Wow. It's been more than -two years- that myself and other horror fans have waited for Rob Zombie's debut film, House Of 1000 Corpses to be released. A long two-plus years, during which we have had to endure films such as Urban Legends: Final Cut and Resident Evil. So of course, in this time, H1KC was built up, both in the minds of fans as well as in the trade press (read: Fangoria) as the 'saviour' of horror and a return to the hardcore, unblinking days of exploitative 70's horror ala Dawn Of The Dead, I Spit On Your Grave, and most notably The Texas Chainsaw Massacre. The problem I have with this idea is that -- to be honest -- the horror genre doesn't need saving. Oh sure, the HOLLYWOOD horror film does, but not the genre in general (as evidenced by such quality indy and small budget films made in the last year or so such as Jeepers Creepers, Ginger Snaps, The Devil's Backbone, etc. etc.), and H1KC, with all its stigmas of gore, torture, and exploitation, is by no means a Hollywood film and is likely to have little to no effect on Hollywood as a result.
I suppose I should start with a plot synopsis, but I don't think that will matter all that much. Plot is not paramount to H1KC so much as style and atmosphere are. It is a very stylish, intense film which does not let up for its entire running time. But, anyways, the plot revolves around 4 teens: Bill, Russel, Mary, and Denise, who are driving cross country working on a book about bizarre roadside attractions. Needing gas, they stop at Captain Spaulding's Museum of Monsters and Mayhem, an oddities exhibit connected to a gas station and fried chicken stand. The freakish Spaulding shows them his carnival like Murder Ride, and tells them about the local legend of Dr. Satan, a demented surgeon who performed sick operations on the mentally ill. Eager to find the tree on which we was hanged, the kids set out with a map from Spaulding. Only they don't find the hanging tree -- what they find instead is a figurative gateway to hellish torment.
Sounds like a whimisical romp, doesn't it?
I think the other contributing factor to the film's lack of commercial and critical success is Rob Zombie himself. Not that he is a bad director as he certainly has had a lot of experience working with his own music videos to know his way around a camera and an editing table. But instead it is his signature style -- the frentic, fast paced, claustrophobically jam-packed visual look which Zombie damn near trademarked in his musical career is brought over to H1KC without a second thought. It makes for an interesting film to watch -- not unlike Stone's Natural Born Killers, as both are shot in an eclectic neo-postmodern (is that even a WORD?!) style which can be overwhelming to the casual viewer. In this sense, Zombie's work seems amatuerish and uncouth, even though I am pretty sure that the crazed look of H1KC is exactly what Zombie wanted. The critics don't see that; they see a musician shooting an 85 minute music video with lots of blood, violence, and freaks of nature.
Zombie's influences are plain. Obviously, Tobe Hooper and TCM were the inspiration for H1KC, and the similarities between the two run across several veins. Beyond the obvious (the family of freaks in the middle of nowhere), there are more subtle references as well -- educated young men and women vs. provincial hicks, the bizarre rituals and house decorations, and the unblinking, gritty eye of the camera. But, I read the film a lot differently than most critics have, in two key ways. First off, knowing what I do about Rob Zombie, I know that the similarities between H1KC and TCM are intentional and meant to be an homage (which I feel it does an admirable job in doing). Secondly, being more a student of the genre than -any- major critic who gets published in the newspaper, I can see more of the influences which Zombie brings to the table and see the film more as how the director wanted it to be than how they think it should be.
To wit; there is a scene about 2/3rds of the way through H1KC which is a full blown Fulci-esque suspense shot -- at the showing I was at, the entire audience was palpably squirming uncomfortably for its duration. Compare this to the splinter scene in Zombi 2 or the drill scene in City Of The Living Dead. Or, if you would like, examine Captain Spaulding's Museum of Monsters and Mayhem, which is equal parts twisted Americana, Todd Browning, and Vaudeville. (Spauling himself is so creepy that I know several people who refuse to see the film just because of him!) Or look at the character of Baby, who on the surface is an obvious satanic twist on the Betty Page pinup girl stereotype -- but look deeper and you will see elements of everything from Talking Tina from "The Twilight Zone" to the murderous children in Bloody Birthday. Or look atThe Professor, and tell me you don't see elements of Jason Vorhees and the killer from My Bloody Valentine. And Dr. Satan, well, he could probably fill an article by himself.
The point I am trying to make here is that while H1KC is far from perfect, it is still much more worthy of inspection than some of the so-called-critics would have you believe. Clint Morris on Film Threat says that, "I fail to see wha tthe attraction is with this film." Can't exactly say I am surprised.
Now let's get to the brass tax of it. Is this film good? From me, The Vaultkeeper, yes. House Of 1000 Corpses is the best new gore film I have seen in a long time. Is it revolutionary? No. Its Rob Zombie's way of saying "I Love You" to all of his favorite things in this world. Zombie knows what he is doing and constructed this film, with all its wierd trappings (including but not limited to the troop of cheerleaders and a liquor store named "Red Hot Pussy Liquours"), to serve as a type of thank you to the old days. Yes, it is also a slap in the face to contemporary teenie-bopper horror films as well, but I think that Zombie was more interested in paying tribute to the neo-classics than in tearing down the new idols. Is it scary? Hard to say. Like TCM, H1KC does not have a lot of spring-loaded cat type scares, instead relying on the overwhelming feeling of dread to achieve its effect. It's no spookfest, but it will haunt you. As Larry said as we were driving home from the showing, "I want to say that I liked it, that it was worthwhile watching. But I will probably hate myself for saying it later."
Will H1KC ever become a classic? I think so. In about 20 years, our generation's children will look upon it as a video nasty, and probably the more horror-hip of them will adore it the way us twenty-somethings love TCM. And like TCM it is flawed. Whereas TCM's flaws really mostly stem from the el-cheapo production, H1KC's are a little more glaring. First off, the script is largely unable to develop ideas fully to their logical ends. This may be intentional; after all we never learn all that much about Leatherface and his family. But this is more harmful, since plot elements are picked up and then dropped, sometimes forgotten entirely. I chalk this up to this being Zombie's first screenplay -- I'd love to see what he could do with a little more experience. Secondly, and the one flaw that surprised me the most, was that Captain Spaulding (far and away the freakiest looking clown I have ever seen AND the scariest character in the film) has such a relatively small role. I know that it is fanboyish of me, but Spaulding is such a good character that it seems unfair to waste him in a secondary role when he could have easily been the antagonist lead. He certainly is much more interesting than Otis, and I personally wouldn't have minded in the least if their roles were swapped. Despite its flaws, it still has a good number of successful elements. The atmosphere of dread is excellent, and the costume and set design are flawlessly kitsch while still being menacing and unnerving. On a whole the acting is serviceable, and the effects are top-notch. The score is excellent (although I could have done with a little less orgasmic moaning, but hey, what can you do?) and the pacing was good. Zombie may only be a rookie director but I think he has a lot of skills which I would like to see cultivated.
(Actually, what I would LOVE to see is Zombie work with Dave Parker, writer/director of the zombie homage (and best zombie film in nearly 20 years) The Dead Hate The Living! -- thinking about the work that those two could produce gives me goosebumps.)
When it is all said and done, H1KC will end up a lot like TCM. Panned and banned when it was originally released, TCM failed to find its critical audience until many years after it was released. Sure, it had its hardcore followers, but I distinctly remember anecdotes about countless people leaving during showings of TCM to vomit or simply out of disgust. I hear some of that same rumblings now. 'How can they show things like this in an R-rated film? Why is this not NC-17?!' Want a hint? Mostly because the uncut version of this is too much for an NC-17, according to Zombie! Anyway, H1KC entertained me in the same uneasy way that TCM did. I didn't feel too good about myself when I came out of the theatre, but at the same time I cannot deny that I enjoyed the ride.
Images obtained from the official House Of 1000 Corpses website.