Most holidays worth their while encompass entire seasons, such as Christmas, for example. However, as you may have noticed there is a corporate push every year for us to think about the next holiday even sooner. While this has many negative side effects I figure I may as well embrace it.
Since Labor Day is really only good for college football and movie marathons cinematically it is as significant as Arbor Day, which means the next big day on the calendar is Halloween and we can start looking toward it starting now.
Daily I will be viewing films in the horror genre between now and then and sharing the wealth. Many, as is usually the case, will not be worth it so for every disappointment so I will try and suggest something worth while as well.
Children of the Corn (1984)
In my opinion this is a great film and here’s why: Even before we see anything we feel that the score will be of great importance in this film. Aside from a slightly electronic new wave 80s score provided by Jonathan Elias the film is also scored by a children’s choir appropriate and both chilling in tandem with the events that occur onscreen and with the theme of the film.
Like in many horror films we begin in flashback to prior event that led to current unusual circumstances with voice over narration of Job (Robbie Kiger) who is the older brother of Sarah (AnneMarie McAoy). Throughout the film these two are involved in simple activities which are banned under the rules but because of Sarah’s gift they generally are allowed to do what they wish.
What separates this film from most in the 80s is that it’s not necessarily into gore. We get dead bodies and the after-affect of the massacres. The obsession of needing to see the blade or bullet, whatever it may be, pierce the skin is absolutely eliminated and the result is even more frightening.
Joseph (Jonas Marlowe), a child displeased with the ways Isaac has placed upon the town of Gatlin, tries to escape but he is caught. All we see when he dies is a few drops of blood falling on a suitcase he was going to take with him on the road.
Film is a medium that is at times binding to the imagination. When any director, Fritz Kiersch, in this instance allows the audience to imagine what may have been done to these people it deserves notice. Another example of this being the massacre three years prior that kicks off the film we hear a mother’s death over the phone and see a father’s blood splatter over a son’s face. A lot of what makes this film great is the mounting tension that is created when we see these two trying to get around this seemingly abandoned town.
One of the most effective techniques Kiersch uses to heighten tension while the film was progressing is the use of shots from an anonymous yet subjective POV after we know the children were already out to get them. There’s a shot through broken glass that’s been stained brown, a shot of someone peering over a garbage can, low-angle shots of the corn when Joseph’s being chased. He also employs time to his advantage because the young couple does not enter the town of Gatlin where all the horrors will occur until the 39th minute of the film and even when there things creep along slowly.
There is a great use of wide-angle shots throughout to demonstrate the emptiness of the town. The audio and visual effects of this film are absolutely breathtaking, except maybe for one notable one at the very end (You know which I mean). There’s a great use of what appears to be time lapse footage coupled with the audio effect of gushing wind to signify the wrath of God. Near the conclusion of the film we hear the greatest demonic voices in the history of film (In my humble opinion). They’re deep, raspy and frightening without going overboard. And just when we think the most psychotic of all the town’s children is going to walk away from this Isaac speaks to him in that voice and delivers a line that helps make that voice: “He wants you too, Malachai. He wants you too.” The escalating horror of the climax continues when there is a gorgeous fiery apparition in the sky and later an obviously processed flame beneath it which we assume is supernatural but to say more would be giving it away.
The end of Children of the Corn is wonderful the very last scene gives you a fright which is conceivable and doesn’t seem fake at all due to some crafty editing. It takes away that artificial happy ending feeling. The happy ending in any horror movie is absolutely false because we know the characters usually have been through a harrowing experience and it’ll be hard for them to walk away smiling. Watch for the sound of the crickets and the return of a choir, this ending will run a chill through you all over again!
This film is also steeped in religious commentary. First, there is Horton and Hamilton in the car listening to a televangelist and mocking him and showing very good comedic interplay. They find a cross made of corn and Horton says in an offhand and stunned way “Jesus Christ” to which Hamilton responds “Not in my book.”
We witness a mass of those who worship He Who Walks Behind the Rows and see the irony of their words screaming at us. All the names of the children in this town Isaac, Malachai (Though spelled differently in the story), Job and Sarah are biblical figures. These are the children of God-fearing people who have twisted the scripture to suit the needs of a few sick souls who are power hungry those who stand against the clan generally have no chance. Vicky is kidnapped and hung from a cross made of corn, biblical passages are written in blood on church walls the same church where a desecrated portrait of Jesus hangs.
There is but one point where the film climbs towards the didactic and even so it’s but a moment and almost necessary because it shows how insane Malachai’s followers have gone. One other thing that make this film is unique is that we get inside the cult and see the way Isaac and Malachi differ. In what makes horror films fun we get to side with one of them over the other because if we were involved with them in any way he’s the one we’d prefer. There is much infighting with these two and it adds to the tension and adds a wallop to the climax.