When this year began, I knew there were a series of anniversary films I needed to finally attempt to review, namely this landmark movie from John Carpenter as he slashed his way into every horror memory and ever since found himself compared to it, the lasting impression and importance of it; and while his 1982 flick The Thing eventually captured the golden ticket of Cult Classic his career was forever changed. Now how does one review this movie, everyone has covered every single frame of the it, from the music to cinematography storylines, endless avenues explored, no need to rehash the plot; but still are there some interesting tidbits to uncover yes, there are, for example many critics, bloggers, and vloggers always claim that this is the first film that uses Halloween in the title of any genre, and the first set on holiday of Halloween. Sorry but neither is true. Therefore, let’s start the journey here, about the title, there are three that predate it, though two were short animated films and the other a television special. The earliest was from 1931 entitled Halloween (aka: Hallowe’en) that was 6-minutes in length and set at a Halloween Party; next was Halloween Is Grinch Night which premiered on October 28, 1977, and finally Halloween with the New Addams Family which was a made-for-television flick. As for the second portion of the assessment that no other film previous was set on the day of Halloween, the 1931 short was one might discount that due to length if that is the basis then it eliminates both Trick or Treat [1952] another animated short and It’s the Great Pumpkin, Charlie Brown the entire tale doesn’t taken place altogether on the day/night of Halloween. Hence it almost appears to survive the second prong of the argument, but alas it must acknowledge these two movies, first Arsenic and Old Lace [1944] a screwy mystery comedy in which Cary Grant realizes his aunts are a murderous duo stashing bodies throughout their home, all on Halloween. Alright, I can hear it, it’s not a horror movie, now take a deep breath, relax, because in 1977 the film The Child, arrived as a supernatural horror film with floating jack-o lanterns and murders abound all on Halloween, therefore that aspect has been dismissed. This movie does harken back to gothic horror in different aspects, (hear me out) the first Dr. Loomis is a modern-day Dr. Van Helsing, if you recall your horror history, Helsing warns many about the uncanny strengths and abilities of Dracula, his ability to be anywhere to influence many with fear, a mist to some, inhuman, refer to as an ‘it’ reminds on someone else, Michael Meyers, and by that regard Loomis, he is deathly afraid of him, he knows of the power brooding within him. A man of vast knowledge worked on his case for countless years, but no one listened to the warnings. These are solid attributes found in the core of gothic horror, as for the second well that is in the characters, so that is the next step in our discovery. Everyone is equally aware that Carpenter film share some interesting traits with Alfred Hitchcock’s Psycho [1960], no not just the mother-daughter real-life connection, of Janet Leigh and Jamie Lee Curtis, whose father was Tony Curtis who incidentally portrayed the homicidal manic Albert DeSalvo in memorable The Boston Strangler [1968]. First is Sam Loomis in Psycho, he is the boyfriend to Leigh’s character Marion, which happens to be the same first name of the Dr. Samuel Loomis assistant Ms. Chambers. Another name that relates back to Hitchcock film entitled Rear Window [1954] and that character was Tommy Doyle name reference to Thomas J. Doyle; lastly is that other connection to gothic stories, recall for a moment Frankenstein [1931] in the credits the title character is referred to as The Monster and with this film it’s the Shape. When it comes to the casting it is a fine group that brings together the film, for the most part, more on that in a moment, the sheriff acts just like a friendly officer would of a local town, though the portrayal of Michael is complex, (six people portrayed him) Tony Moran, Debra Hill. Tommy Lee Wallace, Nick Castle, James Winburn, and Will Sandin as the child. Although, it’s Loomis (Donald Pleasence) that excels nicely, warning the Devil’s vengeance is coming, and yet sympathetic to the unsuspecting town. A final note concerning characters is the arc that viewers take with Laurie’s character namely her loss of innocence, in the beginning, she walks and acts a bit sheepy and shy, her friends have already advanced into adulthood with their relationships and attitudes. In fact, if one truly watches this telling trait it goes from the light of purity found in childhood to an existential descent into darkness, a forced confrontation with her adulthood through horrific means. As she returns home from school, she calls herself ‘kiddo’ in relation to a scream and superstitions, a snippet of her character transforming. Noting that on her drive with Annie, that she experiments pitifully with marijuana and shares thoughts of going to a dance with Ben Tramer, again slipping away from the innocent naivety as the sun sets. At the babysitting gig she more aligned with the children, making a jack-o-lantern (unsure why so late on Halloween night), and having popcorn both activities far removed from what her friends had planned. It is after the mysterious actions across the street she checks on the children, this conveys her closing the door her innocence found in the safety of a well-guarded adolescence. Her confrontation, with the Boogeyman shall shatter her world, the darkness of both the night and limited light source on the screen show the bleakness of the situation, and strive for survival from a relentless killer, thrusts her into adulthood with traumatic intentions that forever alter her outlook in life.

There’s a significant problem with Michael’s mother, Edith, if one comes home to see their child standing outside of their house with a bloodied knife and acting emotionless trance why is there no screaming, panic rushing to see if Judith is okay, here appearance is rather ho-hum. See for yourselves:

No Big Deal – Mom

Now compared to Scream [1996] where Casey’s mom, is in a panic she acts properly and is told to go down to the Mackenzie’s a reference back to this movie. As for those curious this is the last time we see Michael’s parents, per the novelization from 1979 it is told they died in car accident on January 3, 1965, and how the Strodes’ adopted Laurie, who at the time was named Cynthia. Here’s a question no one ever seems to ask where was Laurie (Cynthia) when Michael killed Judith noting she was only two the youngest of her siblings. Her parents as some have concluded were at the movies, and Judith oversaw the children, so why didn’t he kill her at the same time? Something to ponder…

As I previously mentioned Psycho, there are other portions where the movies share similarities, namely the music, Carpenter score is synthesizer and adds to the suspenseful buildings, while Hitchcock has Bernard Herrman’s woodwinds carry the piercing notes that still quite memorable; with Halloween the last 15-minutes pounding intensity the theme very memorable while no one can ever forget the infamous shower music, hence both pieces became iconic characters. Did you know there are at least two other scenes that share these comparisons, one pronounced the other subtle?

The scene which is eerily like each other, it is where in Halloween Laurie is glancing out at her classroom window and sees ‘Michael’ staring back at her, recalling in Psycho where the Highway Patrol Officer (Mort Mills) is parked across from the dealership staring at Marion watching intently. See for yourselves: (Insert Picture)

Psycho image – top Halloween image – bottom

Halloween clearly separates itself from an impactful unbroken single shot encompassing 4-minutes; although some have mistakenly thought of this as new concept in filmmaking, sadly this not true. Orsen Welles’ Citizen Kane (1941) was the first to do this for narrative reasoning and Hitchcock uses the technique three separate times in Rope [1948]; Rear Window [1954] and Frenzy [1972]; finally, Brian De Palma’s Carrie [1976] made technically name ‘The Oner’ as instrumental device in storytelling. The scene is further defined by hearing the clock chimes to a faint ten in the background, through a killing then the parental reveal gives a shock to the audience. That subtleness found in the actual killing the knife is not shown penetrating Judith’s body, just like in the infamous ‘shower scene’ however, the main glimpse focus is when ‘Michael’ switches his glaze from his sister’s direction the knife shown with a hint of blood on it and some on his arm (which actually was Debra Hill). This is a curious shot direction; the representation has been greatly debated as to what it means, some critics attribute it to a phallic symbolism of penetrating rape of women, although questionable I must ask what does it mean when Laurie uses a knitting-needle to stab Michael – hence I discount this reasoning. I feel it takes from the perspective of the Power of God for its an overhead plunge thrust, which was shown when killing Det. Milton Arbogast (Martin Balsam) in Psycho, the power to taketh the life, he’s more fascinated by the weapon it’s inflicting damage, than what is happening to the victim which is carried through by never showing the aftermath in either film’s character’s death. See again for yourselves:

Michael’s View

Mother’s View in Psycho

I feel this is the best time to segway into a better understanding of the 1970s landscape in the horror genre and how it led to the loss of humanity and birth of supernatural presence within Michael. Both cultural and cinema had culminated with a crisscross multi genre split, which is to say was expanding in every possible direction that one could think of for that time, nothing wasn’t explored numerous subgenres were discovered, while Psycho served as a springboard for future slashers to advance with suggestive brutalization realized in The Texas Chain Saw Massacre [1974] and the disturbing Point of View deployed Black Christmas [1974], owes more to Peeping Tom (1960) which predated Hitchcock’s masterpiece by a few months, resulting in full dissatisfaction with audiences for too voyeuristic graphic. However, Halloween took the relatable and made it fearful, threefold, first no longer the lonely motel on the outskirts of a town or forgotten house near abandoned slaughterhouse, now it was in the community, it was now in the neighborhood, lurking in the shadows, waiting in silence for you to approach or to come home unsuspecting of the terror waiting you.  The often-used phrase in both movies and everyday life “…that sort of thing doesn’t happen…” but that is exactly what Carpenter uses against the viewer, he brings the horror, the darkness to your hometown. Loomis repeats of phrasing of both a funeral and Death to your little town to the police department, and exactly that all happens, these teens all living in the moment, unaware of the Evil’s presence. Noting once again (take a hint of Hitchcock) that the police consider both the doctor, Michael Myers to be hogwash and not truly believing of the warnings from the doomsayer Loomis that anything bad will happen in their quaint neighborhood filled of harmless trick or treaters. Secondly, with a storyline that connected to all viewers a house that everyone knows is filled with tremendous horror, the urban legend place to avoid, and thirdly babysitters, in the era one was either a sitter or was watched over by someone parents trusted. In addition, the relatable came together about the characters, as their dialogue was written by Debra, as she was a sitter long ago who grew up in a small town of Haddonfield, NJ, a sheer authenticity existed within the friendship. While most characters are the innocent victims of Michael’s there’s one who many are quite satisfied was killed off in the iconic manner, that is Bob (John Michael Graham). The reason which seems often to find itself disregarded as a dark humor or that was the 70s hence a different era, his remark about tearing off Lindsay’s clothes, who if one recalls is a child. Now some have stated he was drunk, or his character was one to find humor in any situation, however none of that is revealed to the audience. In addition, if a teenage guy is about to have a special time with his girlfriend, why utter the little girl’s name, Lindsay, it’s weird, why not say Annie, regardless of its history. Although one possibility could exist, as flub line of dialogue, that wasn’t caught by a script supervisor Louise Jaffe recalling for a moment that this film had a shoe-string budget no time for reshoots. Nevertheless, in today’s world and culture the line could find itself omitted or deleted from future editions.

Everyone mentions the great editing in the movie, and they are correct, and in one scene it’s almost comical and not for the reason you’re likely thinking of, it occurs when Dr. Loomis and the Sherriff are meeting for the first time in front of the hardware store and we see the station wagon from the hospital in the background. The interesting part is just how careful ‘Michael’ is driving it, he looks several times in both directions to make sure the easy steady turn as they had tiny crew with no way to stop the traffic and the cars used in the movie were rentals. So many enjoy what is consider a great bit of continuity editing as Lyndsay is watching Forbidden Planet [1956] and by the time she and Annie cross the street to see Laurie and Tommy the appropriate time has elapsed with the two televisions and the film itself; it’s that very minute detail that often is missed. But is correct? It’s not, while the film is the same the order of isn’t, allow me to explain first from Lindsay’s view the film she sees the invisible footprint normally this scene is 66-minutes into the movie, but when she sits down to watch it with Tommy the scene is of the Commander Adams (Leslie Nielson) in an attempt to communicate with the civilization on the planet they are orbiting, occurs at 10-minute mark. Hence, it is clearly inconsistent continuity, I also note this because on the announcer’s voice states “now the conclusion…’ but that cannot be correct. Once again, I am presenting the evidence:

Lindsay watching Fobidden Planet – Footprint Scene

The scene that Tommy is watching with Lindsay once she arrives – which is at 10.16 minute mark and not 66-minutes into the movie. 

I will also attempt to refrain from any of the quirky leaps in the story, as all films have minor holes, the film editing works to wonderfully to assisting in entertaining the viewer to omit them – besides so many fans consider the film flawless. Nevertheless, the movie’s timeline is a bit jumbled when Laurie goes up to the house and Michael appears with his heavy breathing, which many attribute to him wearing the mask and when he sees her in the class he’s wearing it. However, later in the film when Anne and Laurie are driving to their babysitting gigs the past a hardware store that still has an alarm blaring, and we learn of the items stolen. There is a vast amount of time that has elapsed especially in the other glimpses of him he has the mask; though strangely some disregard this as there is no proof he is the one who stole it, fine its huge coincidence. Some have also mentioned the fact that Michael always seems to know exactly where she is, for example when she’s in class discussing fate or driving behind her, I rather lean to an underlying cosmic connection. I feel the franchise gives a nod in this direction in Halloween 4: The Revenge of Michael Myers [1989] with the psychic bond Jamie (Danielle Harris) and her Uncle Mike share no other way to explain it.

It has often been debated as to why Michael kills Judith, as there was no materialistic (the gain of property or money) reason he was six, so some fans strive for the oddity of Thorn Cult revealed in the sixth film, many others lean towards Rob Zombie’s more plausible theory that Judith rejected his desire to go trick or treating as she wanted ‘alone with her boyfriend’ before her parents returned home at 10p, expressed in his Halloween [2007] universe. Sadly, this also has issues as it summarized that “Cynthia” was at home and Judith needed to babysit them both as the eldest. Some noteworthy critics have directed the theories to his misunderstandings concerning sex and deceit, taking for example Judith’s boyfriend (David Kyle) he is consider a pop-n-go thrill seeker therefore, Michael is merely imitating his actions as when he enters her bedroom he sees the haphazard bed and pieces together the acts. There’s one brief nitpick, all centered on ‘time’ in the Myers home, if you note when Michael grabs the knife from the kitchen the clock reads 925p then as he walks fairly tall for 6-year-old he passes by a living room clock that states 940p but as he climbs the stairs the grandfather clock dings ten faint chimes.

I wanted to touch on Michael’s fleeting humanity or more precisely his vanishing childlike behaviors, they start with Bob’s inexplicable death, and his quizzical head tilt as he both admiring his work and treating as art. Then he dons a second costume a ghost with glasses to greet Lynda, it is often considered cheap and innocent, and it lowers her guard. It is what he does next that is most interesting, her simply recreates Judith’s death scene while building another haunted horror house, which works similar with bodies sprung upon Laurie. Before I deliver my closing remarks, there’s one aspect that I don’t think has ever been fully explored or mentioned, train symbolism. the monster barreling through the town of Haddonfield, in fact when Loomis discovers Phelps trucks a black train race by in the direction of the town. This train symbolism carries throughout the movie as a train itself is not able to instantaneously stop neither is Michael; and the ding-ding heard in the movie relates to the warnings impending doom, fate has a time and place for everyone. Noting the screeching sound of the broken gutter swinging into the window at 38.19 startling a nervous Loomis and Sherriff sounds of brakes on collision course. After all, Loomis refers to Michael more as an unidentified ‘It’ than anything else, even when Laurie asks at the end “It was the boogeyman.”  If one thinks of a train, they can wreak havoc, and herein he’s coming to town to cause chaos, carnage, and death, just as a train wreck would do, there is no difference, especially since Michael approaches in a rigid path to his next destination likely the tombstone first as early morning and then making his stops along the way.

I do sincerely enjoy this movie, making sure I watch it every Halloween, as well as (Forbidden Planet [1956] and The Thing From Another Word [1951]) simply both films were seen in the actual film, it is ‘fate’ that I make it into my regular viewing habits for the holiday and the sheer enjoyable entertainment. Also, the movie doesn’t show any true gore, which much of the slasher genre would do, just look at Terrifier [2016], in keeps the killer in shadows lurking in the side of frames, waiting for the right moment to unleashed is desire to kill. No matter how much time passes the night of horror and death is forever destined to repeat itself, every Halloween season.

Taglines:

• The trick was to stay alive.
• The Night he came home
• He’s come back
• The one, the only, the classic Halloween. (Re-release trailer)
• The Night HE Came Home!
• HE came home for HALLOWEEN.
• Everyone is entitled to one good scare
• Trick or treat… or die
• Let’s celebrate the horror
• Happy Halloween!
• The Trick Is To Stay Alive!

https://www.imdb.com/title/tt0077651/

IMDb Rating: 7.7/10

Baron’s Rating: 8.0/10

Trailer:

Followed by:

• Halloween II (1981)
• Halloween III: Season of the Witch (1982)
• Halloween 4: The Return of Michael Myers (1988)
• Halloween 5: The Revenge of Michael Myers (1989)
• Halloween: The Curse of Michael Myers (1995)
• Halloween H20: 20 Years Later (1998)
• Halloween: Resurrection (2002)
• Halloween (2018)
• Halloween Kills (2021)
• Halloween Ends (2022)

Reimagined:

• Halloween (2007)
• Halloween II (2009)