The October Ordeal Day 31: Halloween III

October 31^st: Halloween III (1982)

One of the reasons I’ve always loved Halloween III is because it’s so damn weird. Some of its strangeness comes from observation (how strange it is to see kids running around in gross masks once a year), but most of it is inspired. This is a kitchen sink film and then some: a doctor investigating a vast conspiracy, robot henchmen, witchcraft… Stonehenge? Some aspects of Halloween III simply make no logical sense at all. Writer and director Tommy Lee Wallace made one of horror cinema's true historical curiosities, and decorated it extensively with carved pumpkins. Halloween III is a favorite of mine, and I’ve chosen it as the cap to The October Ordeal.

While Halloween III is generally well-remembered by genre fans now, it failed to excite at the box office. John Carpenter intended to kick-start a yearly series of diverse films under the “Halloween” banner. Unfortunately, fans simply didn’t want a Halloween without Michael Myers. Pity, as this film has more life than the sequels that followed it. The back of the original VHS release spends half the synopsis on the back cover explaining that Michael Myers in not in fact in Halloween III. Halloween IV is even apologetically sub-titled “The Return of Michael Myers.” It's hard to imagine what all the fuss was about. While this film is a self-contained story outside the Michael Myers continuity, it contains enough fun references and in-jokes to at least place it in the same universe.

There are of course differences. John Carpenter’s music—for instance—is considerably more upbeat, at times approaching disco. Many aspects of this film feel strangely familiar yet also displaced. At times it feels like an odd riff on the horror genre altogether. Truth be told, Halloween III is more of a Sci-Fi mystery than a fright film. While it may not be a typically "scary" horror film, Halloween III finds its inspiration in the American holiday itself, way more so than the first two films. While the first Halloween makes great use of the season, its concern is not the particulars of Halloween itself. Not only are the aesthetics of the holiday amplified here, but the ancient origins of Halloween as well, specifically its roots in pagan Samhain and Hallowe’en.

Tom Atkins is right at home as an alcoholic absentee dad cracking an occult conspiracy. I have no idea why he’s playing a doctor (Dr. Dan Challis); he plays it the same way he’d play a cop or detective. He's casually drawn into the pulp plot when a dying man in his ward exclaims “They’re going to kill us all” while clutching a pumpkin. Challis then sets out to find the killer, perhaps out of boredom. Dan O’ Herlihy is characteristically professional as the witch CEO of Silver Shamrock, a mask-making corporation based in sleepy Santa Mira, CA (the location of the original Invasion of the Body Snatchers). Kids nationwide can’t seem to get enough of Silver Shamrock’s colorful masks, despite the fact they come in only about three varieties.

Silver Shamrock’s masks, unfortunately, are deadly. Each mask contains a coin chipped off of Stonehenge (?) which, when triggered, will lazer a kid’s face off and release bugs and snakes from the skull (??). Staging it as a media event, at nine PM on Halloween, Silver Shamrock plans to broadcast the image of a blinking Jack O’ Lantern to trigger the deadly masks (???). Conal Cochran (O’ Herlihy) plans to use the event as a way to punish ignorant kids. As a pagan wizard, Cochran is disgusted by Trick or Treats; he still sees Samhain as a time to honor the dead and confront mortality. Out of desire to “Control [the] environment” and appease an angry universe, Cochran has planned this mass sacrifice via TV and Toys, turning Halloween’s commerciality against itself. Television itself features in the film; a set is on anywhere Challis goes. Halloween III actually manages to exploits Halloween clichés in an interesting way, more so than Halloween. John Carpenter’s original film may be the masterpiece, but Halloween III is truer to its namesake.

Instead of the other Halloween films, the obvious reference point is Larry Cohen. There’s a playfulness here that reminds of The Stuff and Q. From the noncommittal Hitchcockisms to the hard-boiled characters and action, there’s a lot in common between Wallace and Cohen, throwing all ingredients into a blender so unapologetically being the most striking similarity.

Halloween III features a great (and reflexive) ending, ambiguous in one sense yet also definitive. Far too many horror franchise endings seem only to facilitate the next sequel. While it may be a good distance from the first film in quality, I argue that this is the second best film in the series, perhaps because it's the most unorthodox entry. The October Ordeal has been an ordeal, and this is the best film I could have chosen to end it with. Halloween III rocks, and belongs on the Halloween-party marathon list of any rowdy crew of drunken pagans.

The October Ordeal Day 2: Video Violence 2

October 2nd: Video Violence 2 (1987)

Camp DVD packages both Video Violence 1 and 2, but it might as well have put the sequel in the “extras” section, because that’s what this feels like. Released less than a year later and featuring much of the same cast (and some of the same footage), Video Violence 2 feels more like an excuse to reunite the ol’ gang rather than an effort to create a stand-alone film. Shame, because technically it’s an improvement. Despite the fact that its shot on video, Video Violence 2 actually looks (and sounds) much better than the first film. But, trust me, that’s still not saying very much.

For the sequel, Gary Cohen throws away the traditional narrative structure of the first film and structures the film as an extended television show. Sadistic TV hosts Howard (Bart Sumner) and Eli (the actor is listed only as “Uke”) return, this time bringing their snuff-variety show to the air-waves, via a pirate signal. And--we learn via an unconvincing news report at the film’s opening--the show is a big hit. Besides a dozen fake commercials and interludes, we spend the entire movie with these two goons. Besides introducing clips, Howard and Eli torture a bound woman live, with the participation of their music-man Gordon (the film’s composer Gordon Ovsiew).

Videodrome had a huge impact on gore-hounds in the 80s. The late-night pirate snuff/torture porn premise of Video Violence 2 is clearly inspired by Cronenberg’s film. I imagine there are a lot of Fango-junkies who love Rick Baker’s effects but probably didn’t really get the film. There’s nothing funny about the routines in Videodrome; the murders in Video Violence 2 are played for laughs. Like the first film, VV2 is creepy in its contrived “zaniness”, an awkwardness that occasionally plays as downright disturbing.

While the original Video Violence was clumsily plotted for sure, VV2 is constantly in the process of falling apart. Simply, the film has no center. Also, it's not that great. There was a kernel of something worthwhile in the original; here there is none. It took a lot of self-control not to watch the last half of the film in fast-forward. The two protagonists from the first film appear only in a cameo, and the video store itself is the setting for only one scene. The two best things about the original film are essentially removed. While there are things about it I like, I can barely recommend the original Video Violence. The sequel however, I can confidently warn against. Alas, since both films are available on one DVD, this point is practically irrelevant.