The Trick is to Stay Alive

Released in the Autumn of 1978, John Carpenter's Halloween was the most profitable independent movie of its time. Filmed on a relatively modest budget of $325,000 in the Spring of that year, Halloween was unlike anything that had come before it. 

The budget constraints led to an increased level of creativity from those involved. This included the creation of season by painting bags full of leaves and actors wearing their own clothes to save production costs. More inherent to the mise en scene of the film is the lack of extras which results in a sense of loneliness. You notice that even in the daytime, save for a few instances, the streets appear deserted. The feeling I get from this is that the townspeople know something that the films main characters are yet to discover. This assists with the tension build that is so important to the success of Halloween.

The introduction is filmed to appear as a single four minute shot, in first person view, that depicts the killing of a teenage girl. It is at the end of this four minute scene that we see that the eyes we have followed are those of a young child. There are cuts in the scene, such as when the mask is put on the camera, but the shot was still particularly difficult to achieve. Filmed on the last day of shooting, the rest of the cast and crew redressed the dilapidated Myers house to appear as it may have looked fifteen years previous. The crew utilised the Panaglide camera set-up (effectively a steadicam) to allow fluid movement and the first person view. This is used to great effect in achieving a sense of voyeurism which allows the viewer to place themselves in any given frame or scene.

From this moment forth we feel an increase in tension which Carpenter refuses to satisfy prematurely. We know that Myers will kill but these killings do not arrive quickly. One of the main vehicles exploited to achieve this sense of foreboding is the films score. Created by Carpenter for the purpose of speed and budget the soundtrack has become iconic and instantly recognisable in the years following the films release.

It can be difficult, within the constraints of the horror genre, to establish characters that the viewer finds are easy to relate to. Often, those on the proverbial receiving end, are shrill,  brainless and devoid of redeemable features. This is another facet through which Halloween is able to establish itself apart from its peers.

The first characterisation that I wish to explore is that of protagonist Laurie Strode who is played by Jamie Lee Curtis in her first 'major' role. Unlike her female counterparts from the genre's history Laurie is clever; her own words "Guys thinks I'm too smart" illustrates how aware she is of this fact. Laurie is not on screen to be exploited, her chastity is intact and it is this that protects her from the evil which befalls her peers. 

The second important point of note for me is the children. Originally titled The Babysitter Murders, Laurie and her friend are babysitting on the night of the murders. Laurie however ends up with the two children as her friends seek seedier undertakings. It is through her exchanges with young Tommy Doyle that we are able to understand the children's interpretation of happenings. It is Tommy who terms Michael the 'boogeyman' and it is also Tommy who correctly advises Laurie that you can't kill the boogeyman. Tommy unknowingly shares the opinions of Dr. Loomis and again, as in the beginning, it is through children's eyes that we are given the clearest view.

A villain as effective as Michael Myers is difficult to create. It is the characters inherent nothingness that primarily contributes  to this. Nothing in the way of emotion, nothing in the way of motive and nothing can stop him. It is the addressing of these points that led to the downturn in success of the latter films in the series. As these points were addressed and the motive and humanisation of the character continued the boogeyman lurking quietly in the darkness was replaced by a relatable man. You can't kill the boogeyman but you can kill what makes him effective.

The main influence that I see apparent is Hitchcock's seminal Psycho which predates Halloween by eighteen years. The direct links are obvious in the casting of Jamie Lee Curtis and the name given to Michael's psychiatrist so expertly played by Donald Pleasence. Psycho can be considered the film which directed the horror genre away from the 'gothic' tones of its predecessors and replaced the monster with the monster inside man. It is this premise that provides us which such an effective villain in Halloween. Michael Myers is the embodiment of the thin line between human and 'boogeyman'; from appearance to strength to indestructibility.

Following production Halloween received regional release and a generally poor reception from critics and audiences alike. The films popularity grew slowly through word of mouth to become one of the most influential films of its time and genre. With a 21 day shooting schedule and a cast derived primarily from B-movie experience Halloween is an example of  what can be achieved by a relatively inexperienced cast and crew when the premise and planning behind a production is of such a high standard.  Halloween reinvigorated a tired genre and if influence can be measured by imitators then this must be considered one of the most influential films of all time.