Showing posts with label Texas Chainsaw Massacre. Show all posts
Showing posts with label Texas Chainsaw Massacre. Show all posts

Review: The Texas Chainsaw Massacre (1974)

The Texas Chainsaw Massacre (1974) 
Director: Tobe Hooper     
Writers: Tobe Hooper, Kim Henkel   
Stars: Marilyn Burns, Edwin Neal, Jim Siedow, Gunnar Hansen





Cliff’s Notes: Narrator: "The film which you are about to see is an account of the tragedy which befell a group of five youths, in particular Sally Hardesty and her invalid brother, Franklin. It is all the more tragic in that they were young. But, had they lived very, very long lives, they could not have expected nor would they have wished to see as much of the mad and macabre as they were to see that day. For them an idyllic summer afternoon drive became a nightmare. The events of that day were to lead to..." First lines of the film spoken by Emmy Award-Winning actor John Larroquette

Lecture: The Texas Chainsaw Massacre (TCM) is, without a doubt, one of the best horror films ever made. Technically speaking, the composition and direction of this flick is nearly perfect. Each of the early strokes beautifully crafts the image of a carefree summer drive. The documentary-like first act is tempered with only a vague air of threat, as if this is the beginning of a cosmically bad day. Our group of friends is sketched with the broadest of strokes, but the quality actors bring it up a level. The meeting with this hitchhiker, the exploring of the family home, and the walks through the Texas countryside each build to a single explosion of violence.

And from that moment on, TCM is like watching a nightmare. Danger is always no more than a few feet away. The reality of the film seems to collapse in upon itself, keeping the viewer trapped in a holocaust of violence and degradation. There is no reprieve, no release from the horrors that surround the characters. As it builds, TCM becomes a horror powerhouse. And then the dinner scene starts.

Filmed over 26 straight hours in the Texas heat, the dinner scene is pure anarchy. It is a decent into madness driven by violence, some of it real, and rage. It’s like watching the end of the world. That’s not a complaint. This is a horror movie lover’s dream. This scene, as well as the third act, are so emotionally draining that, by the time the film has let up, any of the film;s last images – characters run over by trucks, escaping into madness, or pure unadulterated rage- are apt metaphors for the viewer’s mental state.

Acting: Marilyn Burns, who sadly just passed, R.I.P., is fantastic in this flick. I’m not sure how much counseling she had afterwards, but the terror she puts out on screen is incredible. The rest of the disposable teens hold their own and read as real people, which makes the docu-feel of the flick hit harder.


Special props go to the chainsaw family. Edwin Neal and Jim Siedow are fantastic as the crazies. Siedow especially brings a moral schizophrenia to the film. He is both drawn to the violence that his family is dishing out, but also somehow terrified of the possible results. Hansen also brings a powerhouse performance. Without a single word, he commands the screen like a champ.

Directing: Tobe Hooper underplays most of his choices. TCM, at least for the first half or so, reads almost like a documentary. The angles are simple, the pace effortless, and the tension slowly rising. Hooper pays strict attention to Hitchcock’s bomb under the table theory. We know this is going to end horribly, so the lead up is laced with tension. Halfway through, Hooper opens the floodgates. There are crazy dolly shots, wild angles, and extreme close-ups galore. Every movement of the camera, every shot of not seeing something terrible build the film to a level of terror that has rarely been seen.

Script: Despite being rewritten extensively during the production, the script is a perfect microcosm of the movie. It’s distressing, technically solid, and matches the horror happening on screen. Grade A!

Effects: The film itself is nearly bloodless. While other, lesser films would have collapsed under this stress, it actually makes TCM more unsettling. By seeing less, the viewer’s brain makes up for what they think they’re seeing. And what they think they’re seeing is horrible. Also, special note for the production design of the Chainsaw house. You want “arm” chairs? Awesome bone sculptures? Distinct and terrifying masks? You get it all and more!


Highlights: Um… the whole thing? Actually, the one thing that I have found, after multiple viewings, is the humor of the piece. I know, it doesn’t sound like this is a funny flick, but TCM is masterful in its use of dark humor.

Lowlights: I really can’t complain about the film itself. The only thing I can mention is that the making of the film was incredibly, legendarily difficult. The horror stories from the TCM set are well known and universally painful. Not only was Marilyn Burns actually cut and beaten, several of the cast complained of the difficult conditions. Edwin Neal compared the filming to his time is Vietnam and Gunnar Hansen’s thoughts on filming are well documented in the excellent Chainsaw Confidential. (BTW, pick up Chainsaw Confidential. It’s a great look at the creation of this film.) I’m all for suffering for art, but this was a little ridiculous.

Final Thoughts: The Texas Chainsaw Massacre is an excellent film. It routinely ends up on just about everyone’s top horror film list. The awards are well deserved. There is no film that matches the intensity and destruction that this movie lets loose upon the viewer.

- J.W. Brewer

Follow JW on Twitter

Review: Leatherface: The Texas Chainsaw Massacre III (1990)


Leatherface: The Texas Chainsaw Massacre III (1990)
Director: Jeff Burr

Released in 1990, Leatherface is the first movie of the Texas Chainsaw Massacre series to lack any involvement of the franchise’s creator, Tobe Hooper. The story follows a young couple played by Kate Hodge and William Butler who are driving across the country to Florida where it is implied that they will break up. That was how the conversation was heading at any rate and I quickly asked myself why I should give a shit about these two people. One is trying to start a conversation and the other is just moping like a poor sap.

While the two are getting some gas, the owner of the station makes some rape-y remarks to the woman and a character by the name of Tex, who just hitchhiked his way over, puts the situation at ease. Tex asks the couple for a ride, and they refuse. Tex then tells them of a road they can use as a shortcut to their destination, and that’s when the owner of the gas station comes out with a shotgun and scares off the couple where they promptly take the abandoned road.

You see where this is going. While being harassed on the deserted road by an unknown truck, the couple crash into a survivalist named Benny and the three of them encounter the Sawyer family, with Leatherface as their hunter.

I was somewhat surprised by the movie’s decision to get right into the action only a few minutes in, but what surprised me more was just how boring it was. It had no problem cutting right to the boredom.  There are some movies that take a while and try to build tension only to leave you hanging sometimes, but with this one, they get to the action, and I was still yawning. It was efficiently banal, because we had seen all of this before. The first TCM was gritty, eerie and savage, whereas the second movie kept that same air to it for the first half of the movie but gave way to a strange bit of humor to the family, while still being exceedingly gory and disgusting. This third movie fails at all of these attempts and adds nothing new to the story.
  
Let me walk you through a quick three minutes and what I was doing during it:
They capture the woman and nail her hands to a chair in the kitchen (yawn). They hit the boyfriend in the head with a hammer (scratching my crotch). The family talks about eating people and the brothers squabble among themselves (doing my taxes). The survivalist they had an accident with, Benny, he shows up and just starts shooting the hell out of everyone (picking my nose, studying the findings).

[SPOILER] The ending of the movie was something that would have gotten a lot more flack if people cared at all. We see Benny get his head cut open by the saw that was somehow turning itself on despite the fact of being underwater and with no one to pump gas into it, but that’s fine. The only problem is that Benny shows up at the very end to escape with Kate Hodge. And I wasn’t paying too much attention, but enough to notice that getting your head placed against a revving chainsaw would cause a bit more damage than the small cut on the side of Benny’s head at the end of the film. [/SPOILER]

Do any of you guys remember Jaws: The Revenge, where we see Mario Van Peebles getting eaten by the shark, only to show up at the end of the movie just floating around the water with a flesh-wound? The same thing happened here. I did a bit of research and found that the Benny character tested well with audiences, so they decided to keep him in there for the end.

Now, do any of you guys remember when one of your friends would pressure you to go see his band or poetry reading, and you don’t really want to do it because you know it’s going to suck, but you feel bad, so you go anyway and watch the performance, and while it is going on, you try to pick out one single solitary thing to compliment your friend on so you can sound supportive, but all you really want to do is get the hell out of there and go to Denny’s? I think that’s what happened with this movie. I think the director showed this to his friends and afterward he eagerly asked them, “So, what did you think?”
And someone went, “Ummm….well….the black guy was good!”
“Yeah,” another one said, “I really liked him! What a great character!”
And so on and so forth, and before you know it, the director is saying to his crew, “Guys! We have to do some re-shooting. The fans really dig Benny, let’s try to have him escape in the end.”
And someone probably said, “But we sliced his head open…”
But the director is probably just shaking his hand at the guy, as if it were a minor detail that can be circumvented.   

This movie surely set a perfect precedent for the slippery shit-slope this franchise would take in the coming years.

- Michael Jenkins