I found that I still loved it almost as much.

For me, as a teenager, Fright Night appeared extremely queer.  It presented a hero who was more interested in spying on the handsome man next door than in consummating his relationship with his girlfriend.  Meanwhile, the handsome man next door lived with another man who appeared to be devoted to him.   The hero’s best friend, ‘Evil Ed’, could be read as the kind of gay kid who protects himself from attack by becoming the class clown (fun fact: Stephen Geoffreys, the actor who played Ed, stars in gay porn films), as could the washed-up, horror film actor, Peter Vincent (Roddy McDowell), who is represented, at least initially, as the nervous, fussy, effeminate gay male stereotype.

Fright Night reinforces homophobic discourses most strongly in the representation of the vampire, Jerry Dandridge (Chris Sarandon), as the predatory, older gay or (perhaps more accurately) bisexual man and, in 1985 when so many gay men were dying of AIDS, the homophobic metaphor of infection that he carries as a vampire can’t be ignored.  The film also has little to offer feminism.  Charley’s mother is a silly woman (bad single Mum!) who endangers her son, and Charley’s girlfriend, Amy, who is generally submissive to men, ends up as the object of exchange in a classic homosocial triangle through which Charley and Jerry channel their relationship with each other (another fun fact: Amanda Bearse, the actress who played Amy, is a lesbian).  Also, as soon as she’s vamped Amy manifests the monstrous female sexuality that vampire fiction by male authors has traditionally assumed to lurk in all women, and also treats us to some rather exciting vagina dentata imagery.

So far, so homophobic and sexist, but Fright Night is just so clever, so witty, and winks at its audience so outrageously, that I can’t completely condemn it.  It does something interesting is in its presentation of two gay role models for the boys – “evil” Jerry Dandridge versus “good” Peter Vincent.  It’s very unusual to see the effeminate gay man (as Vincent seems to be portrayed) being represented as heroic at all on film, and rather than simply saying that gayness is bad, the film suggests that there are good and bad ways to be gay.  Poor Ed makes the fatal mistake of identifying with Jerry (but you can understand why he does), while Charley is wise enough to hook up with Peter Vincent instead.  Of course this opposition between “good” and “bad” gayness is in itself homophobic, but it’s a little more interesting than a lot of other horror films.  I also feel that Fright Night is, on another level, sort of about homosexuality and homophobia in horror film, insofar as it acknowledges and plays with the gay subtext that is such a longstanding feature of the genre. In particular, it seems to be saying something about the role that the gothic and horror genres have played in telling coded stories about queerness that have been especially attractive to young people trying to sort out their feelings about sexuality.

At the end of the film, Charley still hasn’t managed to consummate his relationship with Amy and still gets distracted by looking out of the window.  You never know, he might manage it after the credits roll, but you can decide that his options are still open.

Daphne Gottlieb, Final Girl (2003)

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This is something of a follow-up to Andy’s post about Why Things Burn.

The ‘final girl’ is the one who survives right through to the very end of the horror movie: screaming, covered in blood, most likely traumatised for the rest of her life, but still alive, still fighting, challenging the audience with her survival, challenging us to identify with her in her terrifying struggle.

In her collection of poetry, Final Girl, Daphne Gottlieb takes this common, rather hackneyed, horror movie trope, and turns it into, not only a testament to female survival against the odds, but a steely-eyed look at the price that survival exacts from us.  We don’t get out unscathed and there’s a reason why the final girl is such a persistent figure in popular culture.  There’s a lot of humour in her poems, but with such cathartic and visceral subject matter, I would warn anyone who’s experienced sexual or gendered violence to take care when reading.

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Horror Movie Halloween Special

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I’ve decided to list, not so much my favourite horror movies, as the ones that have stayed with me.  I have no idea why I love being terrified by horror movies.  I suppose a psychotherapist might suggest it’s my way of dealing with death anxiety, in which case I’m glad I found a way to deal with death anxiety and have fun at the same time.  On an intellectual level, I love the horror genre because it’s where you see cultural anxieties stripped bare, especially the things we like to pretend we’re ok with (but we’re really, really not).

I have put the post behind a cut to save the sensibilities of those of you who don’t like reading about horror films.

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