All this time I thought I'd never seen this movie. The series and the Pinhead character were iconic when I was growing up. The fact that Hellraiser in general was just part of any decent conversation about horror films meant I had to include it. Then it turned out most of the movie was familiar. I'm sure now I must have watched it on late night cable as a teenager.
Click here for a list of all other films reviewed and considered for this October 2012 series of horror reviews.
I must have done a lot more late-night cable viewing as a
teenager than I thought because it turns out, despite my apparently unreliable
memory, that I’d seen Hellraiser
before. Or I’d seen most of it anyway. I understand why I blocked all conscious
traces of it from my mind. I had to spare myself the embarrassment of acknowledging
that I’d spent time on this sloppy excuse for a thriller. There’s no denying it
now, I suppose.
The story is from Clive Barker, who also wrote and directed
the film. Barker is known for his atmospheric prose style in the thriller
genre, but he directs his own material with all the skill of an amateur hand.
He’s turned a creepy horror story into a cheap, harlequin romance and directed it
with the soft lighting reminiscent of straight-to-video soft-core films. To get
the story from A to B and convince the audience that an ordinary woman would
murder strangers, all Barker needs is a sex scene that is supposed to be so
exquisite that it gives her shivers just recalling it.
The woman is Julia (Clare Higgins) and the lothario is
her husband’s brother Frank (Sean Chapman). Her husband, played by the Andrew Robinson, is bookish
and unassuming, but his brother is supposed to be sexy and dangerous to the
point of irresistibility. Their one night stand has to be so powerful that when
she finds him in the attic, all pus, bones and guts without even legs to stand
on, she agrees to supply him with blood to complete his rebirth from tortured
zombie creature to steamy sex machine. He is attempting to return from another
dimension, not quite hell, but something like it, where he has been tortured by
creatures known as cenobites. The torture, not depicted too explicitly,
involves lots of chains and small hooks and quite a bit of bloodletting.
The most interesting thing Hellraiser has going for it, apart from the fact that it admirably
doesn’t go for the typical slasher plotline of every 1980s horror film, is the
special effects work. The four cenobites are originals indeed. Of course, the
head one has since become iconic and known as Pinhead, but the other three are
wonderful products of design, innovation and makeup execution. Also the process
of Frank changing from a small bud of blood and pus to a crawling nightmare of
a man is all done with stop motion creature effects that look phenomenal even
these 25 years later. I imagine this movie being made today with computer
images that reveal the metamorphosis in all its gory detail leaving little to
the imagination, and without any texture or sense of presence in real physical
space that latex, makeup, and models have. The effects have the look and feel
of vintage Cronenberg.
Hellraiser is a
nice throwback to the kind of creature thrillers that defined the horror genre
in the 30s and 40s, but the characterization is so poor that most of the movie
doesn’t make sense. The plot developments depend on decisions made by
characters that I have a hard time accepting. It’s as if Barker had to omuch
faith in the strength of his original story to actually flesh it out any
further.
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