On 8th November 2013 John Waters performed his one-man show at Liverpool Philharmonic and was on top form. I attended this show and had a whale of a time. There was a signing session after the show and the line to get stuff signed was HUGE.
But not many people knew that there was to be a very special event the next day. Mr Waters was to teach the Film Studies class at John Moores University. There would be a screening of one of his favourite films, Boom! and then he would talk about it. This event was private and not open to the public- but I managed to blag tickets.
As soon as I saw Waters walk in I thought I was dreaming- I was sharing the same oxygen as The Filth Elder.
We then watched the movie Boom! And I can see why it’s one of Waters’ favourites. It’s fucking insane. Midget guards, Noel Coward and some of the best lines of dialogue in any film (An example- Liz Taylor’s character at one point says to no one in particular- ‘Hot sun, cool breeze, white horse on the sea, and a big shot of vitamin B in me!’)
After the film Waters spoke about the making of the film, why he likes it and how it has influenced his own work. He then opened up the discussion to us so that we could all talk about it.
We then talked about film in general and specifically his films. It was amazing. We could ask him anything. I’d be here all day if I tried to recall all of the anecdotes but I’ll tell you one. Waters was asked about the song he wrote for Serial Mom that L7 (called ‘Camel Lips’ in the film) called Strait Jacket. He said that he still received sizeable royalties from PRS because he wrote the song. He then said that if that was the case imagine what it must be like to be Madonna and the royalties she must receive!
This was such an amazing event and I felt so privileged to be there.
I first saw this classic when I was a late teen and studying for my A-levels in college in 1994. My friend taped this for me on the same tape as Last House on the Left. With it being copied from a copy the picture and audio were crappy but somehow this added to the experience of watching a film that at that time was banned in the UK.
Watching the film for the first time was a confusing experience. I knew that it was a powerful film regarding the horror aspect of the movie but I wasn’t expecting the humour that the film contained. It truly is gallows humour but its there loud and clear. ‘Look what your brother did to the door!’ barks the old man. ‘Get back in that kitchen!’ he then barks to Leatherface in a bizarre twist on the maternal role of the extended family.
I also wasn’t prepared for the surreal content I was seeing. The end dinner scene with Sally tied down to an armchair that literally had arms. The frantic shots of her eyes and indeed the veins in her eyes along with the buzzcut music that made up part of the soundtrack.
It took me a while for my brain to process and comprehend these components. I then came to grips with the films intention- these elements were like an E.C. Comics publication. If The Texas Chain Saw Massacre was one of those comics then there would be a lurid illustration of a terrified Sally on the front cover strapped down to the chair during the dinner scene with face shots of the ghoulish cast of The Old Man, The Hitchhiker and Leatherface buried in a side panel.
Indeed, Tobe Hooper has acknowledged the influence of E.C. Comics on the film’s vision. ‘I started reading [EC comics] when I was about seven,’ he told Cinefantastique in 1977, ‘I loved them … Since I started reading these comics when I was young and impressionable, their overall feeling stayed with me. I’d say they were the single most important influence on The Texas Chainsaw Massacre’.
The film’s beginning is a well paced introduction to the film’s upcoming events. With hindsight, whilst the build up to the first kill is well paced and crammed full of significant events you realise that this reletively gentle when compared with whats to come. The full horror of the ‘Saturn in Retrograde’ will be discovered at full pelt soon enough. The asking for directions to the old house resplendent with the old drunk/seer sat in a tyre on the ground, the encounter with the garage owner and the humour of the car window screen washer, picking up the hitchhiker and the first interaction with a member of the family, the rundown old Hardesty house with the spiders in the corner of one of the rooms, the old creek that has dried up long ago…most horror films would love these kind of events, visions and plot elements. The audience is already engaged and fascinated.
But then The Texas Chain Saw Massacre isn’t any horror film. With the character of Kirk entering the cannibal’s house a shocking chain reaction of carnage, insanity and psychosis begins. These elements are turned up to 11 and don’t drop down again for the rest of the film’s duration. This film has murder on its mind and will do everything to satisfy this need.
This movie is a physical, mental and emotional assault on the senses not just for the characters but also for the audience. The teens learn this on entering the cannibal’s house. But its not just the teens who have their senses assaulted. So does Leatherface. Hes just as confused, scared and freaked out by these strangers invading his home. But its the teens who are truly powerless and suffer the most. The dinner scene in which Leatherface starts pawing Sally’s hair but then invades her personal space by sticking his made-up dead skin mask into her face is intrusive, disgusting and violating. Tobe Hooper knows this and so turns this into a POV shot so that the audience gets to fully comprehend what the lead character is enduring at this time.
At this point Sally starts gnarling, growling and crying as something emotionally primeval is brought to the surface. Its here that I’d like to celebrate the Marilyn Burns’ performance. Every time I watch this film her acting leaves me breathless. This feat has to be seen to be believed (like the film itself) as she portrays disbelief, terror, resilience and ultimately insanity. I realise that these are just words and do nothing to fully encapsulate this performance. How good is her portrayal of someone steered towards madness? Compare the end of this movie in which the bloodied, bruised and battered Sally is now being safely driven away in the back of a pickup truck to Dana Kimmell’s attempt at trying to portray insanity at the end of Friday the 13th Part 3. One is masterful, the other is half hearted and utterly unconvincing. The bad emphasises the brilliant.
In fact, whilst most horror movies dream of one great performance that goes the extra mile, The Texas Chain Saw Massacre has at least five. Burns’ performance is one. The performances of the actors portraying Leatherface, The Hitchhiker, The Old Man and Grandpa all pull out the stops and are batshit crazy and brilliant for it.
Another major reason why I love this film is because no backstory or explanation is given for the family or the events depicted herein. There are clues- the gruesome sculptures made of bones and body parts in the family home (taken from the real life case of serial killer Ed Gein on which the film is loosely based) suggest previous victims, conquests and adventures. The talk of family members being employed by the
local slaughterhouse and being the best at their job also suggests part of the family’s history (and their possible unemployment- the Hitchiker says that the airgun used to kill the animals ”is no good. It puts people out of jobs…”). The Old Man has a garage business as ‘he takes no pleasure in killin’ ” as is later disclosed in the later dinner scene. But there is no clear history given for the family or the events that the film depicts. This lends a massive sense of mystery to the film and gets the audience something to think about long after the film has ended. Explanation would kill this film as it would kill nearly all of the great examples of any genre. I just wish the filmmakers who inflict remakes on the world would take heed of this fact.
On closing this review I’d just like to speak about the availability of this film on home media. I watched the film for this review on Dark Sky’s 4K blu ray. I’ve never seen the film look or sound so brilliant. I never expected this film to get such a loving restoration treatment- but it has and for that I’m eternally grateful. This film certainly deserves it. This release is a far cry from the first time I saw the film on a grainy fifth generation VHS copy.
If you’re a horror fan and haven’t seen this then you can’t call yourself a true fan of the genre. If you’re a fan of film in general the same applies. Let this film get under your skin (pun not intended). Your life will be better for it.