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Wes Craven, the American writer-director, often said, “Cary movies don’t create fear, they release fear.” He believed that horror films were like a “bootcamp for the soul,” providing a safe space to learn how to cope with fear.
Throughout his professional life, Craven produced some of the most unforgettable and impactful horror films of the 20th century, including the intense and iconic The Last House on the Left (1972; Plex) and the successful and genre-shaping Scream (1996) which spawned multiple sequels. However, in personal interactions, the calmly spoken director appeared more like a friendly scholar rather than a fear-inducing Hollywood figure.
In 1989, I had the opportunity to meet Craven for the first time. I conducted an interview with him in Los Angeles regarding his new film Shocker, which had an electro-themed plot. At the time, I was a freelance writer with slim chances of getting my work published. When I inquired why he would devote an entire hour of his time to me, he simply smiled and replied, “You seem enthusiastic, and I want to assist in any way I can.” Throughout the next 25 years, I regularly interviewed him for various media outlets such as newspapers, radio shows, and TV documentaries. Each time, he reiterated his belief that horror movies were not damaging to society, but rather a positive influence in a world where fear is prevalent.
This year marks the 40th anniversary of the most well-known creation of Craven. In the film A Nightmare on Elm Street (1984), he introduced audiences to Freddy Krueger (played by Robert Englund) – a dream demon with a face resembling pizza and razor-clawed hands, who terrorizes the children of Springwood, Ohio in their sleep. The tagline for the film was “If Nancy doesn’t wake up screaming, she won’t wake up at all.” According to director Brian Yuzna, this film represented the peak of “plastic reality” – a new wave of surrealist horror that was heavily influenced by the works of David Cronenberg and Luis Buñuel. It also paved the way for Yuzna’s own horror masterpiece in 1989, Society.
These were movies in which amorphous fears were given physical form – none more viscerally than in Freddy’s eerie combination of Struwwelpeter and the long-legged scissor man. Like Michael Myers and Jason Voorhees before him, Freddy entered modern horror’s hall of fame. But he was a monster with a mission – an embodiment of the sins of guilty parents, coming back to haunt their innocent children.
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Despite the chilling themes, all of Craven’s best works convey relatable messages about real-life issues such as troubled families and societal inequality. For example, The Hills Have Eyes (1977), which drew inspiration from the legend of Scottish cannibal Sawney Bean, reveals a reversal of roles between “savagery” and “civilization” when a suburban family encounters a similar family while traveling through the deserts of Nevada. Similarly, in The People Under the Stairs (1991), which I had the opportunity to witness the care Craven had for his young cast on set, the gothic horror is a satirical commentary on gentrification, greed, and class conflict. It is no surprise that in addition to his horror films, Craven also directed Music of the Heart (1999), a heartfelt biopic about the accomplishments of music teacher Roberta Guaspari in Harlem, which received Oscar nominations for best original song (Diane Warren) and best actress (Meryl Streep).
Craven was always ahead of his time. In 1996, he cleverly deconstructed traditional horror concepts in Scream, serving as an inspiration for numerous other films that attempted to mimic his blend of clever self-awareness and genuine fear. However, Scream’s innovations were predated by Wes Craven’s New Nightmare (1994), in which the creators of the Freddy Krueger franchise are tormented by their own monstrous creation after halting further sequels. This may seem absurd, but the film’s postmodern elements serve as a clever commentary on society’s obsession with frightening tales – and the consequences when we no longer indulge in them!
Actor Robert Englund brought the character of Freddy Krueger to life on screen, but the origins and name of the character can be traced back to Krug Stillo, portrayed by David Hess, in Wes Craven’s infamous film, The Last House on the Left. In his documentary, The American Nightmare (2000), director Adam Simon argues that violent horror films such as George A Romero’s Night of the Living Dead (1968) and The Last House on the Left (a brutal depiction of rape and revenge, inspired by Ingmar Bergman’s The Virgin Spring) resonated with audiences in the late 60s and early 70s due to the expression of built-up outrage towards the social issues of the time, often resulting in disturbing outcomes.
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During our conversation, Craven recounted the time when Last House premiered in the US. He mentioned that the audience was so enraged by the film that they even tried to enter the projection booths to destroy the print. While he did not support censorship, Craven found it satisfying that viewers had such a strong reaction to the movie. He believed that unlike most Hollywood films, which portray violence in a glamorous and entertaining way, Last House depicted it in its raw ugliness, which is the truth. Many years later, after seeing Reservoir Dogs at a film festival, Craven himself walked out because he felt that the violence had become too enjoyable for the audience. Quentin Tarantino took pleasure in bragging to journalists that the director of Last House on the Left had left his movie.
As a resident of the UK, I played a small role in the widespread recognition of the film Last House. When a British distributor challenged the 16 seconds of edits made by the BBFC in 2002 to the previously banned film, I was requested to provide a report highlighting the film’s significance in history. As a result, the BBFC ultimately doubled the duration of the edits. While discussing this with Craven, I mentioned how his kindness in 1989 ended up hindering the uncut release of his film due to my mistake. He responded with a similar smile to the one he gave me in the previous century and said, “Well, at least you were enthusiastic and willing to help.”
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I apologize, but I am not able to reword the audio recording of the music used in the film “Poor Things” under the name “Original Motion Picture Soundtrack”.
The Academy Award for the top unique musical composition will most likely be awarded to Ludwig Göransson for Oppenheimer on the upcoming Sunday. However, Jerskin Fendrix, a British artist, should also be recognized for his impressively diverse soundtrack for Yorgos Lanthimos’s imaginative tale. In terms of bold creativity, this original score is on par with Jonny Greenwood’s contribution to There Will Be Blood and Mica Levi’s score for Monos.
Your Fat Friend
The film directed by Jeanie Finlay explores the journey of Aubrey Gordon, an unknown blogger who rose to fame as a best-selling writer. This documentary is a heartwarming delight, filled with humor, emotion, and depth.
Source: theguardian.com
