This entry marks the close of both the series and the month. I have no puns to mark this solemn occasion. Such things in a moment like this would be obscene. No, I have neither puns nor wit to introduce the final entry of this series. From Beetlejuice to Rocky Horror, I have tried to encompass different styles of horror movies: modern classics, monster classics, cult classics, and mystery classics. I stand by what I say in calling all of the movies I’ve selected classics, even if mainstream media doesn’t exactly agree with me. Even so, the films that I’ve praised in previous weeks pale in comparison to this final selection. It’s not exactly a Halloween movie, but simultaneously it is difficult to separate it from the holiday. I would know – I watched it for the first time on the Fourth of July, and it was quite the experience. I wouldn’t recommend against it, but it does a much better job of setting the mood for the haunting season.
Number One – An American Werewolf in London (1981)
I mentioned various types of classics in my introduction. This film satisfies – or at least, embodies in part – most of the labels I gave. It is far more modern than some (one) of the movies on this list, although I have further qualifications for its modernity. It contains both monsters and mystery within its one hour and thirty-seven minute run time. While it doesn’t have quite the cult following that Rocky Horror currently maintains, there is a strong fan following, and even within the movie there are some eerie moments that can only be explained through the existence of some secret society. Unlike prior entries in this series, however, it is difficult to explain why this movie makes the list without explaining the movie first.
An American Werewolf in London was born when director John Landis was met with the idea of reanimation and realized he couldn’t handle it. Americans David Kessler (David Noughton) and Jack Goodman (Griffin Dunne) are backpacking through Wales when they come across a pub called the Slaughtered Lamb. The locals act strangely, and when the duo inquires about the pentagram on the wall, their behavior becomes even stranger. As the Americans leave, the pub-goers warn them to “Beware of the full moon.” Unfortunately, David and Jack get lost in the moors, and a large animal brutally attacks them. Only David survives, but before he faints from his wounds, he notices that the animal’s corpse is now a human corpse. He awakens in a hospital in London, where he is tended to by Nurse Alex Price (Jenny Agutter). The mystery surrounding his circumstances deepens due to conflicting reports as he attempts to recover from the attack and find out what has happened to himself.
The first thing I wish to praise is the black comedy of the film. It does not detract from the often bloody and usually morbid nature of the film, instead keeping the film upbeat and adding an almost unique quality to the horror. You want to laugh as much as you want to recoil from the horrific visuals and almost-corniness of some of the lines. Avoiding spoilers as best I can, Dunne gives a fantastic performance as Jack through life into death. In fact, after the 2017 remake of The Mummy, people compared Jake Johnson’s performance as Sergeant Vail to Dunne’s as Jack; however, the reviews of Johnson typically claimed that he was nowhere near as adept at playing that archetype of character. Noughton also was incredible at portraying David’s fear, pain, confusion, and even love. Agutter was memorable in a strangely everyday way. They each played incredibly down to earth characters for the situation the trio found themselves in. The soundtrack is surprisingly upbeat, matching with the black comedy aspects of the film. In fact, every featured song in the film contains the word “moon” in the title, and three different versions of “Blue Moon” can be heard throughout the course of the film.
In terms of the horror aspect, I must warn you and say that the film is gory. It was bound to show up at some point on the list, but if you are sensitive to horrific and often violent imagery or copious amounts of blood, it might be best to watch it with a friend who will tell you when to close your eyes or to skip it altogether. Furthermore, there is a lot of discussion of self-harm and suicide as the film progresses. Similarly, if you feel like this could trigger you or are otherwise wary of such content, please do not watch the film, and know that there are resources for you on campus such as CPS and Nightline.
If this does not bother you, know that the movie will be full of incredible and groundbreaking horror effects makeup. In fact, An American Werewolf in London won the Academy Award for Best Makeup in 1981. This happened to be the first year in which the category officially existed, making this a very modern achievement, although makeup artists could be honored (albeit rarely) through Special Achievement awards. I have been fortunate enough to be able to see the special effects hydraulics for the werewolf skull transformation through the Universal Studios Horror Makeup Show in which it is featured. The movie makes use of practical events to an extent that is rarely seen in modern movies. What is most spectacular about this is that it looks extremely realistic – at least, as realistic as a werewolf transformation can be, among other things.
The plot itself is rather simple. It doesn’t attempt to be complex or to be iconic, and it is this almost nonchalant aspect of the film that helps boost its popularity. It is bittersweet at-times, but the emotions and relationships between Jack and David as well as David and Alex drive the tension of the film. A slew of secondary characters join Jack in further developing the horror storyline of the film, while Alex tries desperately to have a life with David. Although simple, the plot is endearing and easily a classic.
The movie is well remembered by critics and fans alike. As I mentioned, some of the makeup secrets are featured in the Universal Studios Horror Makeup Show, and Michael Jackson was so impressed by the film that he asked John Landis to direct his music video for “Thriller,” with Rick Baker (the makeup artist behind the film) doing the iconic undead makeup. There has been a radio broadcast adaptation as well as a Halloween Horror Nights maze based on the movie which premiered at Orlando before being brought to Hollywood. More frightening than the film, Max Landis, the son of the director, has confirmed that he is going to be writing and directing a remake of the film. After the poor reception of the 1997 sequel An American Werewolf in Paris (which I refuse to see) and several other horror movie remakes of late, I am not entirely convinced that that is the best idea.
An American Werewolf in London is a modern classic in which monsters abound and the mystery of the situation wraps everything like the perfect Halloween present. With this, my Halloween movie list comes to a close. Of course, other iconic films can fit in somewhere – there are some great horror movies I didn’t mention, like The Shining. Other great Burton films exist besides Beetlejuice, or you could look through various flicks from the Legacy of Horror. I barely mentioned the Hammer horror films, and I never mentioned television shows such as Penny Dreadful. Freeform has been hosting 31 Nights of Halloween this year, with many showings of Hocus Pocus and Maleficent populating the airways. On October 26, The Chilling Adventures of Sabrina is released on Netflix, which follows Sabrina the teenaged-witch in a brand-new, dark reimagining. Whether new or old, there will never be a shortage of Halloween films and programs to pop in your DVD player, rent online, or otherwise acquire. I don’t judge. But, if you had any doubt in your mind as to what to watch, hopefully this small list helped you out. It’s out of my hands now. I have just one final curse for you: may this Halloween be your spookiest yet.
Indira Ramgolam is a freshman in Columbia College.