It was in 1986 when I discovered Fangoria Magazine. A comic book store in a beat up shopping arcade in York in the UK had started stocking it on import from the US. I instantly began buying it and fell in love with the publication.
There was a brief time after that that Fangoria couldn’t be bought in the UK anymore as SS Thatcher had purposely banned it’s import and other similar ones (Gorezone and the French Vendredi 13 were two such) as they were viewed as being obscene and as the spectre of the Video Nasty moral panic from a few years earlier was still looming large. But this didn’t last long and the magazines were restocked and horror fans were kept happy.
A couple of years after this I started to escape the small town of York and escape to the big city of Leeds which was close by. There was a great film memorabilia store there called Movie Boulevard that stocked actual back issues of Fangoria that covered the late 70’s/early 80’s golden era of the slasher films and the time period when new horror movies were seemingly being released every week. I picked up many older issues from there including issue number 1 and also the issues that featured Halloween 2 & 3 on it’s front covers, amongst others.
When I moved to London to study Film in the early 90’s I found even more back issues in the amazing film stores there including the Music and Video Exchange in Notting Hill that were selling issues for as cheap as 50p a pop!
So what was it/is it that makes Fangoria so indispensable? In a word- everything. The articles on new releases, the pieces written about classics from the past and forgotten gems that are still unjustly under the radar of most horror hounds and the essays on films ripe for reappraisal that were criticised and ridiculed on first release by critics who sneer at most horror.
There were also pieces on the still vile MPAA and how they were trying to butcher the horror fare being released back then. In fact, I remember Fango’s editor Tony Timpone being one of the few people defending horror as a genre against the censors and so called ‘moral guardians’ in the US at that time.
But it was also the ads for horror masks, for soundtracks and t-shirts. And it also featured the classified column which contained horror-based snippets from readers and their profound offerings (‘Jason SUX!!!’).
To me, Fangoria felt like a vital piece of Americana, a gorgeous monument of American popular culture that only confirmed even more my love of this very special country over the pond.
Fangoria was also loved by those in the horror film industry. There were even pictures of actors on the sets of various productions reading the magazine.
There were even cameos of the publication in various prominent films.
It’s funny that a magazine can fully encapsulate that golden phase of my horror obsessed childhood. Fortunately one does and that’s Fangoria. It’s THAT special to me and thousands of others all over the world.
Fangoria continues to this day and is still as great as ever even though the golden age of horror is well and truly over. I’m glad it’s still being published. Now, we just need gorgeous coffee table books/compendiums of it’s back issues.
Until this is the case we can still look at back issues which have been scanned by others and ready to be perused due to the beauty of the internet. The Halloween 2 issue is here whilst the Halloween 3 issue is here. In fact, there are LOADS more issues on this site which can be found here.
I often think about my love of cinema, where it began and the influences on it, both film-based and what was going on around me.
I was born in February 1975. My arrival into the world coincides with the day on which Stephen Murphy the BBFC’s secretary first saw a new independent film called The Texas Chain Saw Massacre with a view to providing a certificate for it. It feels apt that my birth coincided with an event connected to such a sordid masterpiece which remains one of my favourite films to this day.
On hearing of a new arrival into the world most people want to hear information that I’ve always thought was a bit random and really boring. Who gives a flying fuck about a baby’s weight? I want to know what was showing at the local cinema.
Thankfully the information I was looking for regarding my own arrival onto this planet was awaiting me in the Central Library in York amongst the archived local newspapers on microfilm.
I’m thrilled to report that when I was born the films being shown were veryyy me! And before you ask, one of them wasn’t The Omen.
There was either the Safari suited, high camp antics of eye-brow raising Roger Moore as 1970’s James Bond in The Man With The Golden Gun or a sex comedy double-bill consisting of Line Up and Lay Down (!) and Nurses on the Job (!!) Both choices I’m more than happy with.
The cinema these masterpieces were being shown was the Odeon Cinema in Blossom Street in York which remains my favourite cinema of all of the movie houses I’ve been to.
The Odeon was opened on 1st February, 1937. You can see how much of an exquisite building it was by it’s very architecture. A gorgeous building by any standards with it’s distinctive Art Deco form and shape, this was seen on it’s construction as an outstanding addition to the Odeon family.
The Odeon is situated on one of the main streets in and out of the city and more importantly, it’s on the route that my father would use when driving us home after going to the city centre. I remember driving past this cinema even before I was old enough to start frequenting the place with my family. Driving by I’d see the garish, alluring and beguiling posters outside. Just the posters alone had the power to scare the fuck out of me as a child with the colourful and nightmarish artwork for horror films leaving the deepest imprints in my young and very furtile psyche. It was just one glance of the poster for the double bill of The Incredible Melting Man and U.S. TV movie The Savage Bees that prevented me from sleeping for several nights in a row.
I also distinctly remember seeing the poster for The Fog in 1980 (I must have been five years old) and that really freaking me out. Again, sleepless nights followed.
One of the other things I loved about cinemas in those days was that they didn’t just have amazing posters for the films they were showing but also lobby cards which showed key scenes of the films being shown within. Lobby cards seem to have died a death these days but I always loved them especially when they were for the horror fare of the day. If a poster could invoke fear in me then going up close and peering at some of the horrific and disturbing scenes that took place within these cinematic shockers was also an amazing experience for an over imaginative small child.
One of my earliest memories is of my 5 year old self running to where the posters and lobby cards were outside The Odeon to gaze for the longest time at the artwork for a new film that had just started to play there. That film was called Friday the 13th and it was again, 1980. The lobby cards prompted many questions. Who was the kindly old woman enveloped in the misty woodland? Was the killer a dab hand at archery? Hadn’t the girl in the canoe seen Joe Dante’s Piranha?! I’d never dip my hand so casually in a lake like that…So many thoughts ran through my fevered little brain.
There was actually a Kentucky Fried Chicken opposite The Odeon and so because of this proximity a unique urban legend came into being. Even though it’s a slight variation on an already well known yarn, the people of York insist that this actually happened. Some say they even know the people involved. It goes like this-
A young couple decide to go to collect KFC and then dash into The Odeon opposite with their greasy meal. The film they are going to see has already started and so they order their food, pay and rush into the cinema to buy their tickets and find their seats. They do this and find that the house lights have already gone down and the place is packed. They somehow manage to find two seats together in the rammed auditorium and start to chow down on their KFC. Because the film has already started the couple can’t see what they are eating and just tuck in regardless. The young woman notices that what she thinks should be a piece of chicken tastes funny. It also doesn’t feel like a leg or breast. Sure, it’s coated in the Colonel’s secret coating but chicken it must definitely aint. With her eyes now started to get used to the darkness of the cinema she sees that in fact what shes been tucking into looks very strange indeed. She decides to take some of the coating off with her fingers and is horrified to see what is concealed underneath- and of which she still has a piece of in her mouth. She has been eating a deep fried rat! She screams, her male companion screams, the audience screams.
The ‘deep friend rat’ is an urban legend that is well-told the world over and can be applied to any fast-food joint but seems to be specific to KFC (much to their chigrin). There was even a case recently whereby someone posted the same story as fact, even with pictures as evidence. But when asked by KFC’s management for further evidence or closer investigation, the story’s perpetrator seemed backwards in coming forward with further details. Social media, the internet and emails are perfect for the further advancement of urban legends in the cyber age.
But I digress. Most of my trips to the cinema during my childhood and teen years were to The Odeon. I loved seeing films in such a venue that was steeped in history and gorgeous to boot. I could almost feel the history of the place as people who had been lucky enough to see some of my favourite films (and that I would have been too young to see at the time of their release) would have delighted in the magic of seeing such cinematic masterpieces as Taxi Driver, Jaws and The Exorcist (fast forward and this would change with The Exorcist as there was a one-off screening and on my 18th birthday (of all days!) It was almost like it was scheduled especially for me! And so in February 1993, even though it had snowed, my friends and I went out on the town and then went to see the film with a packed house (the film was still banned on video in the UK at that time). Whilst the print was in appalling condition and most probably one of the same prints used on the film’s original release in 1974, it had lost none of it’s power. I’ll never forget leaving the cinema, bidding my friends farewell and precariously going to find a taxi whilst wading through snow and trying not to break my neck whilst walking like Bambi over the ice underfoot. Oh, and I remember being really fucking scared because of the film!
In these innocent days of my early childhood a couple of Odeon visits really stick out in my mind for some reason. I think it’s because these films were perfect for kids- even kids who would have no chance of getting into screenings of the horror and exploitation films he’d preferred to have been watching even at a very early age.
One screening I went to when I was 5 years old was for Robert Altman’s Popeye and I absolutely loved it! The perfect casting, the set designs, the songs- the cartoon series I loved so much was effortlessly and almost eerily brought to life.
Another cinematic excursion to the Odeon that I look back on with real fondness was a double bill of a pre-Terminator Arnie and Kirk Douglas in the zany Cactus Jack and the live action kitsch fest Spiderman and the Dragon’s Challenge. This was originally a two-part television special made for American T.V. but was spliced together to make a feature film to be shown theatrically outside the U.S. Hence, how I had the good fortune to be watching it. Spidey was played by Nicholas Hammond, one of the Von Trapp brats from The Sound of Music. The film was so bright and colourful that it was akin to a Pop-Art Warhol print come to life. I seem to remember that Spidey’s webs looked like white rope. Myself and all lovers of cinematic cult fare need this film and the films that preceded it (Spiderman and Spiderman Strikes Back) to be released on Blu ray tout suite.
It was at The Odeon that not only did I fall in love with film as a medium but also the sense of occasion involved in going to see a film. There was the excitement of the snacks on offer, the stench of popcorn meaning only one thing. It was also the trailers for the upcoming films and then the Pearl and Dean advertising for products such as Fry’s Turkish Delight, Westlers hotdogs and Red Mountain coffee. Then it was the wonderfully kitsch and camp ads for local businesses in York such as Indian restaurants and local pubs/nightclubs. The glittering world of York’s nightlife! It seemed so sophisticated. Theres a great sample of similar cinema advertising here. And here is a cinema advert shown locally in the 60’s in Plymouth advertising the local nightspots. It has to be seen to be believed! It’s all about the camp bleach blonde bartender. Something tells me he might be a Friend of Dorothy.
But there was also another cinema in York in those days that I also went to. The ABC cinema was right in the city centre on a street called Piccadilly and whilst it didn’t have the history, grandeur or sense of occasion that The Odeon had, I also went there and thoroughly enjoyed myself.
One of my earliest cinema going experiences here involved my father taking me and my two older brothers to go and see the newly released Superman 2 (which I didn’t like as to my 6 year old eyes the film was too violent- how things would change when it came to my tastes in cinema!) and way too loud. But other than those reservations, I had a great time. My Dad then took us to see executed highwayman Dick Turpin’s grave which is nearby. All in all, a great day.
For more on the curious case of the burial of Dick Turpin, click here. It’s just one more story from the blood-soaked history of York.
Another major source for my burgeoning passion in film was, of course, the television. Whilst I couldn’t get in to see the X certificate films at my local cinemas, there were no restrictions to me seeing any of the films shown on TV, whether they were intended for children or not. Hooray for lax parenting!
I remember vividly the first ever screening of Jaws on UK TV. According to the internet this took place on 8th of October 1981 which means that I was 6 years old when I saw it (it was actually certificated A when it was originally released in 1975 meaning that it wasn’t suitable for children under 11. This was changed to a PG years later, but recently was controversially upgraded to 12A as it was felt that PG was too lenient. Which, I suppose, is a testament to the brilliance of the film). This was a HUGE event and garnered mammoth ratings with 23.25 million viewers tuning in, one of the biggest ratings ever for a film shown on TV.
I also remember similarly huge ratings for the first time Superman: The Movie was shown on UK TV. This was also a pivotal event for not just myself but for most of the population.
Thankfully when I was growing up my father didn’t believe the theory that children watching late night movies that might be violent or disturbing in some way could negatively affect a child and so I was allowed to stay up late and watch the likes of Carrie, The Omen and Dirty Harry when they were shown. I realised that most of my school friends didn’t have parents who were this liberal or maybe just didn’t give a shit as I’d say to them ‘Did you see (insert name of some film usually with an X certificate) last night?!’ to be met with blank stares or a slow, jealous shake of the head.
Not everything that influenced me in those days was film based but still fed into my love of cult cinema and all things fucked up. I was and still am an avid reader. Sometimes I sped through books so fast that my father used to take me to the library more than once a day (really!). It was here that I came across a book that was perfect for a young freak with a taste for the macabre.
Usborne’s Guide to the Supernatural World was a compendium made up of three earlier titles (Vampires, Werewolves and Demons, Haunted Houses, Ghosts and Spectres and Mysterious Powers and Strange Forces) and was pretty much a bible for me from that moment on. It’s one of my favourite books and I still dip into it for pleasure and for life-affirmation purposes.
My knowledge of everything supernatural was expanded immeasurably with this tome as my eyes pored over the gaudy illustrations whilst taking in every detail of the text.
Usborne have just reissued another of their titles, The World of the Unknown: Ghosts which was just as influential in the late 70’s (see- there were other young weirdos just like me!). Let’s hope they see fit to reissue Supernatural World too. Copies are selling for a fortune on the internet. We need a reprint and pronto. It would sell just as well as Ghosts.
But there was something a lot closer to home and all too real that provided a macabre backdrop to my earliest years. The county that I grew up in had it’s own serial killer that was at large with his earliest noted murder (but it’s rumoured that he killed earlier and more than has been publicly recorded) being in the year of my birth and not ending until his capture in 1981. Peter William Sutcliffe aka The Yorkshire Ripper murdered women who were out alone at night. One of my earliest memories was of watching the local news programme Calendar which was presented by Richard Whiteley (later the presenter of student and old person favourite Countdown) who was normally a jolly and happy kind of fellow. I knew something was wrong as on this occasion he wasn’t smiling or jolly but had a grave expression on his face as he stood in front of a board that had numerous women’s faces on it. He explained that yet another women had been added to the list of those poor women who found themselves in the wrong place at the wrong time. This victim was Jacqueline Hill, a Leeds student who was walking from where her bus had dropped her to her student lodgings (a matter of a few yards) but instead met her ghoulish fate.
Because of the Ripper life had to be changed massively. There was an unofficial curfew for women and a feeling of omnipresent dread in the air until his capture. When I grew older and started going out as a teenager I’d always accompany female friends home and make sure they were inside and safe until I left. I never thought why I did this until much later- it had been because I has grown up in the era of the Ripper. It’s strange how life comes full circle. I’m now writing this in Chapeltown in my flat. This area of Leeds was a major hunting ground for Sutcliffe. The murder scenes for at least 4 of his victims are within walking distance of here.
This sense of dread was also all around us in other ways in the late 70’s/early 80’s. This was in the form of Public Information Films which were short adverts made by the government which warned the general population of the dangers of any number of potentially lethal activities as varied as mixing different types of tyre on your car, letting your child talk to strangers, putting down a rug on a freshly polished wooden floor…you name it. My favourite was The Spirit of Dark and Lonely Water which was voiced by Donald Pleasance and warned of the dangers of children playing near rivers and lakes and what could happen.
This PIF scared the shit out of me and reminded me of another childhood source of sleepless nights, a paperback of The Lord of the Rings that was knocking around our house resplendent with becloaked soldiers riding nightmarish horses each with glowing red eyes.
Missives from on high of how to prevent catastrophe in your life weren’t just made for the TV screen either. There were plenty of leaflets, posters and literature around at this time that could educate the populace of how to avoid potential disaster.
There was plenty of imagery that I found so attractive as it would appeal to any fan of cult cinema and particularly the horror/slasher genre. The threat of some crime being committed to either you or your property was very real with an unspecified shadowy figure (the best example being depicted in the ‘Watch out! There’s a thief about’ campaign) seen approaching (a great example of this was the two black boots walking on breaking ice in the excellent ‘Neighbourly Nell’ Public Information Film) or running away.
One poster that I used to see on the wall in doctor’s surgeries, chemists and libraries was the design classic of The Pregnant Man.
Another moral panic that I remember vividly from my early childhood concerned the dangers of rabies entering the UK. Cue distressing images of rabid animals attacking children and humans frothing at the mouth due to the disease. And this wasn’t just in print.
And then there was Protect and Survive. This was a campaign regarding what to do if there was a nuclear holocaust. This booklet would be sent to every household if the button had been pushed and certain psychopathic world leaders wanted the ultimate in narcissistic supply. Details on how we were all to hole up in our self-made bomb shelters with only our loved ones and tinned food for company were outlined. There were even details on what to do if someone in your enclosure had passed away and how their body could be disposed of.
And here, for your perverse pleasure, is the full booklet. I’m sure in these times of lockdowns and Coronavirus we can pick up some worthwhile and strangely relevant tips.
The threat of nuclear war was everywhere in the late 70’s and 80’s. To quote those purveyors of style and hair dye Duran Duran from their number 1 single Is There Something I Should Know, ‘You’re about as easy as a nuclear war.’ Just one push of a button and we would be pushed into a dystopic netherworld.
There was even a drama, Threads made about what that post-nuclear holocaust would look like. It wasn’t pretty and remains a powerful, brilliant and extremely difficult to watch masterpiece. I recommend you to find it but proceed with caution.
But back to film. Another rich source of cult film goodness was to be found in our local newspaper, of all places. Film adverts were placed in here by the local cinemas that showed artwork (sometimes different from the posters) that was, in the case of horror and cult films, lurid in nature and again, utterly alluring to me.
As it would happen, other cult movie fans were indulging in the same pleasures with the excellent book Ad Nauseam being released not so long ago- a compendium of newspaper ads advertising the kind of movies I relished seeking out the ads for.
Just as there were newspaper print ads, there were also TV adverts for upcoming and films that were currently playing. Some of these were just as disturbing as the films themselves. I remember seeing a TV spot for The Shining that was possibly the scariest thing I had ever experienced up until that point. On seeing it again, I still feel the same. It’s a terrifying experience.
Whilst all of this quenched my growing passion for cinema and particularly cult cinema, there was an upcoming innovation that would change everything! That was, of course, VIDEO! And such a momentous event deserves a blog entry all of it’s own…
With the news that Female Trouble, John Waters’ meisterwerk and design for living is being shown, my noggin got a joggin’.
I started thinking about the films that I’ve been lucky enough to watch on the big screen and with an audience.
My favourite filmgoing experience has to be when I got to see a film that I never thought I’d ever see in a cinema AND in the format that it was intended to be seen in. That film is the brilliant Friday the 13th Part 3D. I had moved to London from York in 1994 to study film and had started to go to the amazing but very high-brow (although it can’t be that high-brow as they let me in…) National Film Theatre known as the NFT to London’s cineastes and skinny latte drinking set.
Shortly after graduating from Uni and getting a job (real life is worse than ANY horror film) I heard that the NFT were to show a season of 3D films which were to be actually shown in 3D using the vintage technology that was required. I then read that the third Friday the 13th film would be part of the season. I have never bought a cinema ticket faster in my fucking life!
Friday the 13th Part 3D starts with the end of Part 2 which isn’t in 3D. The NFT film snobs were sniggering at how corny this sequence was and were clearly thinking that their tastes in film were so much more elevated than this supposed generic slasher film they were watching on the screen.
But then, Part 3 started in earnest. If you haven’t seen the film, the 3D is brilliantly done. The makers of the movie really knew how they could make full effect of the 3D process and were willing to use it to blow audience’s minds.
The first glimpse of the 3D happens when the titles literally shoot out of the screen at the audience out of the decapitated head of Pamela Voorhees. But to really show how awesome the process was and how far it could be taken, the titles come forth but only part way before they come out even further so that they are right in front of the audience’s noses. It was a great piece of showmanship on the part of the filmmakers- ‘Here’s the 3D. Oh, hang on, we can do better than that! HERE’S the 3D!’
With that first 3D one-two punch by the film I have never heard such a scream of excitement emitted by a cinema audience (and it sounded like every single member of that audience squealed in delight) before or since. The film was so well crafted with so much thought placed on the 3D aspects and how the gimmick could be used in so many innovative ways. A movie that was primarily made for horror fiends had just demonstrated that it could also work on the snobbiest film audiences imaginable and completely enthral them. Now that’s genius.
The 3D was used for both comical purposes to make the audience chuckle ( these involve yo-yos, juggling, a joint being passed towards the audience) but more importantly it’s also used so that spectators can experience the sheer pain of Jason’s killings. There is one scene in which Mr Voorhees squeezes a bit too hard on a character’s head and one of his eyeballs shoots out of it’s socket and straight at the audience. In another we get an arrow shot from a harpoon that Jason has fired at another victim. This also shoots her in the eye (after wheezing towards us first). It’s almost like the filmmakers wanted to exploit the ‘eye injury’ angle with this being a 3D movie. They were making the movie as painful as possible for the audience. Hooray for 3D!
We even get Jason staggering towards us whilst he’s mid-battle with the film’s Final Girl with an axe sticking out of his hockey mask.
This screening was such a success with the NFT’s audience that there was even applause when it finished. The audience whooped, yelped and had a jolly good time. Job done.
I went to see Jaws 3D the following night. Even in 3D it’s dreadful and further testament to the innovative use of the format by Friday’s filmmakers.
Shortly after this screening I heard about a season of films showing at the Institute of Contemporary Arts (known as the ICA), another establishment of all things high culture and respectability. All of the films chosen were then (1998) still banned by the British Board of Film Classification (the BBFC- as you can tell we like our acronyms here in the United Kingdom or UK *haha*) and were all banned horror movies with some appearing on the infamous Video Nasties DDP List. Through some legal wrangling the ICA had asked the BBFC to let them be shown for one day only.
Thus, Texas Chain Saw Massacre, Driller Killer, Zombie Flesh Eaters, House by the Cemetary, Nightmares in a Damaged Brain and Zombie Holocaust were all shown whilst they were all still banned in the UK.
The thrill of seeing these forbidden fruits of the Video Nasties era when they were still banned was palpable. James Ferman was still the Director of the BBFC and was notoriously strict when it came to horror (it was under his regime that The Exorcist and Texas Chain Saw Massacre remained banned. He seemed inflexible when it came to art of any kind and clearly behind the times).
But things were about to change when it came to TCM. The movie was released in early 1999 in London when Camden Council were granted a license to show the film within it’s area boundaries only. For this release the film even had it’s own certificate of ‘C’ for Camden. Only people who were 18 and over would be able to watch the film in a cinema. I saw the film during this release.
I remember I had gone into London to browse the many film memorabilia shops that existed around the West End then (all sadly gone now unfortunately) and then to go onto the gay scene with it’s numerous bars that were close to the ABC Shaftesbury Avenue. As I exited the excellent Cinema Store I walked past the ABC Cinema on Shaftesbury Avenue and saw that TCM was showing. I didn’t know about this release until I saw the poster outside the cinema.
This was also my first visit to this particular cinema with it’s gorgeous carved frieze on the outside. It reeked of history inside and out and with further investigation I found out that it went back decades and was even used for film premieres.
The afternoon screening of TCM only had two other people in it. Watching TCM is like going to Hell (in a good way) for an hour and a half and it seemed really perverse that one minute I was trolling the West End and was then immersed in one of the most intense and frightening horror movies ever made. I remember none of the punters in that screening left before we had seen all of the end credits through to the end. The house lights then went up, we exchanged looks to each other as if to say ‘What the fuck have we just been through together?!’, smiled and then left.
A favourite more recent screening that sticks in my mind was when my local arthouse cinema showed Pink Flamingos. The Hyde Park Picturehouse here in Leeds shows a cult film most Saturdays under the banner of Creatures of the Night. The cinema is located in a part of Leeds which has a huge student population. Hence, you have plenty of students who attend these screenings, a minority of whom think that ‘cult’ means ‘rubbish’. These people obviously don’t know what cult cinema is and wouldn’t know shit from clay. I’ve attended screenings here of films such as The Terminator, The Warriors and Christine which, unfortunately, this clueless and jaded minority have thought it appropriate to snigger at and ridicule. As a side note, these people will never ruin a cinema screening for me. I would never give them the satisfaction or feed their narcissism in such a way.
A surefire way to tell if your film still has ‘it’ when it comes to cult cinema is to see and hear how the audience reacts. Right from the get-go Pink Flamingos shocked the audience at this particular screening into submission. At the start of the film there was a stunned silence of utter disbelief at what was being seen and then there were howls of laughter at all the right places with screams of disgust at all the appropriate scenes also (the dog poo scene especially) as Divine and co won the hearts of the punters.
In fact, there have been a few John Waters related screenings that stick in my mind. Firstly, the time I went to see his live film This Filthy World in New York which he attended. He answered questions after it. Also, the time he taught a film class that I was lucky to be invited to in which he showed one of his favourite films, Boom! starring Liz Taylor and Richard Burton. We all then talked about it and asked him about his career…But that has been covered by myself in a previous blog post. Talking about it again might be seen as bragging *walks away whistling*
Cropsey, a summer camp caretaker is burnt alive as an unfortunate consequence of a prank that goes horribly wrong. After five years he returns to the summer camp with vengeance in mind.
This is the slasher movie that helped form Miramax Films and gave a young Harvey Weinstein a career as a film producer.
The movie was actually written before the film Friday the 13th even though most people think it was the other way round.
The Burning doesn’t just take place on a summer camp. We get to see the hospital where Cropsey (described by an orderly as looking like a ‘Big Mac overdone!’) is being treated and later his release. I love the following scene where he ventures to the seedier part of town and picks up a prostitute. She doesn’t see the full extent of his injuries until they’re in a cheap motel room (Cropsey wisely turns out the lights) and his face is briefly illuminated by lightning. On seeing his disfigured visage she screams to which he proceeds to stab her in the stomach with a pair of scissors whilst forcing her body through a window.
Cropsey’s garb on leaving the hospital is a classic Giallo look. He may have a rotten face now but looks to have gained key sartorial knowledge whilst he’s been in hospital. I’m wondering if this look was entirely coincidental or if the film’s makers were paying attention to the Gialli flooding 42nd Street and Drive-Ins at the time.
The action then takes place in the familiar locale of the camp and woods that surround it. Theres performances by Jason Alexander, Fisher Stevens and Holly Hunter who appear in early film roles.
But theres one crew addition who would make sure that this film wouldn’t just be a generic and mediocre slasher flick- Tom Savini. And what an astounding job he does. Garden shears (Cropsey’s weapon of choice) have never been used so innovatively or with such murderous intent. The raft scene is almost balletic and beautiful to watch in it’s brutality.
The Burning also features a Final Guy rather than a Final Girl and his character is VERY problematic! Alfred has been seen early on in the film spying on one of the young women as she showers. When caught and asked why he was there he says that he ‘only wanted to scare her.’ But this is disproved later on the film as we see him covertly perving on a couple of other characters who are making out and then follows Glazer as he goes back into the woods after retrieving matches to start a campfire with to enjoy with Sally who hes just done the deed with. It’s then that Alfred sees Glazer get murdered by Cropsey. This all leads to the film’s finale.
This film was so gruesome that it was cut by the BBFC for it’s cinema release. When it came to the film coming out on video, Thorn EMI accidentally sent the uncut version to video shops and had to recall all copies. Video shop owners decided to keep the uncut tapes instead! The film was then banned outright.
The Burning is a treat to behold. Great cinematography and directorial touches (check out Glazer’s death and the killer’s/shear’s point of view shot) and a great music score by none other than prog rock’s very own Grand Wizard Rick Wakeman (apparently on his ’81 tour he was playing tracks from The Burning soundtrack. Whilst possibly wearing a cape). The teen characters are quite likeable too which is a real rarity for the slasher genre.
Who knew- a slasher/summer camp film that was once banned but is now viewable and revered nowadays. The BBFC/DPP must be outraged.
This movie massively divided fans. Some loved the innovation but some hated it to such an extent that they viewed it as the worst in the series. Yes, they even hated it more than Part 5: A New Beginning.
But I loved this movie. I even went to see it a bunch of times during it’s original release.
Theres so much to love. The claustrophobia of the spacecraft, the tongue in cheek humour, the nerdy aspects of the film’s vision (check out the eye operation on Jason and the way that injuries like severed limbs are remedied).
Theres also an amazing cameo by David Cronenberg thats worth the price of admission alone.
With this installment being based in space theres many nods to satify the most ardant sci-fi fanboys. Least not Lisa Ryder who was a star of Andromeda. Her android character is a great addition to the cast.
Uber Jason is a sight to behold! And check out the liquid nitrogen kill. It’s one of the best in the whole series.
I remember going to see this back in the day and walking out halfway through. Will I make it through this film this time? Will I feel the same as I did back in 2003?
Well, yes I did (somehow) watch it all the way to the end. And yes, I feel the same as I did way back when.
This no-brainer feels like prior to filming someone told director Ronny Yu what happens in the Nightmare on Elm Street series and then what happens in the Friday the 13th series as he hadn’t seen any of the films. He then made a movie. A big budget, CGI laden shitfest.
I hate that they didn’t use Kane Hodder. I hate that they didn’t use Betsy Palmer. I hate that they DID use Kelly Rowland. Could her ‘acting’ career be as putrid as her ‘music’? Erm, yep!. And did she have to use the ‘F’ word in a line that apparently she ad-libbed? It was great watching her die.
This film was made for fanboys rather than fans of either series. A fanboy of F13th and NOES will love anything that has Freddy or Jason in it regardless of quality (like the Halloween fans who like any of the sequels after Part 3). A fan of the series will know the films, characters and plots of a franchise inside out and even try to establish a timeline even when this isn’t strictly possible.
New Line wanted a big, dumb multiplex movie that would attract huge audiences and take in megabucks. They got their wish.
This is basically Never Sleep Again but for the Friday the 13th films. And that’s perfect. Each film gets talked about by cast and crew regarding how it was made, the ongoing battle with the MPAA that blighted the series later on and how well the films fared when released.
It’s always a joy to hear legends like Betsy Palmer and Tom Savini speak about their experiences. Corey Feldman (aka Tommy Jarvis) narrates and does a brilliant job.
I’ve been digging through copies of my local newspaper The Yorkshire Evening Post and have exhumed some amazing ads for some of the exploitation films that perverts like me love so dearly.
One series of movies that played well in Leeds was Friday the 13th. And the newspaper ads certainly don’t disappoint.
When Friday the 13th played Leeds in 1980 the other films that were playing the same cinema were Don’t Answer The Phone and Airplane. How fucking cool was that!
When Friday the 13th Part 2 played in Leeds it was paired with Prophecy as the second film. Other films showing at the same cinema were Excalibur, a special preview of a new film called Raiders of the Lost Ark (I think that film sank without a trace as I’ve never heard of it) and a double bill of The Gauntlet and Taxi Driver. I would have gladly gone to see ALL of those films.
1982 brought Jason in 3D to the city of Leeds. Other films showing at the same cinema then were 10 To Midnight, The Exterminator, American Gigolo and Mad Max 2. Again- I’d emerge from this cinema roughly 12 hours after stepping foot in the place. All great films.
1984 brought Part 4: The Final Chapter (the best and most brutal Friday the 13th film in my opinion). It also played in a double bill with Nightmares with Indiana Jones and the Temple of Doom, Supergirl and Losin’ It playing on different screens. Can you imagine seeing the Final Chapter and Supergirl on the same day?! Sweet dreams are made of this.
I remember seeing this on video at a friends house back in the day and being so freaked out that I had to ask his Dad to walk me home. I was 12 years old. Them were the days.
After the camp of Part 3 this film gets back on track and is resplendent with really vicious kills courtesy of Tom Savini.
Part teen drama, part TV movie about life after separation, the film then becomes what it says on the tin- a nasty 80s horror movie with our friend Jason bumping off the most irritating kids known to man. The film has a very serious and grave tone throughout that precedes the fucked up ending.
Corey Feldman and Crispin Glover both star in this relentless rollercoaster of gore.
Watch for the machete slide scene. This was cut from the original UK video release and is well wirth the price of admission.
My favourite Friday the 13th movie and the end of Fridays imperial phase.
I feel like I’ve grown up with the Friday the 13th movies. Jason and his lovingly psychotic mother feel like friends to me. Through the many twists and turns of life they have remained a constant. Even if that constant is stalk, kill, repeat. Yet it would seem that the British board of Film Classification (BBFC) didn’t share my love of this misunderstood film hero. Watching the films when they were first released on video in Britain was a frustrating experience.
My first foray into the series was when I watched Part 3 which had just been released on video. I saw a poster for the film in the window of my local corner shop/off licence which would rent out any film to any person of any age (because of this I had a great relationship with them). Originally shot in 3D I watched it on video in 2D and cut by the BBFC but its brilliance still shone through. Jason acquired his trademark hockey mask and was dispatching of irritating teens in ingenious and brilliant ways. All was right with the world. I was 12 years old and already obsessed with Jason.
A little later Part 4: The Final Chapter was released in which Jason meets his maker and is killed off for good (yeah right!). I rented this at a video store near my friends house so that we could watch it together. We both loved it. The film loses the somewhat camp tone of Part 3 and gets down to the serious business of murders committed in the nastiest ways possible. However there was the issue of walking home in the dark after watching the film. I hadn’t figured on how scary the film would be. One whiff of a hockey mask wearing psycho and I’d actually become catatonic. My friends Dad gallantly offered to walk me home. Not cool- but I’m still alive.
Again as with the previous film, this entry was cut by the BBFC. As this film was more serious in tone and because make-up legend Tom Savini was back onboard the kills really were something to behold. Even with the more graphic killings being trimmed by the censors or cut out altogether (no machete slide!) the film was still very nasty indeed. Which is how a horror movie should be.
What I didn’t realise at the time was that the release of Parts 3 and 4 were actually delayed by their video company CIC. They were due to be unleashed earlier but by then the video Nasties furore had taken hold. CIC Video must have foreseen that if Mary Whitehouse had been introduced to Jason in his hockey mask at this time there would be a good chance that she would have made him and the movies that he appeared in the main focus of her puritanical destruction of other people’s fun. Jason would have been represented as Public Enemy Number 1. Jason is so iconic and terrifying in his hockey mask that Old Maid Whitehouse would have thought all of her Christmases had come at once. Great publicity but not so great if the films were banned. CIC even went so far as to issue a statement saying that in the current climate they would wait to release further Friday the 13th films. Very wise.
Whilst in 1987 things were seeming to settle down regarding horror videos a new version of the original film was released by Warners. Longer gore scenes and completely uncut, the previous version had been the cut US version which was released as a sell through video in 1983. The uncut version that was released on rental VHS the year before had been seized by the police and so Warners used the cut US version instead. This may also explain CIC’s decision to delay the release of the film’s sequels until Mrs Whitehouse and her cronies found something else to try and ban. This was possibly the only good reason for Warners having distribution rights of the original film in CIC’s eyes.
I then went and sought out the first two films. I devoured both Parts 1 and 2 and loved them unreservedly. The first was like some kind of whodunnit- like an American giallo film that was bloodfilled and only revealed the killer at the end. And boy, what a reveal! Betsy Palmer goes the extra five miles in her role as Pamela Voorhees and is one of the best performances in horror history. The second film introduced Jason to the world- sack over his head with only one eyehole as a tip of the hat to The Town That Dreaded Sundown. Friday Part 2 was an amazing film and nasty as hell. Machete to the face anyone?! I also loved the equally nasty and ominous video artwork- an electric blue outline of an anonymous malevalent figure carrying an axe against a black background.
CIC Video then got down to the task in hand- releasing the new Friday the 13th installments uninterrupted. Watching the CIC ident before watching the movies became a forewarning that we were in for a treat.
When I first heard that the next film would be called A New Beginning I imagined a TV movie style affair with family members of past victims coming together, sitting on chairs in a circle and consoling each other whilst sharing memories, hands held, about their dead loved ones. I still think my idea for the movie is better than the actual end product. It was a departure not just because the killer wasn’t Jason but the feel of the film is different from that of the first four. It felt more stylised and slick- a Friday the 13th that was trying to capture the attention of the MTV demographic. Gone was the innocence of the first four that appealed to the Fangoria reading audience.You got the impression that the series was now trying to appeal to the wider teenage moviegoers who would be happier going to see the latest John Hughes fare.
Years later I’ve warmed to this film- kinda. Just as many Halloween fans hated Halloween 3: Season of the Witch there are also many who love this. Being a fan of the runt of a franchise’s litter makes it’s fans who actually like it more passionate and extol its virtues even louder. Apprently this is Quentin Tarantino’s favourite entry. Which says so much…
I stole a standee for this film from my local video store at the time. Just sayin’. Whilst this has been lost in the sands of time there are pictures on the internet still of this valuable artefact.
Part 6 rightfully saw the resurrection of Jason with a great homage to Frankenstein and an even better homage to James Bond in it’s title sequence. The film is still as gruesome as ever but the humour, early examples of metacinema and title song by Alice Cooper (Paramount must have been feeling generous) make this an entry that makes changes to what came before but doesn’t stray far enough away to alienate fans like they had with Part 5. Whilst this film is a fan favourite this film will never be one of my favourites in the series.
Part 7 in my opinion is so much better than the just OK Part 6. Its basically Carrie (named Tina in the movie) vs Jason- and it works really well. Kane Hodder really did feel like the ultimate Jason as he brought a physicality to Jason that the previous actors hadn’t really mastered. He also had a great way of making the kills look as brutal as possible but whilst being delivered with a flourish. Its within this film that bizarrely enough Jason uses a lot of gardening impliments to kill his victims. A nice touch- objects intended to make the lives of the normal folk being used to kill them instead.
I had high hopes for Part 8 which was called Jason Takes Manhattan. I used to get a glossy film magazine imported from America at this time called Premiere and they carried a feature on the filming of the movie. My appetite was well and truly whetted.
However when I came to see the film I was left thinking ‘What the fuck was that?!’ Only the last third of the film was based in New York (*cough* CANADA! *cough*) whilst the rest of the film takes place on a boat. And the worst ending of the whole franchise- Jason is melted in toxic waste to become a boy again. And not even the hydrocephalic child Jason who is seen in the first film. Don’t you just hate it when a director makes a franchise entry but doesn’t even bother watching the original film or any of the films in the series?! My opinion of this film was changed at a screening I attended about 20 years after first seeing the film. But as they say, more about that later…
Next followed the terrible Jason Goes To Hell : The Final Friday. After an inspired first ten minutes this film falls flat on its face. Jason’s evil soul inhabits different characters in the film so that they commit murders for him. Its Part 5 all over again but with different people acting as a surrogate Jason and a supernatural element thrown in for good measure. Not what I wanted from a Friday the 13th movie. The rights for the franchise had just been bought by New Line Cinema resulting in a very cheesey Freddy Krueger’s glove cameo in the movie.
In 1997 I had the priviledge of seeing Friday the 13th Part 3 in 3D at a cinema. The National Film Theatre is probably the most highly esteemed cinema in the UK as its the official cinema of the British Film Institute. It was showing a series of films in their original 3D. The cinema would be packed with Friday 13th fans and also cineastes who who normally be watching the work of some highfalutin auteur.
The cinema snobs laughed at the ending of Part 2 which acts as a recap for Part 3. This prologue was of course filmed in 2D. I thought that these purveyors of fine film might ruin the whole film watching experience for me by laughing at the whole film. But then the impossible happened- the 3D kicked in and everyone howled with delight. The 3D process used on this film is amazing! The filmmakers really went all out with what the audience member sees when watching the film and expolits the 3D medium to its fullest. As soon as the titles started ever single person in the sold out cinema crowd started gasping, laughing and screaming.
This lasted until the end credits. People were leaving the theatre smiling and commenting on how brilliant the film had been. This is probably the best cinemagoing experience I’ve ever sat through. The NFT repeated the screening the year after and I dutifully attended. The experience was just as brilliant.
It was then several years before there was another Friday 13th movie. Maybe the stench of Jason Goes To Hell lingered on. Jason X arrived in 2001. It was basically Jason In Space and worked brilliantly! I went to see the film three times on its initial release. The filmmakers obviously knew the demographics they were aiming for- the fans of the series, sci fi fans and geeks who were inro Star Trek: The Next Generation, Lexx, Deep Space Nine and their ilk. The kills were graphic, the film was great in its use of atmosphere and tongue was firmly in cheek. This could have failed miserably but it didn’t. It worked wonderfully. And their was even a David Cronenberg cameo.
Jason X continues to be derided by many franchise fans. But the Friday fans who like the film do so with real passion just like with Part 5.
It was also around this time that I got to see what I had been missing out on. All previous cuts to the films by the BBFC were suddenly waived meaning that the film would now be completely uncut. I had seen a screening of The Final Chapter uncut by accident when it was shown on Sky Movies a few years before this. They could show films uncut even when they were still cut on video. Bizarre logic there. I was unaware of the proper ending to the film and actually screamed in both horror and glee at unexpectedly seeing the notorious ‘machete slide’ scene for the first time. It was poetry in motion.
Now that all cuts were waived I started to buy the films for the first time on DVD. The transfers were amazing and showed that in fact the films looked beautiful when presented in their correct aspect ratios and in pristine prints. I was so glad that finally common sense prevailed and we could see what the Tory Government and Herr Thatcher hadn’t allowed us to before.
I knew Freddy vs Jason would be terrible. And I was right. I lasted about 20 minutes before I left the cinema. I desperately wanted to see Kelly Rowland of Destiny’s Child beng slaughtered (any music fan would) but just couldn’t hold on. I’ve since seen the scene I was trying to stay in my seat for. The fact that Kelly’s character calls Freddy a ‘faggot’ just makes me applaud my decision to leave anymore. It was Hollywood crap which held nothing for true Friday fans. Whats more Jason wasn’t played by the brilliant Kane Hodder. No dice.
The remake of Friday the 13th was inevitable. Even though it wasn’t a straight remake of the first film. Why waste a whole film on a mystery killer like the original when you can just jump to what the studio thought everyone wanted- Jason. The film was better than I thought it would be and was genuinely scary and innovative. Jason was portrayed as a kind of survivalist which was interesting and a nice twist.
In 2012 was a very special event that I travelled all the way over from Leeds (where I was now living) to London for. At the Prince Charles Cinema in Leicester Square they were showing the first 8 Friday the 13th films in a row. This would take 16 hours and start at 18:30 and then finish at 08:30 the following day. The event itself was more than awesome. In the queue waiting for the cinema to open was someone that the cinema had employed to dress up as Jason resplendent with machete. Nice touch.
The cinema had managed to get most of the original 35mm prints of the films and so they had their original old school BBFC X certificate cards before the actual films. Between each film there was a break of 15 mins in which people could go outside and have a cigarette, grab a can of Red Bull to try and stay awake or just stay seated to be entertained by all manner of old trailers. I only fell asleep during Part 5 (thats telling!) and got to reappraise Part 8. Its a pretty good movie- great humour and I had forgot about the scene with the boxer. The crowd roared when they saw it.
When I eventually left the cinema I thought I was Jason Voorhees as sleep deprivation kicked in and I wondered off in search of breakfast. What an amazing event and a wish on my wish list was well and truly fulfiled.
My life with Jason Voorhees has been an incredible journey. From the days of cut VHS tapes through to uncut DVDs and finally through to the films looking betting than ever on Blu ray. Growing up with these films means that watching them holds so many memories as I can trace back to when I first watched them on ther initial releases. Whilst Paramount Pictures might be embarrassed by them and horror snobs may sneer and deride them they’re clearly missing out on a brilliant and very evocative franchise.
But Mr Meathook Cinema- what are your Top 10 Friday the 13th movies? Thanks for asking dear reader. It just so happens that I’ve made a video answering your question. It contains trailers, rare TV spots, my favourite kills and a scene that was shot but not used. You’ll find it here.