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Stephen King

Carrie (1976) Review

February 16, 2017 by JD Hansel

MINOR SPOILER WARNING

This is one review that I didn’t think I’d ever be writing.  Some readers may recall the first time I reviewed a Carrie adaptation – when I saw the 2013 Carrie movie – at which point I decided that the original Brian de Palma film was not for me. I was in a place in life when I wanted to see the story taken very seriously, and I didn’t want it to be too fun, too silly, too campy – with the possible exception of the ending. For anyone with any familiarity with the Stephen King story, the ending is the part where, no matter how serious and dramatic the adaptation has been up until this point, the viewers had better throw their hands in the air and get ready to ride this roller-coaster down into the pits of Hades, laughing and screaming all the way. Still, this is one of the very few stories for which I feel it is best for a film to do as good of a job as possible at making everything seem very real, believable, and even mundane for the first two acts – employing an almost Our Town-like structure in saving the fantastic elements for the ending.  Much to my surprise, this movie mostly sticks to this form, offering much more realism than I would have expected.  The fact that so much of de Palma’s film makes it feel like these could be real people in a real high school assuages most of the concerns I had about about watching this movie, but the parts that are over-the-top and expressionistic are the kind of fun ’70s cult horror moments that my recent fascination with this sub-genre has made me crave.

When I wrote the review for the 2013 movie, I was in a different place in life.  I wanted to approach this story as seriously as possible and find in it something that could be used to express to the older generations why it is that so many teenagers suffer from depression and anxiety these days.  The 1976 film doesn’t work for that, but it might have served that purpose back in its day, leading me to suspect that – in general – the best version of Carrie is whichever one best expresses the anxieties to the viewers in its time.  The film I watched first may have been best for 2013 (at least for teenage viewers) while the 1976 film was probably best for the 1970s – each feels very much like a reflection of its time.  That’s why the ’76 version needs to be approached differently now – it’s a time-capsule, and the fashions of the era have not aged well.  As I’d initially feared, much of it is comical, but even some of the cheesiest moments with John Travolta feel they could have happened back then.  That being said, part of why I loved this movie so much is the stuff that doesn’t feel normal at all.  I watched this movie specifically because I wanted to see more of the kind of thing Brian de Palma did with Phantom of the Paradise, so I wanted to laugh, to feel confused, to have fun, and to cheer as the style got very expressionistic and experimental.  I came into this movie with the goal of seeing weird little kinks like sped-up dialogue to get us through a scene faster and a split-screen effect that shows two aspects of the same action – and I kind of wanted everything to be a joke.

Still, while that may seem like the exact opposite of what I wanted from this story when I watched the 2013 film, there are some things that I would’ve had to admit are perfect here even if I’d watched this movie back in the summer of 2015.  Julianne Moore may be a great actress, but the mother in this film is obviously superior, making the character seem believably uncanny for most of the film and then delightfully creepy in the end.  Even the Carrie in this film, whom I’d suspected I would have a hard time taking seriously with her acting style and her accent, is generally as relatable, likable, and believable as I’d like, and is exactly as scary as one would hope by the end.  The final scene is absolutely perfect and gave me a bigger scare than anything I’ve seen on screen in a long time – in a good way.  Even the colors, which I thought would detract from the reality of the world, actually make sense because they come from the lights at the prom, so the parts that feel theatrical still feel plausible and very much at home here.  Then, of course, there is the visual poetry in the resemblance between Carrie’s mother and the creepy Jesus figure, which may not have much of a deep meaning in this story, but it’s a heck of a cherry on top.

It’s also worth making it clear that most of the things critics complained about in the 2013 film aren’t very different from the 1976 film that is so critically revered.  The Carrie in this movie is just as pretty as Chloe Grace Moretz, and it actually seems less plausible that Sissy Spacek would have been considered too strange-looking to be one of the popular girls.  Critics complained that the 2013 film isn’t scary enough, but this film isn’t much scarier, and that’s not really the point of the story anyway.  Critics argued that the Moretz film lacked a build-up to the finale that the story requires, but I felt the build-up about equally across each film – although that may have been because I already knew the story before watching either movie.  I will concede that the critics are right in pointing out that, in comparison to de Palma’s work, Kimberly Peirce’s film didn’t seem to do much with the story that stood out – she didn’t get very playful, and one could call her work rather boring – but I don’t think that’s necessarily a bad thing if the aim is making everything feel normal for most of the film (again, I refer to Our Town).  With that said, however, it is the Brian de Palma film that must go down in history as a classic because it manages to be such a great and important drama while being a bundle of fun and laughter.  As far as I’m concerned, while it may not be the kind of horror that most people are used to, this is the ultimate horror classic (excluding horror comedies like Gremlins) and I love it just the way it is.

Filed Under: Film Criticism, New Movie Reviews Tagged With: 1970s Movie Reviews, 1976, Brian de Palma, Cult Film, Drama, Essential Classics, Four and a Half Stars, Halloween Movie, Horror, R, Stephen King, Teen Film

Carrie (2013) Review

July 17, 2015 by JD Hansel

I have extremely high standards for the handling of this particular story, even though I haven’t read the book, or even seen the 1976 classic.  What I have seen is a theatrical production of the musical based on the book, which was performed a couple years ago at a nearby community college.  That performance was one of the most amazing experiences of my life, and it is that show, along with the Broadway production of The Lion King and the StarKid musical Twisted, which makes me fear that I may never be moved by a film in the way I have been moved by musicals on stage.  I now must compare a film with a rating of 48% on Rotten Tomatoes with one of the most moving moments of my life.

Amazingly, this movie was just what the story needed.

In all honesty, here is what went through my mind as I watched it: from the moment Carrie drops into her school’s swimming pool, we are plunged into a pool of fiery pressure, where we must quietly wade as the gates of Hell creak in the distance.  We know it’s only a matter of time before Hell breaks loose, so we watch anxiously to see which flame will be the one to push open the gates, allowing the fire to consume us all.  But that’s not the scary part; the horror is in our powerlessness to do a thing about it.

So what is this fire?  That’s simple.

High school.

I have absolutely no interest in the average horror film, which tries to make what’s on the screen terrifying.  I have no patience for a film that flashes scary images on screen or makes me anxious about a fictitious terror.  (I already have to deal with plenty of fear in my real life, so I don’t need anymore of it in my entertainment unless it’s really worth it.)  What excites me is a film that makes me detest reality and fear life itself.  To do this, one must capture the essence of powerlessness, and high school is the perfect setting for achieving such a thing.  The scenes that show the inadequacy of the school principal, the misguided punishments enforced by the gym teacher, the subtle mockery provided by the English teacher, and the overall inability of the school system to handle abused students are the ones that have a lasting sting and send shivers.

The scenes with Carrie’s mother truly strike fear and rage into my heart, since I know that similar households could easily exist perpetually without anyone ever raising an eyebrow.  The portrayal of the mother, in my view, is spot on, making me cringe and nearly scream.  It is that particular character that stirred me up in a way few other characters in film have before, particularly with her relentless superstitious attribution, forcing the world to meet her particular worldview just so that she can process it.  That is perhaps the most despicable element of religion, and it brings to mind the philosophical question of Sam Harris’, “If someone doesn’t value logic, what logical argument could you provide to show the importance of logic?”  The line in this movie that really sticks out to me is when Carrie retorts some of her mother’s nonsense by saying, “That’s not even in the Bible!  It doesn’t say that anywhere!”  There are thousands, or maybe millions, who similarly display vehement dedication to their own imaginary edition of the Bible that happens to conform perfectly to their worldview, and this film is a delightfully horrifying reminder.

This story can be, when done right, a masterpiece in cynicism and disgust.  I think it ought to be contrasted to Disney’s Tomorrowland, largely because Carrie‘s strength is Tomorrowland‘s weakness – the resemblance to reality.  When one considers the much beloved 1976 Carrie movie, which I must confess I analyze based on the trailer alone, it seems to have a surreal, theatrical, otherworldly style.  Generally, this is the style I greatly prefer in film, and I think that the ’70s film has shots in it with an an outstandingly fantastic look . . . just not for this story.  I can’t look at a very ’70s movie about a girl with a goofy accent and take it seriously, especially if it goes so far as to cast John Travolta as the highschool hunk, which just sounds like a parody of ’70s movies (although casting Ansel Elgort may be the modern equivalent).  Frankly, the trailer to the 1976 film makes me laugh, which is exactly what should not happen.  This story must be portrayed as close to reality as possible, which does not become the issue it did with Tomorrowland since it’s so obviously a fantasy story.

The movie has the same Tomorrowland-like goal of shouting its message to the world, but it does so by bluntly displaying our society’s detestable ugliness.  This, in turn, makes it beautiful.  As a visual experience, it’s just fine (even though it’s not my style).  As a story though, it is stunningly gorgeous, with a build up that screeches with the scraping of Hell’s gates pushing against the floor in fractions of a centimeter, expelling “nails on a blackboard” from the phrasebook, only to reach an immensely satisfying conclusion to drive its point home.  It boldly declares to everyone, “Your world is so miserably broken that only so much as one little tweak to the laws of nature could end hundreds of lives and destroy cities.

“Fix it.”

63 Carrie (2013)

Filed Under: Film Criticism, New Movie Reviews Tagged With: 2010s Movie Reviews, 2013, Carrie, Four and a Half Stars, Halloween Movie, Horror, R, Stephen King

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