Rarely is there such a discrepancy between a movie's popularity and its enduring influence. This one got middling ratings at best across the board, both when new and at present, yet it spawned a long series with a highly iconic character. I thought I knew enough not to bother watching, but Scream called my attention to my ignorance. I doubt my new knowledge will spell the difference between life and death for anyone, but it couldn't hurt, could it?
Seven counselors (Adrienne King, Harry Crosby, Jeanine Taylor, Laurie Bartram, Mark Nelson, Robbie Morgan, and early Kevin Bacon) and their director (Peter Brouwer) prepare to reopen Camp Crystal Lake for the summer, disregarding local rumor of a fatal curse on the area based on a series of unsolved murders and suspicious "accidents" starting in the late '50s. I'm relieved to say there are no campers yet when the "curse" strikes again, with the eight getting picked off one by one, primarily at night with an unreliable power source. It's quite late in the movie before anyone who isn't already a victim has any idea that people are dying.
As is now cliche for the subgenre, the young adults are largely libidinous and only slightly responsible. At least this time, unlike in Halloween, the factor is explicitly relevant to the killer's motivation. And no, we're not talking about an incel.
If you were hoping for the signature hockey mask and chainsaw, I'm afraid they come in a later installment. Most of the time, we see little to none of the killer. Instead, the camerawork and ominous music (think Psycho with a touch of Jaws) often suggest a key POV. Judging from character reactions, the scariness comes entirely from actions, not appearance. Also unlike in Halloween, there isn't just one weapon at work.
From what I gather, the first flick is about as different from the sequels and reboot as First Blood is from the rest of the Rambo series. Should I have skipped ahead? Probably not. It's still the most popular entry, it sets things up for the next most popular, and it gave me more exposure to Sean S. Cunningham, now directing. Also Bacon, but he gets about the same kind of role as Johnny Depp in A Nightmare on Elm Street.
Where the picture falters is in convincingness. While some critics complained about realistic violence, the low budget really shows, in both props and acting. Only the scoring seems better than average. The plot's rather simple, but it did manage a couple surprises.
I think the best reason to watch, apart from cultural education, is the ironic comfort of indulging in a cookie-cutter sort of horror. It makes no pretense of being anything besides a trashy slasher, and it delivers on its promise. You may not be scared, but you may be thrilled in another sense.
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