THE HILLS HAVE EYES (1977)

 

(Director/ screenwriter/editor: Wes Craven)

Review

The bleak, violent HILLS begins with the Carter family road tripping through an American desert. The Carters include: “Big Bob,” a no-nonsense, politically conservative ex-cop; his traditional wife, Ethel; their liberal daughter, Lynne Wood, mother to baby Katy and wife to also-liberal Doug. Lynne’s slightly younger apolitical siblings, Bobby─wearing an Ohio State T-shirt─and Brenda, accompany them on this politically and socially frayed adventure.

The Carters, with Bob at the wheel, stop at a middle-of-nowhere gas station where its old-man attendant (Fred), concerned for their safety, warns them to keep to the main highway. Bob ignores Fred’s advice and takes a desolate “short cut” side road, setting into motion the savage back-and-forth between the Carters and a tunnel-dwelling, cannibal family.

HILLS, which has a gritty, unsettling tone to it from the get-go, takes little time in cutting to a shocking cycle of rape, torture, murder, vengeance, and other territorial violence. Its tone and intensity is appropriate given its themes (racism, class warfare, militarism, and other social problems)─Jupiter’s cannibalistic-by-necessity clan represents the desperate poor, while the Carters are materialistically comfortable middle class.

According to Craven (and IMDb), the film was inspired by three things. The first was the fifteenth-century, Scottish legend of Sawney Beane and his feral family (a wife, fourteen children) who attacked and chowed down on unlucky travelers. Eventually, the Beanes were caught, judged as crazy and executed when they were found. The second was a real-life encounter Craven and his wife had in the state of Nevada, when three locals shot an arrow in his direction; when he protested, they told him they could murder him, leave his corpse in a mine, and get away with it. The third: HILLS is a partial homage to Tobe Hooper’s 1974 movie THE TEXAS CHAIN SAW MASSACRE, which HILLS is spiritually akin to (some of Jupiter’s family’s belongings seen in HILLS were props taken from TEXAS).

HILLS has great behind-the-scenes crew and players. Cinematographer Eric Saarinen (DEATH RACE 2000, 1975) imbues HILLS with a harsh, dirty tone, perfectly suiting director/screenwriter Wes Craven’s blunt editing and restless POV shots, giving HILLS further edginess.

The actors who gave form to the Carters/Woods include: Russ Grieve (FOXY BROWN, 1974) as “Big Bob” Carter; Virginia Vincent (THE RETURN OF DRACULA, 1958) as Ethel, his fussy wife; Dee Wallace (THE HOWLING, 1981) as the fiercely protective and maternal Lynne Wood; and Robert Houston (THE HILLS HAVE EYES PART 2, 1984) as the action-oriented Bobby Carter.

John Steadman (SUMMER OF FEAR, 1978) played Fred, the grizzled gas station attendant with a profound sense of sorrow, caution, and fear.

James Whitworth (PLANET OF DINOSAURS, 1977) played Jupiter, barbaric patriarch of his Roman mythology-monikered clan. Horror icon Michael Berryman (ED GEIN: THE BUTCHER OF PLAINFIELD, 2007) played the opportunistic and sometimes terrified Pluto. Janus Blythe (THE HILLS HAVE EYES PART 2) played the not-as-feral-as-her-kin Ruby.

HILLS is a taut, sharp, nasty, and landmark work, one that inspired a Craven-created 1984 cinematic sequel, as well as a 2006 remake and its 2007 sequel. The first HILLS is worth your time if you can appreciate unsettling, sexually and violently graphic exploitation pieces that embody and transcend the primary genre(s) they’re often lumped into─while there’s no explicit nudity in HILLS, its brief assault/sex scenes are disturbing (though not as off-putting as those seen HENRY: PORTRAIT OF A SERIAL KILLER, 1986).

THE HOWLING (1981)

 

(Director: Joe Dante. Screenplay by John Sayles and Terence H. Winkless, based on Gary Brandner’s 1977 novel of the same name.)

Review

Loosely based on Gary Brandner’s 1977 novel of the same name, the film version is about a television newswoman, Karen White (Dee Wallace, ALLIGATOR II: THE MUTATION, 1991), who’s being stalked by a serial killer. When the psycho, Eddie Quist, falls for a police set-up using Karen as bait, she’s almost raped and killed by Eddie, who’s fatally shot by the cops. Traumatized by this, she suffers from memory loss and has disjointed nightmares about her missing minutes. Her shrink, Dr. George Waggner (Patrick Macnee, WAXWORK, 1988), suggests that she recuperate in a remote resort in the woods, Drago, where Waggner can better guide her healing.

Karen and her boyfriend, Bill (Christopher Stone, CUJO, 1983) arrive in Drago. Everybody’s friendly, if occasionally weird, some of them too friendly. One of those people is Marsha, an exotic woman who flirts with Bill. He fends off her advances, but after he’s attacked by a wolf-like creature, his attitude changes. Meanwhile, Karen is still unnerved by her unfolding-memory nightmares and the wolf howls that fill the night, some of them close to their cabin.

Back in Karen’s home city, her co-workers and friends─Terry Fisher (Belinda Balaski, GREMLINS, 1984) and Chris Halloran (Dennis Dugan)─have done further digging into Eddie’s life and death, and discovered several things: Eddie’s body has disappeared from the morgue; Eddie had an obsession with werewolves, Karen, and an area that bears an uncanny resemblance to Drago. . . Eventually, Terry and Chris head up there at different times, and it’s not long before the true nature of Drago’s denizens is revealed, with wild, bloody confrontations that Karen, Bill and her friends might not survive.

HOWLING is an excellent, humorous, and clever update of the furry moon-beast genre, a satire about media and a cautionary tale about sexual repression. Its tone is lighter than that of its source book (e.g., in the book Karen is raped in her own home, and its ending is different than that of the film). Aficionados of werewolf works might especially enjoy HOWLING’s nods to previous shapeshifter films, like the name of John Carradine’s character (Erle Kenton). In real life, Erle C. Kenton (1896-1980) was a director, actor, and writer; one of the films he directed was HOUSE OF FRANKENSTEIN (1944), which featured Lon Chaney Jr. as Larry Talbot, the iconic Wolfman of several Universal films. In several scenes of HOWLING, Chaney’s first outing as Talbot (THE WOLFMAN, 1941) plays on a television set.

So many things make HOWLING work as well as it does. Its running time is kept short (an hour and thirty minutes, every scene important to the film).  Its writing and dialogue is sharp, often clever and funny, with an underlying theme of sexual and social repression woven into its various aspects, verbal and visual. Its special makeup effects, practical not digital (HOWLING predates the latter), are top-notch, overseen by Rick Baker (AN AMERICAN WEREWOLF IN LONDON, 1981), created by Rob Bottin (THE THING, 1982) and further brought into being by their talented special makeup effects crew.

Its cast is perfect and fun. Beyond Dee Wallace and Christopher Stone (who were married from 1980 until his death in late 1995), and others, everyone nailed their parts.

Kevin McCarthy (INVASION OF THE BODY SNATCHERS, 1956) played Karen’s boss, Fred Francis (perhaps a reference to Freddie Francis, who directed 1975’s LEGEND OF THE WEREWOLF). Dick Miller (AMITYVILLE 1992: IT'S ABOUT TIME, 1992) played Walter Paisley, the bookstore owner who’s also a werewolf expert. Robert Picardo (GREMLINS 2: THE NEW BATCH, 1990) played Eddie Quist with playfully sadistic relish. Meschach Taylor (DAMIEN: OMEN II, 1978) played Shantz, a concerned cop. Kenneth Tobey (THE THING FROM ANOTHER WORLD, 1951) played an “Older Cop.”

The denizens of Drago include: Elisabeth Brooks (FAMILY PLOT, 1976) as Marsha; Slim Pickens (BLAZING SADDLES, 1974) as Sam Newfield; and Noble Willingham (THE LAST BOY SCOUT, 1991) as Charlie Barton.

Sharp-eyed horror fans might recognize Karen’s co-anchor, Lew Landers, who appears in GREMLINS (1984), another Joe Dante flick. James MacKrell played Landers in both films.

There are several uncredited cameos as well. Producer/director Roger Corman played “Man in Phone Booth.” HOWLING screenwriter John Sayles played a morgue attendant. Forrest J. Ackerman (RETURN OF THE LIVING DEAD II, 1988) played a grumbling bookstore customer. Writer/director Mick Garris (PSYCHO IV: THE BEGINNING, 1990) played “Man with TV Guide.”

HOWLING is one of my Top Ten werewolf flicks, worth checking out, even if you’re a casual lycanthropy viewer who doesn’t geek out like I did in this review.