Review #575: 'A Nightmare on Elm Street' (1984)

By 1983 the horror sub-genre of slasher films were dwindling, offering largely imitations of the hugely successful Friday the 13th series (in 1984 Friday had it's 'Final Chapter' that proved to be eventually false), with films such as Curtains, The Forest or Sleepaway Camp. Whilst the majority of these films expressed the vapid nature of teenagers as throwaway avatars for murder, they continued with the conventions set out by John Carpenter's Halloween (1978), but added very little in originality or invention. Of course, Wes Craven's A Nightmare on Elm Street was not the first slasher to involve a supernatural villain - Uli Lommel's ridiculous The Boogeyman (1980) - along with Halloween's Michael Myers - had utilised these elements before, but Craven's nightmare hook turned what could have been a standard early-'80's horror film into something quite original and filled with socio-political ideas.

Wes Craven at this point in his career had made the notorious (and still quite shocking) debut, The Last House on the Left (1972), the mediocre, yet well known The Hills Have Eyes (1977) and the failed mystery, Deadly Blessing (1981) - amongst other inferior projects. He had yet to display his intelligent subversion of horror conventions that are now well known though the Scream franchise (1996 - 2011), but within the foundation of his slasher screenplay, was a concept inspired by a real-life mystery that he embellished, creating what is now an icon of the genre. Craven read in the newspapers about a young Asian boy who was fearful of sleep, telling his parents that someone was after him in his dreams. One night his physician father gave him sleeping pills, and the boy violently died in his sleep. So, what if there was someone attempting to kill a group of teenagers in their sleep? Well, it would surely make for an interesting narrative, and one that would equally be frightening, smart and original.

On the surface, Nightmare is a straight forward story about revenge. Krueger hunts the teenage children of the parents who had burned him alive. A child molester and killer (the molestation angle was diluted for the film due to the McMartin pre-school trial that was breaking in the media at the time), Krueger had escaped imprisonment due to a technicality, so the parents of Springwood created a vigilante mob to track him down and deal out justice on their own terms. As Nancy (Heather Langenkamp) and her friends begin to describe the razor-fingered, red-and-green-sweater-wearing figure invading their dreams, the conspiracy surrounding him, and the secrecy kept by the parents begins to unravel. Elm Street is a place where the parents (or the forefathers of the United States) hide the sins of the "father" from the younger generation. Like the omni-present rise of a new conservatism in Reagan-era politics, America desperately felt the need to hide the fundamental violence that created the nation.

In this context, Krueger represents America's violent past, from the decimation of native Indians, through the depravity of civil war, to the embarrassment of the failed war in Vietnam. Reagan wanted to present the nation as a clean-cut, progressive society, and with the religious right now on his side (before 1980, state and religion were separated by the constitution, until Republicans realised the number of voters that could be gained by "preaching" god and country into their policies). In the first real introduction of Krueger proper in the film, the young Tina (Amanda Wyss) stands in an alleyway, and he enters at the other side, his Fedora hat in silhouette, he stands like a figure from the old western frontier, the music suggests the genre conventions of a John Ford film. But this is an outlaw figure twisted to reveal to the youth of the '80's that they are no longer able to believe the lies and deceits of parent and government. But Krueger is also a spectre of the past, who will correct the wrongs by eliminating the future, tearing apart the fabric of the fallacy created to whitewash any infractions of history.

Aside from subtextual concepts that run through the film, there is ample room for inventive, bloody deaths. The supernatural infuses the script and lets fantasy become overindulged. From the horrific death of Tina, whose body, slashed with the finger knives, is dragged onto the ceiling where she screams for life, to Johnny Depp's screen debut, where his body is pulled into his bed, gushing out blood at an impossible rate, the bloodletting is both horrifying and informatively original. In Nancy we have the standard final girl of the sub-genre, but she is far more intelligent than previous girls. Langenkamp portrays the strong-willed female with confidence. But fundamentally, unlike films such as Friday the 13th or Halloween, the "monster" seems to have purpose, his vengeance almost justified by the legality of his murder; legitimised by a troubled past. In a way, Krueger looks over the teenagers, like the incredibly effective scene where his claws and face push through the wall above the sleeping Nancy, he peeks into the wrong bedroom, but he wants to expose the fabrication of history.

I first saw A Nightmare on Elm Street on video in 1985 (a friends brother rented it for us - I was 9), and it was one of the first modern horror films I was introduced to. To be honest it was a bit of a revelation, and I can easily state that it probably changed my life, in the sense that I saw a film that played with film form, and presented the concept and atmosphere of a dream/nightmare in such a primal and effective way. It is certainly a film that has stayed in my sub-conscious ever since. The impact of the film, and its central, monstrous conceit (Krueger), has been watered down with seven inferior sequels (which will be reviewed on The Wrath of Blog over the next few months), and has therefore lost the thing that made it work on so many levels. But, watching this film as a stand alone narrative, it still has a powerful, deeply disturbing idea - we all sleep, we all dream. What if that activity that we all need to survive could kill you? The only real failure of this first movie is the multiple, farcical endings that time has been unkind to. It seems that director and producer, Robert Shaye, were unable to agree on a suitable end, but resolved to use them all. But it is still a film of interesting beauty and mood, and a film that I will no doubt return to in the future.


Directed by: Wes Craven
Starring: John Saxon, Ronee Blakley, Heather Langenkamp, Johnny Depp, Robert Englund
Country: USA

Rating: ****

Marc Ivamy

Review #301: 'Eaten Alive' (1977)

After being thrown out of a brothel for refusing randy redneck Buck (Robert Englund), prostitute Clara (Roberta Collins) stumbles into a run-down hotel run by lonesome weirdo Judd (Neville Brand). Upon finding out she is a prostitute, Judd forces himself on her, and when she struggles and runs away, he butchers her with a scythe and feeds her to his pet giant crocodile. A family arrive at the hotel only to have their pet dog eaten by the croc and their daughter narrowly escaping death. The bodies begin to pile up as Judd tries to protect his beloved man-eater, and when Clara's father and sister turn up, Judd must also evade being discovered by the law.

Following up a horror masterpiece like The Texas Chain Saw Massacre (1974) is hardly an envious task, but Tobe Hooper decided to stay in familiar surroundings with Eaten Alive (known as Death Trap in the UK). The Deep South provides plenty of opportunities to exploit the inbred yokel stereotype, and Tobe Hooper grabs it with both hands. Chain Saw was disturbing and occasionally genuinely frightening, but it appears that it was tragically a one-off. Eaten Alive contains none of the atmosphere or anything resembling those uncomfortable dinner scene moments of Chain Saw, and instead relies on a pleasingly over-the-top performance by Brand, and a terribly fake-looking rubber croc that appears all too fleetingly.

There are some likeable moments. Englund's character Buck (who has the film's brilliant introductory line "My name is Buck, and I'm here to fuck!" - homaged in Tarantino's Kill Bill: Volume 1 (2003)) is hilariously vile, but he is way underused. When the family arrives at the hotel, very little seems to happen. There is a murder here and there to lighten things up, but they are blandly staged. Hooper based the film on the real-life murderer Joe Ball who fed a suspected 20 women to his alligators back in the 1930's. It's a fascinating story ripe for a good film adaptation, but it is wasted by Hooper, who fails to squeeze any tension out of the proceedings.


Directed by: Tobe Hooper
Starring: Neville Brand, Mel Ferrer, Carolyn Jones, Marilyn Burns, Robert Englund
Country: USA

Rating: **

Tom Gillespie