There’re two things to truly understand with this film, aside from a great story it falls squarely in the killer vehicle subgenre and at the time of the release many people especially viewers in United States had a love affair with cars. In fact, many men still give their cars a girl’s name and there’s a term for car lovers – ‘gearheads’ they’re often found as admirers of these vehicles and very protective them. Therefore, let’s dive into the ‘killer vehicle subgenre’ for a moment the vehicles are often influenced by a supernatural force which includes The Car [1977] and Maximum Overdrive [1986] but not Duel [1971] that is more an early version of road rage. I had the pleasure of seeing this move on the movie screen once again for its 40th anniversary on an extremely limited run (2-days) with a packed audience, which was a mix of older fans with teens accompanying them, their remarks ranged greatly some enjoying others bored with the fascination of cars to the supposedly sexist comments about calling the car a girl’s name as a form of control – truly a varied degree of opinions.

As everyone knows this film is based off a Stephen King novel of the same name also published the same year as this movie, who thoroughly enjoys taking us on those mysterious shadows and strange noises one hears as a child and catapulting them into terrorizing nightmares and sinister misgivings in both teenage years and our adult lives with devious enjoyment. 1983 was an incredible year for King, as two of his other stories/books were made into films that proceeded this film, which was Cujo and The Dead Zone, in fact Christine would mark the sixth book adaption they were Carrie [1976], The Shining [1980], and Creepshow [1982]. Just reflecting on the directors that were involved with the films Brian De Palma, Stanley Kubrick, George A. Romero, Lewis Teague, and David Cronenberg; it was obvious that John Carpenter’s (Halloween [1978]) the ranks, however he was slightly guarded having suffered with a box office dud of The Thing [1982]; which horror fans know was due to distribution factors beyond his control and incorrectly perceived notions from critics/movie-goers of this cult classic flick. Hence, the film worked at more storyline and mood while gore was eliminated, and included more colorful language as with it the film likely garnishes a PG rating which would be insulting to the target audience and the horror fanatics everywhere, while Columbia Pictures requested an R-Rating. Screenwriter Bill Phillips accomplishes the best work possible while working through a book filled rich descriptions and lengthy detail subplots to create a rather straightforward arc storyline involving Arnie and structure that paces briskly through a few months. In the end the movie worked with a budget of 10-million and went to earn 21-million, proving for Carpenter that he still had a respectful understanding of the genre and audiences. It’s always asked why King chose a 1958 Plymouth Fury for Christine, and his answer it was considered a forgotten car, he didn’t want a vehicle that had a famed history or famous brand, but thanks to this film car enthusiasts generated a love to this fine beauty. Perhaps this even goes further regarding his decision that “Hell hath no fury like a woman scorned” (*1) never good to treat lady with contempt or to lay one’s hands aggressively upon her so many learn about the inappropriate touching the hard way. Some might say that the reference deems her too overemotional however recalling it’s 1958, exhibiting these human traits as a woman taking firm control of her autonomy is independent freedom assertion.

The film starts with a brief introduction to Christine, accompanied by the song “Bad to the Bone” on a 1958 assembly-line who shows she doesn’t like to be manhandled with someone rude opening her hood to see inside and checking under her frame, clearly able to defend herself against such intrusions. Those who have read the book or namely aficionados/gearheads all knew that the 1958 Plymouth Fury came in one color Buckskin Beige with a powerful V8 engine, however it’s determined that this a special custom order in that dazzling shiny bright red color. Many viewers have such negative opinions concerning the killing of the Auto Shop Wotker (Art Evans (Fright Night [1985])) who dropped the ashes of his cigar on her protective covers, however first it was equal to blowing smoke in one’s face, she was clean and pristine and secondly didn’t care about cleaning up the mess therefore, retribution was deemed necessarily, treat a lady with respect. After a troublesome first day at school, in 1978 we met a nerdy teen named Arnie (Keith Gordon (Jaws 2 [1978])), and his primary bully Buddy (William Ostrander) and his gang, as well as his only friend a football jock Dennis (John Stockwell (The Nurse [1997])). Arnie clearly reminds one of poor Carrie White, a lonesome outsider, alas driving home Arnie spots her sitting at an old shack belonging to LeBay (Roberts Blossom (Deranged [1974])) … Christine, beaten and badly need of new love, she is the succubus feeding on Arnie, he needs to have her, to possess her. While his authoritative parents disapprove of the classic antique, then again, they were against his school classes and auto job, basically any of his choices are greatly frowned upon. Yes, a horror trope of over-the-top controlling mother, Regina (Christine Belford) the father is more passive-minded. It is that same night he finds a new home at Darnell’s garage (Robert Prosky (The Skeptic [2009])) earning himself a job. It’s then months later at a football game Arnie arrives with the new girl Leigh (Alexandra Paul (The Paperboy [1994])) at school, looking suave, and Christine sitting pretty. There’s great scene, in which Leigh is being choked to death in Christine, while at the drive with the film Thank God it’s Friday [1978] that has a character whose car keeps getting damaged, sound familiar? Soon enough the bullies come about and destroy his beautiful car, a pivotal moment who finds himself mesmerized with her once again, his anger focused and then utters those two words, “Show Me…” we witness a wonderful series of trick photography and automotive special effects to reshape her figure; remember there’s no CGI.

Christine is clearly easily jealous, and sinisterly vindictive as she helps Arnie transform too, but Dr. Jekyll meets Mr. Hyde giving full devotion to her. They seek reputation against those that have harmed them, as she cruises the late-night barren roadways seeking Buddy Repperton’s gang, first is Moochie (Malcolm Danare (Smothered [2016])), those extra bright headlights and 50s music blaring aiding my Carpenter’s synthesizer and Alan Howarth composition.

A spectacular fireball explosion occurs at the gas station killing Rich (Steven Tash (Ghostbusters [1984])) and Vandenberg (Stuart Charno (Friday the 13th, Part 2 [1981])) Buddy flees in terror, never thinks about running to the side, rather than in a straight-line, then in hindsight as he richly deserves his punishment.

It’s Leigh and Dennis left to fight the battle that only they believe in, but is it truly end … Christine might have something to say about that.

Many critics find fault with Carpenter’s approach to accelerate the story to the ‘monster’ which is Christine rather than create proper character development; however, I disagree for a few reasons, first he knew his target audience and it’s not hard by their characters who they represented. Secondly, unlike Jaws or The Thing he couldn’t hide Christine, she presented early-on and is the focal point of the story, as it progresses so do the characters that surround her. Although, speaking of character development, Gordon does have a very grounded performance, starting as the loner and often picked-on individual beaten down by students and parents, living out a lonely existence, then the chance meeting with Christine also in state loneliness, needing that love once more. As he fixes the car with care Arnie begins to change, more stylish clothing looks more 50s, bit a James Dean’s rebel, which is a quite the change that Gordon and the costume designer Darryl Levine (The Crow [1994]) agreed upon in the early stages. Another interesting note which is done in twofold reasons concerned other cars in the film, this was because of Christine’s license plate started with CQB “Close Quarters Battle.” Hence the other vehicles are seen as threats as is the drivers, for example Det. Junkins (Harry Dean Stanton (Alien [1979])), also drives a Plymouth Fury, a nearly 20-year-newer car, which replaces her model or Buddy’s car is a 1967 Chevrolet Camaro, a muscle car driven by a sinister individual. Regardless, it was interesting that Carpenter made the car truly come alive, embodiment of soul, as she used the radio to speak, as fans easily recall when Dennis tries to open her door she plays “Keep A-Knockin'” by Little Richard or near the end with Arnie she confesses to him “Pledging My Love” by Johnny Ace are just a few of the ways she speaks. The blackout windows add to the unholy supernatural presence obviously done to disguise the stunt driver (harder to see, especially in the night shots) but adds such an ominous tone, and one wonders if Arnie’s behind the wheel or is Christine hunting; especially when she’s engulfed in flames.

There is one important aspect that one will need to omit from their minds when watching the film, we, the audience, are never told how or why Christine is the way she is and frankly its unimportant, simply life occurs in the moment she was born bad down to the frame as shown in the production for the curious please take the time to read Stephen King’s novel. While some might take offense that there isn’t any gore the mood attributes greatly to the story, entertaining without the need for it. If you are out and hear 1950s music behind you seeing gleaming headlights belonging to a Plymouth Fury, a now sought after beauty it’s best to pull over and give way a timeless classic.

TAGLINES:

• She’ll possess you. Then destroy you. She’s death on wheels. She’s…
• Once she lures you behind her wheel…You’re all hers.
• Body by Plymouth. Soul by Satan.
• Passionate. Possessive. Say hello to Christine…Your Girlfriend The Car.
• The Devil’s Car
• She’s the Devil Incarnate. She’s Christine. Body by Plymouth. Soul by Satan.
• Watch Out for Her. This Christmas. At a theater near you.
• Watch out for me. I am Pure Evil. I am…CHRISTINE.
• Hell hath no Fury…like a 1958 Plymouth.
• How do you kill something that can’t possibly be alive?
• She was born bad. Plain and simple. Somewhere deep on a darkened assembly line. Christine. A ’58 Plymouth Fury possessed by Hell. She’s taken control of her teenage owner, Arnie. Her previous owner is not alive to warn him. And now she’s steering straight for the one person in her way. Arnie’s girlfriend, Leigh. The other woman.

https://www.imdb.com/title/tt0085333/

IMDb Rating: 6.7/10

Baron’s Rating: 7.5/10

Add-on bonus: A music video John Carpenter made in honor of ‘Anthology: Movie Themes 1974-1998,’ out now on Sacred Bones Records https://www.sacredbonesrecords.com/

Footnote:

(*1) – proverb adapted from The Mourning Bride, a tragic play by English playwright William Congreve first performed in 1697