HALLOWEEN II
US, 2009, 105 minutes, Colour.
Malcolm Mc Dowell, Scout Taylor- Compton, Sheri Moon Zombie, Tyler Mane, Danielle Harris, Richard Riehle, Margot Kidder.
Directed by Rob Zombie.
From John Carpenter's original in 1978, through four sequels and many imitations to Halloween 20 years later in 1998, there has been a great deal of attention (too much?) to Michael Myers as an iconic villain. In 2007, Rob Zombie decided to start the franchise anew. Here is the second offering which, he declares, has almost nothing in common with Halloween 2. Be that as it may, here is Michael Myers stalking unwary victims on October 29th, 30th and 31st, seeking out his sister, Laurie, who doesn't realise who she is until she finds her photo in a book by the doctor who treated Myers, Dr Loomis, and realises that this is the source of nightmares she has been experiencing.
The potential is there but Rob Zombie has a style that for many is off-putting. He is not averse to blood on screen, more than some audiences would want to see. He has a penchant for depicting grim and gruesome killings – many in this film being prolonged and startlingly vicious. And his dialogue is often tossed off with expletive haste.
His fans have all condemned the film as not being suspenseful or scary. That, of course, is a matter of degree. However, he has opted, interestingly, for psychological dimensions to Michael's and Laurie's traumas. This is the domination of their mother Deborah (played, as in the previous film by Mrs Zombie, Sheri- Moon – they were married in 2002, of course, on October 31st). She appears in ghostly form to her son, the motivation for his killing – and there is a symbol of a white horse, explained at the beginning of the film, which is a symbol of purity but which erupts in rage. The rage is visualised in many innocent deaths and pointless killings as well as in Laurie's horror nightmares.
Michael Myers now looms as something of a giant figure. Scout Taylor- Compton is a rather uninteresting Laurie even in her hysterics. Brad Dourif offers a little depth as the sheriff. And Dr Loomis (once Donald Pleasence) is Malcolm Mc Dowell again, this time as a prima donna author full of celebrity ego who suddenly feels the need to redeem himself.
Some interesting bits but there are more shocking bits. The not entirely unanticipated final twist suggest a possibly interesting third episode.
1.The work of Rob Zombie? Horror? Slasher films? The propensity for blood? For brutality? Using horror genres?
2.The new series of Halloween films? Comparisons with John Carpenter’s film? The sequels in the 80s? A new interpretation?
3.The setting, October the 29th, 30th and 31st? Audience expectations of massacres on Halloween? With Michael Myers?
4.The prologue, the symbol of the white horse, purity, unleashed rage? The images of the white horse throughout the film? For Michael Myers? For Laurie? Michael’s mother always with the horse?
5.The blend of realism and dreams? The long dream at the beginning, the murders, Laurie waking up? Her nightmares? Their continuing throughout the film, the death of her friends, the threats to herself, Michael Myers as an iconic and fearful character? Her mother appearing in the dreams?
6.Laurie, walking down the street, the blood, having shot Michael? Her being taken in by the sheriff, Annie and her being a good friend? Her nightmares? Work in the music shop, her friends? Her room? Her fears? Her being reserved, reading the book, discovering the truth about herself? Her anger? Her desire to go out on the town, the Rocky Horror Show costumes? Her behaviour, the death of her friends? Returning home, Annie’s death? Her being pursued by Michael, the car, the crash, the man picking her up in the car, his death? The confrontation with Michael – the vision of him and her mother? Her dying – being possessed by him? The finale with Laurie in the corridor, the smile – possessed by Michael Myers?
7.Michael Myers, the young boy, in the sanatorium , the visit of his mother? Her death? The news broken to him? Growing up, his violence? The succession of killings – arbitrary? Brutal? In the hospital, with Buddy the nightwatchman? With Laurie’s friends? At the dance? The generous driver? As a character, as an icon?
8.The sheriff, his concern, doing his job, being involved in the situation? The ambulance, with Michael and Laurie? The deaths of the drivers (and their crude talk)? Michael escaping? The sheriff and his concern about his daughter, about Laurie, about the book? Doctor Loomis arriving and the sheriff’s antagonism towards him?
9.Annie, her friendship with Laurie? Being independent of her father? The guard, her death?
10.Buddy the nightwatchman, his kindness, his death? The two nurses at the hospital? The brutality of their deaths? In the dream?
11.Doctor Loomis? Becoming a celebrity, writing the book? His manner with his agent, his celebrity tour, the television interviews and his being in a huff, asking whether he was responsible for the death of Michael Myers’ victims? The book-signing, the father attacking him? His arrogance? Watching the television, alone, hearing the news about Michael Myers, going to the scene, giving himself up, his death?
12.A combination of interesting aspects with some vicious brutality and shocks?
