JUDITH: A Halloween Tribute Film -- a brief review

* Click on picture to watch the full movie *
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A while back I did a post about a Halloween fan film that caught my attention, and even despite it's flaws, oddly interested me with a subtle charm and genuine (though not always precise) nostalgic dedication. Not too too long ago I had heard about a tribute/fan film with an interesting title and twist: Judith, a "prequel" to the original film which gives us a little more than a glimpse into the older sister of Michael Myers who's infamously murdered in the opening sequence. Directed by Josh Hasty and written by Kenny Caperton (the man who lives in the replicated Myers House, which he built himself, that's becoming just as famous as the original), the film is only about an half an hour long, and is basically set up to let us witness a somewhat alternative opening to this series (as opposed to jumping right into the murder). It's the few brief hours and minutes before the climax finds its way into Judith's room, that shows a little bit of the town we will explore in scope in the later films, but mostly of the Judith character and her friend who plan a camp out with some people in the back yard.

I went into this very excited, that someone had come up with an original idea that would be interesting to explore. The trailer looked gorgeous -- professional, clear, well staged, and ruggedly retro -- and it had been shot at the Myers House NC with sharp cinematography and lighting. But I'm sad to say that the actual piece is a work of style over substance, even as a short film within a wide cannon of dense plotting throughout the franchise. This is a clearly a labor of love, as most tributes are, but the love doesn't really extend to actually crafting an essential/thought provoking entry to deepen Carpenter's intricately subtle masterpiece. Not that this film needs "more" (it's simplicity follows the same lane as the original), or that it needs to be as brilliant, but working as more of a character study, it falters in its clarity. Judith stays on its polished surface when it should be trying to sculpt something a bit deeper; such as an illumination or an expansion on the enigmatic mythology of the many themes of darkness embodied by Michael Myers and the surrounding characters. And the title character herself, played by an appealing Sarah Stephenson, is nevertheless a cipher (as Michael should be) that doesn't contribute to opening up interpretation on the Boogeyman or her place in his story.

I appreciate the vivid technicalities Hasty imbues his film with, but I only wish that the subtext was as clarifying and engaging -- as a few stringed, substantial glimpses can resonate in surprising, memorable ways.

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Halloween: Journey Through Haddonfield: Scene 1

Here we are; the very first scene. The opening title credits that introduced the world to the greatest horror movie score of all time, and jumpstarted something epic within pop culture.

It's interesting that the movie is introduced as "John Carpenter's Halloween" as if he wanted full ownership of a movie that he was very proud of, and I have actually read that he was adamant about having his name there, and after all these years the man still deserves it.

Yay! I still love seeing this title card as it is really introducing Jamie Lee to the world in a huge way, and as such an iconic character as Laurie Strode.

 I think this is cool; Nancy LOOMIS' name in a Halloween movie! It's funny because I never really hear about people talk about this, or maybe because it's too obvious...I don't know. But she later changed her surname to Keyes, though I'm not sure why.

I had to include this. As fan favorite Lynda introduced us to our new favorite word said throughout the movie (what's the tally exactly?) and isn't it by far one of the coolest trademarks by any character in this horror series? Totally.

Here's the real opening shot as we're taken from across the dead street and over to the Myers House in three iconic shots, well four really, but I'll get to that soon. I love how real the stedicam moves and flows -- today, we would never see anything of this sort, in favor of more stylish glossly production values, which sucks.

Oh look, there's Judith fooling around with the fella she'll never hook up with again. I just noticed actually that she wears the same kind of knee socks and attire that her little sister Laurie will wear fifteen years later, though this obviously wasn't the original intention.

This is the jumpstart to the suspense and terror the film delves into, that stinging "DUHNNNA!" as Judith's bedroom lights go off, like it triggers Michael somehow. And then he acts...

...by pulling out his favorite butcher knife and gliding it across his face (the camera) for some odd reason that I fould noticable nonetheless.

Despite the fact that they have a quick-quickie and that the boyfriend doesn't seem to see Michael standing right there, I always notice his face and the way he gazes up at the stairs, and the fact that he looks just like Austin Butler. Butler was on the Nick show Zoey 101 (not like I ever watched it...) and I don't why, but he somehow looks just like him.

Right before the jump to the first cut, as Michael's creppy little arm extends like a puppet to pick up the mask.

Slow and steady, Michael enters and finds some major side-boob -- no ,but seriously though, it's an interesting choice to have Judith die naked. I mean going by the horror movie rules (Sex=Death) it sets up the rules that Scream would solidify (and keep in mind that Michael is played out as a semi-sexual deviant that provides him with another link to three main ladies in the movie).

Now I can see why she was in Playboy...

Michael: "Ummm, hi?" This is scary because the kid actually looks cute and sweet (unlike Rob Zombie's creepy kid) and we would never think he'd be holding a bloody knife in his little mitts. I love his face.

Still, I love the mom's total lack of reaction even more; she stands there with her hands shoved in her pockets and gives her son this pouty look of an annoyed teenager, instead of freaking out.

But you know, whatever.

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HALLOWEEN: Journey Through Haddonfield

In case you couldn't tell yet, I am a huge fan of the Halloween franchise (my new header is a hint) and of horror in general. Though I've made mentions/posts about the movies here and there, I have never really posted about why they are so special and essential to me, so I thought now would be a good time to try somethin' new. See, recently, I have revived my passion for the Scream franchise thanks to the new movie (and it's really the only thanks it gets), and Glenn Dunks over at Stale Popcorn gave me a fun idea that's identical to what he's doing for the Scream films; going through each scene of the movies and pick apart/commentate on them in any way. Sounds tough, yeah, but it's a labor of love; like the original Halloween itself. I'm not sure yet if I'm going through ALL of the movies or just the Laurie Strode trilogy -- H1, H2, H20 -- which I think wraps up the main story in a very satisfying way. But, we shall see. I'll post the first entry soon, so STAY TUNED!!

If you have any questions or comments, please let me know, 'cause I want to hear what you guys think. Oh, and tell your friends/Halloween devotees who might be interested.

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A Special Performance Profile: Jamie Lee Curtis in Halloween (1978)

Because one of my very favorite holidays is just around the corner, I felt that there couldn't be a better time for this very profile...and it is overdue in many ways. You see my love for all things horrifying, creepy, grotesque, and disturbing in film latched onto me when I was kinda young (hell, I am still very young!) and it fascinated me like it has done for so many others. It's something that I discovered within my growing knowledge of movies that today remains as indelible and intact as it could be for anyone who's a horror junkie. Then along came a very special cinematic "horror" entry. My history and love with this one film continues to grow and expand and I belong to a large group of individuals who find it (along with the whole franchise) to be some seriously awesome stuff. It just so happens that this film's popularity has risen to extreme heights in terms of appeal, and within all of it, a new discovery was made during its casting A young, fresh-faced performer starting out in the shadows of her very famous mom and pop was cast as the lead. Her star continued to grow thereafter, and she won the deservedly awarded title of the "Scream Queen" -- which became a permanent phrase within pop horror culture, all thanks to the legendary, character defining, breakthrough performance given by...

...Jamie Lee Curtis in Halloween (1978)
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Jamie Lee Curtis plays Laurie Strode, a young simple teen living in the beautiful suburbs of Haddonfield, Illinois, who's begins her Halloween day heading off to school and running into Tommy Doyle (Brian Andrews), the little tyke who she plans on babysitting later that night.

Unlike most teenage girls her age, Laurie is most assuredly established as a warm, intelligent, and understanding young woman -- the kind that actually appreciates talking about Halloween plans with the nine-year-old who becomes giddy at the thought of the fun they will have. For her, this is just another day of school, friends, and babysitting (like most teen girls would have as a daily routine) -- a day that just happens to fall on this holiday where pumpkins are lit, decorations are hung, and kids run around in costumes looking for candy. Little does she know that this seemingly standard path will forever be drastically altered on this very day.

It all begins when she's asked by her realtor father to drop off a key at the haunted, spookified Myers House on her way to school. Everyone knows the legend of the brutal murder which took place in that very house fifteen years ago on Halloween night. A young boy stabbed his older sister to death that night, only to be placed away in a sanitarium, and then to escape mear hours before this very moment. Laurie casually places the key under the mat, says her goodbye's to Tommy, then proceeds to school.

As she walks down the sidewalk, singing a little tune to herself, she doesn't notice the dark, ominous figure lurking over her; watching her go from afar. The shape that's in the human form of the personification of evil: Michael Myers.

But then, while taking notes/day dreaming at the back of her classroom, something catches her eye; a pale-faced figure from outside across the street, quietly and motionless stares at Laurie as she uncomfortably glares back until he disappears in a flash. John Carpenter's beautifully haunting staging in this simple scene in this simplistic movie sets the eerie, moody tone for this boldly woven thread in the film's elegantly crafted narrative; setting the stage for deeper, darker waters to come crashing down.

The film and the actress don't so much feed us exact details of who Laurie, but instead use places, situations, and people to craft the character as in the infectious scene(s) when Laurie meets up with her two besties Annie and Lynda (the witty Nancy Loomis and the "totally" awesome P.J. Soles, both giving fresh, vivid performances in roles which most horror characters usually plunge into ridiculous caricatured cliches) as the three gals walk and talk. This sequence (while infused with verve) also begins a visual representation of Laurie's "disconnection" from what's happening around her. Her geeky wardrobe complete with an unflattering sweater/skirt and knee-high cotton socks, compared with her laid back, cool and casually dressed friends marks along with the fact that they date, smoke, and are promiscuous, sets Laurie at a different unidentified level from her BFF's despite the fact that they are all close. They talk of boys, Halloween pranks, chemistry books (well, at least Lynda rambles on about it), and a mysterious station wagon being driven by the unknown Michael Myers.

As her friends blow it off as some frivolous joke, Laurie just somehow knows that something isn't quite right, and it's Curtis who lets us see this from here on out; she quietly conveys the searing flickers of foreboding dread as they instinctually meld with Carpenter's richly drenched atmosphere.

It's quite remarkable, really. Carpenter stages these tense beats between a distanced Laurie and Michael to show how this is a match between them (notice how Annie nor Lynda never really identify this shape or comprehend that he's pure evil) and the others are merely pawns in his sick, twisted game. Michael continually plays mind games with Laurie -- is she really seeing him behind the hedge? Will her friends ever believe her and not consider her some form of an outsider like Michael has become? These psychological conundrums add a subtle, but haunting layer which register's in both the characterization and the overall narrative.

But there's still that something; the lingering feeling in the pit of her stomach which she can't seem to brush off today. Laurie also has her on going deeply etched worries of typical teenagedom

In a sense, both literally and figuratively, Laurie is still a girl whose innocence and sweetness emanate with a luminous touch. She cherishes childhood memories and traditions of wide-eyed wonder and excitement of enjoying the simple things life has to offer, yet she's being secretly tugged into a darker territory that's she's never known.

It's clear from this point in the film that Jamie Lee's Laurie provides Halloween with two absolutely essential entity's: the original, established "horror" character staple of the "Final Girl", and a palpable, pulsating emotional core.

At every moment of her performance, Curtis sculpts the simplicity of Laurie Strode while crafting the emotional infrastructure, and it's why she stands out among the many copied but never equaled "Final Girl's" that horror films to this day offer up in pathetic, weak servings. She does all of this while never for a second losing sight of the character's likability and easy appeal, especially while being this iconic babysitter. It's kinda interesting how well Curtis understands Laurie, and how well Laurie understands and relates to kids like Tommy and Lindsay; through Laurie's warmth and kindness, she jokingly assures Tommy that there is no boogeyman and that she will protect him. It's a childhood fear that is ever so quickly catching up with her, though she has yet to even recognize it.

As her night of babysitting goes on she makes popcorn, watches scary movies, carves a pumpkin, reads comic books, and wonders what might have been ("everybody's having a good time tonight") if she was more like her friends, though she steadily backs away from the typical teenage norms, as when she begs Annie to cancel her dance dates with Ben Tramer. She's a nicely packaged bundle of repressed feelings and nerves that seem like they'll never come undone...

...that is until she makes a trip across the street to the Wallace House to check up on her pals when that sinking feeling surfaces once again...

....and this time instinct proves her right when she discovers the hacked up bodies of her friends in the house...

...then she becomes face-to-face with 'ol Michael Myers herself as he sets out for her as she runs off in a frenzy...

....and reaches the house panicked after losing her keys, but is finally let in.

But what never quite struck me before is just how much Curtis' performance and layered characterization amplifies this tense, heart-stopping climax.

The emotional core she has consistently provided the film becomes channeled directly through the heart of these scenes, where Curtis brings out the bravery and strength of a character we thought was so meek. Had Curtis of just played the role right into bland, cliched, generic territory these final scenes wouldn't of had the same impact as it does when she makes them so emotionally engaging.

These scenes also mark a new growth and change in Laurie's tensely building arc, the beginning of her transition from innocent child to a scarred and weary woman. But Curtis always keeps it real and grounded in a situation where any other actress might have come off as shrill or downright silly.

It's some pretty haunting stuff, folks.

Halloween is a film that lovers of it (like myself) can't say enough good things about it. It's surprisingly wide appeal, popularity, and success which continues to this very day is largely due to Jamie Lee Curtis' indelible, larger-than-iconic performance as the unforgettable babysitter Laurie Strode. Her creation of a heroine with so much texture, strength, warmth, and humanity set the bar pretty damn high for all of those future copy-cats to come within this genre, and she's never ever been matched. This Halloween, do your self a favor...watch this movie with the lights off and revist a performance and film of pure perfection.

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