DIRECTOR: John Carpenter
KEY ACTORS: Jamie Lee Curtis, Donald Pleasence
IMDB SCORE: 7.8
ROTTEN TOMATOES SCORE: 96%
SEX SCORE: 2/5
✔️ Halloween is rewatchable – I’d not seen it before but I will watch it again
✔️ It does pass the Bechdel test as Laurie and her named friends talk about babysitting and school, but most conversations do end up about men.
❌ But this film is not sex positive – it was the big hit movie that spawned the idea that sex means death, which isn’t really a message I’d want to promote!
❌ And it didn’t inspire fantasies – there’s too much murder to be appealing!
❌ The cast isn’t fuckable either. Jamie Lee Curtis looks incredible with amazing 1970s Farrah Fawcett hair, but I didn’t want to fuck her. Which, in a way, is lucky for her as it’s her virginity that saves her!
As always, this contains spoilers so watch the film before you read on…
STREAMING: NowTV, Sky Cinema subscription, Amazon Prime (rent £3.49, buy £4.49). For a full list of streaming options, check out JustWatch.com
[Content warning: a brief mention of possible trauma and insufficient mental health treatment]
I came to horror films late in life. As I mentioned in my Practical Magic review, that movie terrified me so much that I avoided all horror films for years and years afterwards, but I have been trying to catch up. As a wannabe movie buff, I do want to see all the important ones but somehow I’d not seen Halloween until this week. And that was a definite lapse as this film is hugely important. It wasn’t only the most successful independent movie ever when it was made but it is also the movie that launched an entire genre – the slasher movie.
Now slasher movies almost feel wrong for this blog – I’m supposed to be writing about movies that promoted sexual fantasies or changed the direction of my sex life, which slasher movies did not, but they are definitely about sex – and not in a good way – so I couldn’t ignore them.
Halloween was the first significant slasher movie. It contains so many movie tropes that the whole thing almost feels like a cliche, except that this was the first time they’d been seen. It was the first use of the creeping Steadicam footage to show the perspective of the attacker, disorientating the viewer and allowing paranoia to grow; the first masked murderer who cannot be killed; one of the earliest films to connect risk with having sex and, of course, one of the earliest Final Girls. At the time of its release, these ideas were so new that they were shocking and terrifying. Roger Ebert described it as a ‘visceral experience,’ warning viewers not to attend if they didn’t want to be scared. And it still works. It’s lost some of its power through repetition and poor imitation, but it’s still fucking creepy!
Halloween tells the story of Michael Myers, a boy who brutally murdered his sister when he was six years old (while dressed as a clown! Why is it always clowns?!) and ends up locked away in a secure psychiatric unit. Jump forward 15 years and Myers has escaped. He returns to his home town and, dressed in a boiler suit and creepy blank William Shatner mask, begins a killing spree, murdering several young women who were working as babysitters before finally being stopped by Laurie (Lee Curtis), the bookish, virginal final girl. Of course, Myers’s body vanishes, opening the door for a whole series of sequels…
Considering Psycho is one of the few horror movies I’ve seen and enjoyed, I loved how much Halloween was influenced by Alfred Hitchcock, and it has so many links to that horror masterpiece that it almost feels like a fan tribute! The psychiatrist is named Sam Loomis (Pleasance), as was Marion Crane’s boyfriend; the stabbing scene at the beginning reminded me so much of the infamous shower stabbing scene from Psycho with flashing knives, fleshy stabbing sounds, but no visible penetration; and Jamie Lee Curtis is Janet Leigh’s daughter, and Janet Leigh played Marion Crane in Psycho! Considering Psycho remains the scariest movie I’ve ever seen, it’s not a bad source of inspiration.
Before I dive into the sexual politics, I can’t go on without mentioning that Dr Loomis is a terrible, terrible psychiatrist! He’s clearly absolutely terrified of his patient and uses incredibly damaging language to describe Myers, calling him ‘the Evil’ and insisting that he ‘isn’t a man.’ I find his language choices so difficult because there’s no suggestion at this stage that Myers is supernatural in any way. There’s no possession by the devil, no evil spirit or hint that Myers is anything other than a ‘psycho.’ The film just seems to suggest that he’s unwell and his illness is what is causing him to murder.
I’ve written before about my deep concerns with connecting mental ill health with ‘evil’ behaviour and the stigma that this perpetuates, but viewing Myers as unwell rather than evil also has the effect of significantly changing how the plot is viewed. My brief rotation in psychiatry as a medical student taught me that there are very few mental health disorders that affect children and this knowledge means I almost feel sorry for Myers. What kind of fucked up childhood leads a six year old to murder their sister? What has he seen and what might have been done to him to make him act that way? And after that, what kind of mental health treatment did he receive under Loomis’s care? Myers’s illness is clearly beyond Loomis’s expertise to treat and yet there’s no evidence that he sought help or a second opinion. He just locked him up: ‘I spent eight years trying to reach him, and then another seven trying to keep him locked up, because I realised that what was living behind that boy’s eyes was purely and simply…evil.’
Maybe they did intend Myers to be a supernatural being, and his immortality despite being killed repeatedly in the later films does provide evidence for this, but the way he is presented here in the original make him look more like a traumatised child who grew up to become a traumatised man who acts out in the only way he knows. He’s been let down by an incompetent doctor who is deeply afraid of him and who lets his fear prevent him from treating Myers objectively. And that’s really sad.
But, dangerous as this outdated view of psychiatry may be, this is a sex and relationships movie blog and there is a shit ton of sexual politics to talk about too!
Because Halloween created the rules of the slasher film, a place where ‘sex becomes death becomes sex, where a knife is never just a knife’ and women must suffer. I’m once again quoting from Sady Doyle’s ‘Dead Blondes and Bad Mothers’ in her analysis of the sexual themes in slasher movies. She describes how, according to the patriarchal construct, girls are pure and perfect and innocent and must be protected, but women are damaged and tainted and dangerous and should be feared or destroyed. And, of course, as virgins we remain girls, ‘whole, sealed, and unbloodied…until a man comes along to break [us] open.’ Urgh…
It is all down to penetration – both the patriarchy in general and the entire sexual philosophy of slasher movies put forward by Doyle: ‘Men penetrate, women are penetrated; men are predators, women are prey; men desire and pursue sex, women flee or become victims of men’s desire.’ Which is why there’s so much stabbing! Sadly I can’t find the source now but I read something that claimed none of the villains in slasher films use projectile weapons – no guns or bombs, just knives and hands – because their killing needs to be intimate, needs to be penetrating. It’s sex; dangerous sex that destroys the one being penetrated because that’s what losing your virginity means: ‘penetration is seen as a means of conquering and humiliating the penetrated; to open your body is to bleed, suffer, and die.’ Again, urgh…
Logically, within this construct, those who have already lost their virginity are already damaged, already humiliated, and so deserve to be killed. And that’s exactly what happens – almost all of the murders in Halloween occur after the character has had sex or exposed themselves in some way. In fact, the only people who survive are virgins – Laurie and the children, plus Loomis himself who one review described as asexual. All those other girls who use their babysitting jobs as opportunities to have sex without adults present are ruthlessly slaughtered. In the slasher world, sex is dangerous!
Which leads on to the Final Girl, the chaste virgin who survives – another one of the horror movie Rules that Halloween popularised. First described by Carol Clover in ‘Men, Women and Chainsaws,’ the Final Girl is often boyish and manages to resist penetration, both sexual and homicidal, by rising ‘above all the sexual humiliation’ to outwit the killer. Laurie is the archetypal Final Girl. She’s a good girl, running errands for her father, actually looking after the child she’s babysitting rather than sneaking off to have sex, and is doing so well at school that she can’t get a date as ‘guys think [she’s] too smart.’
But I liked that she wasn’t evangelical in her virginity – she doesn’t act like she knows she’s morally superior and she doesn’t judge her friends for their behaviour. It almost feels like she’s only a virgin for want of opportunity rather than choice.
Despite being the original, Laurie doesn’t quite fit all the requirements of the Final Girl as she falls victim to another sexist stereotype – she needs to be rescued by a man. It is Loomis who stops Myers, Loomis who fires the gun. Laurie is perhaps more accurately the final survivor as all she really does is scream. And, wow, she can scream! I’m really not surprised that Jamie Lee Curtis inspired so many more Final Girls in the future.
Everything about Halloween was among the best in its class, so it’s not surprising that it launched such a flood of similar morality tales that by 1981 ‘over 60% of American releases were of the stalk’n’slash genre.’ And they were hugely popular, especially and most surprisingly with young women. It seems that by the end of the 1970s, the teenage target audience had swung back from the free love of the 1960s to form a ‘deeply conservative audience who liked nothing more than to see their own kind viciously punished for supposed social transgressions.’ According to the New York Times, John Carpenter has consistently denied that he was ‘trying to punish the promiscuous,’ despite the significant evidence to the contrary, but this theme definitely becomes more explicit in later slasher movies, especially the Friday the 13th franchise. And, of course, 1996’s Scream made sure that the rules Carpenter created couldn’t be misunderstood: ‘There are certain RULES that one must abide by in order to successfully survive a horror movie. For instance, number one: you can never have sex…BIG NO NO! BIG NO NO! Sex equals death, okay?’
So why are these puritanical movies so popular?
Sady Doyle in ‘Dead Blondes and Bad Mothers’ has a theory about why women in particular enjoy slasher movies – they ‘are a release [from rape culture], in part because they give a name and face to the problem…giving us monsters to fear and heroines to root for.’ When women already fear walking alone at night because of hidden and unknown threats, having a real villain to scream at and, importantly, to defeat is hugely validating. And so we keep going back for more – to scream in safety because the horror is on screen and not actually following us home.
And Halloween is scary. It’s the patriarchy distilled into it’s simplest form – men wielding sex like a literal weapon and punishing women who seek sex outside of marriage or for their own pleasure – and that is fucking terrifying…
Next week: Bram Stoker’s Dracula