Halloween 1978 and Halloween 2007 Wikipedia film pages

Halloween (1978 film)
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Halloween
Halloween cover.jpg
Original theatrical release poster

Directed by
John Carpenter
Produced by
Debra Hill
Irwin Yablans
Moustapha Akkad
Screenplay by
John Carpenter
Debra Hill
Starring
Donald Pleasence
Jamie Lee Curtis
P. J. Soles
Nancy Loomis
Music by
John Carpenter
Cinematography
Dean Cundey
Editing by
Charles Bornstein
Tommy Lee Wallace
Studio
Falcon International Productions
Distributed by
Compass International Pictures (USA & Canada)
Warner Bros. Pictures (international)
Release dates
October 25, 1978

Running time
91 minutes (Original cut)
 104 minutes (Extended cut)
Country
United States
Language
English
Budget
$325,000[1]
Box office
$70,000,000[2]
Halloween is a 1978 American independent slasher horror film directed and scored by John Carpenter, co-written with producer Debra Hill, and starring Donald Pleasence and Jamie Lee Curtis in her film debut. The film was the first installment in what became the Halloween franchise. The plot is set in the fictional Midwestern town of Haddonfield, Illinois. On Halloween night in 1963, a six-year-old Michael Myers murders his older sister by stabbing her with a kitchen knife. Fifteen years later, he escapes from a psychiatric hospital, returns home, and stalks teenager Laurie Strode and her friends. Michael's psychiatrist Dr. Sam Loomis suspects Michael's intentions, and follows him to Haddonfield to try to prevent him from killing.
Halloween was produced on a budget of $325,000 and grossed $47 million at the box office in the United States,[1] and $70 million worldwide,[2] equivalent to $250 million as of 2014, becoming one of the most profitable independent films.[1] Many critics credit the film as the first in a long line of slasher films inspired by Alfred Hitchcock's Psycho (1960). Halloween had many imitators and originated several clichés found in low-budget horror films of the 1980s and 1990s. Unlike many of its imitators, Halloween contains little graphic violence and gore.[3][4] In 2006, it was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[5]
Some critics have suggested that Halloween may encourage sadism and misogyny by identifying audiences with its villain.[6] Other critics have suggested the film is a social critique of the immorality of youth and teenagers in 1970s America, with many of Myers's victims being sexually promiscuous substance abusers,[7] while the lone heroine is depicted as innocent and pure, hence her survival (she is seen smoking cannabis in one scene however). Nevertheless, Carpenter dismisses such analyses.[8][9] Several of Halloween's techniques and plot elements, although not founded in this film, have nonetheless become standard slasher movie tropes.


Contents  [hide]
1 Plot
2 Production 2.1 Writing
2.2 Casting
2.3 Direction
2.4 Music
3 Release 3.1 Theatrical run
3.2 Television rights
3.3 Home video release
4 Reception 4.1 Critical reception
4.2 Themes and analysis
4.3 Awards
5 Influence
6 Adaptations
7 Sequels and remake
8 References
9 External links

Plot[edit]
On October 31, 1963, 6-year-old Michael Myers (Will Sandin) of Haddonfield, Illinois murders his older teenage sister Judith Myers (Sandy Johnson), stabbing her repeatedly with a butcher knife after she had sex with her boyfriend (David Kyle). Fifteen years later, on October 30, 1978, Michael escapes the hospital in Smith's Grove, Illinois where he had been committed since the murder, stealing the car that was to take him to a court hearing, the intention of which was for him to never be released.
The following day, Halloween, Michael, now dressed in blue coveralls and a white mask, returns to Haddonfield and begins stalking high school student Laurie Strode (Jamie Lee Curtis) by appearing outside her class window and driving past her on the street. Informing her friends, Annie (Nancy Kyes) and Lynda (P. J. Soles), they dismiss her concerns. Later at her house, Laurie becomes startled and unnerved to see Michael outside in the yard staring into her room. Meanwhile, Michael's primary psychiatrist, Dr. Samuel Loomis (Donald Pleasence), anticipated Michael's return home and goes to the local cemetery, finding that Judith Myers' headstone is missing. Later on, Loomis approaches Annie's father, Sheriff Leigh Brackett (Charles Cyphers), and the two quietly look for Michael.
That night, Laurie babysits a boy named Tommy Doyle (Brian Andrews), while Annie babysits a girl named Lindsey Wallace (Kyle Richards) across the street from the Doyle house. When Annie gets a call from her boyfriend, Paul, to pick him up, she takes Lindsey to the Doyle house. Annie gets in her car to pick up Paul but has her throat slashed by Michael, who was hiding in the backseat of her car. At the Doyle house, while he plays hide-and-seek with Lindsay, Tommy spots Michael carrying Annie's body and tries to tell Laurie, who doesn't believe in any "boogeyman" that Tommy says he saw. Later, Lynda and her boyfriend, Bob, enter the Wallace house and head to the bedroom, where they have sex. While downstairs to get a beer for Lynda, Bob is impaled on the wall by Michael with a kitchen knife. Michael appears in the bedroom doorway, pretending to be Bob in ghost attire. Gaining no response from him, Lynda suspects something is wrong and calls Laurie, just as Michael strangles her with the telephone cord.
Feeling unsettled, Laurie puts the kids to bed and heads over to the Wallace house, only to find Annie's body with Judith Myers' missing headstone and Lynda and Bob dead nearby. Suddenly, Laurie is attacked by Michael and falls backwards down the staircase. Fleeing the house, she screams for help, but to no avail. Running back to the Doyle house, she realizes she lost the keys and the door is locked, as she sees Michael approaching in the distance. Laurie panics and screams for Tommy to wake up and open the door quickly. Luckily, Tommy opens the door in time and lets Laurie inside. Laurie instructs the children to hide and then realizes the phone line is dead and that Michael has gotten into the house through a window. As she sits down in horror next to the couch, Michael appears and tries to stab her, but she counterattacks his move, stabbing him in the side of his neck with a lingering knitting needle.
Thinking that he's dead, Laurie goes upstairs telling Tommy and Lindsey she killed the "boogeyman", but Michael reappears in pursuit of her. Telling the kids to hide and lock themselves in the bathroom, Laurie opens a window to feign escape and hides in a bedroom closet. Not gullible, Michael tears a hole in the closet door to get to her. However, Laurie frantically undoes a clothes hanger to stick Michael in the eye, causing him to drop his knife which Laurie obtains to stab him. Michael collapses and Laurie exits the closet carefully before urging the kids to go call for help. Dr. Loomis sees Tommy and Lindsey running away from the house and suspects Michael could be inside. Back inside, Michael gets up and tries to strangle Laurie, but Dr. Loomis arrives in time to save her and shoot Michael in the head, then five more times in the chest for a total of six shots. Michael falls from the second-story patio onto the lawn below. Laurie asks Loomis if that was the "boogeyman", to which Loomis confirms. However, when Loomis looks over the balcony, he finds Michael's body is missing.
Production[edit]
After viewing Carpenter's film Assault on Precinct 13 (1976) at the Milan Film Festival, independent film producer Irwin Yablans and financier Moustapha Akkad sought out Carpenter to direct a film for them about a psychotic killer that stalked babysitters.[10] In an interview with Fangoria magazine, Yablans stated, "I was thinking what would make sense in the horror genre, and what I wanted to do was make a picture that had the same impact as The Exorcist."[11] Carpenter and his then-girlfriend Debra Hill began drafting a story originally titled The Babysitter Murders, but, as Carpenter told Entertainment Weekly, Yablans suggested setting the movie on Halloween night and naming it Halloween instead.[12]
Akkad agreed to put up $300,000 for the film's budget, which was considered low at the time;[10] (Carpenter's previous film, Assault on Precinct 13, had an estimated budget of $100,000). Akkad worried over the tight, four-week schedule, low budget, and Carpenter's limited experience as a filmmaker, but told Fangoria, "Two things made me decide. One, Carpenter told me the story verbally and in a suspenseful way, almost frame for frame. Second, he told me he didn't want to take any fees, and that showed he had confidence in the project". Carpenter received $10,000 for directing, writing, and composing the music, retaining rights to 10 percent of the film's profits.[13]
Because of the low budget, wardrobe and props were often crafted from items on hand or that could be purchased inexpensively. Carpenter hired Tommy Lee Wallace as production designer, art director, location scout and co-editor. Wallace created the trademark mask worn by Michael Myers throughout the film from a Captain Kirk mask purchased for $1.98.[10] Carpenter recalled how Wallace "widened the eye holes and spray-painted the flesh a bluish white. In the script it said Michael Myers's mask had 'the pale features of a human face' and it truly was spooky looking. I can only imagine the result if they hadn't painted the mask white. Children would be checking their closet for William Shatner after Tommy got through with it."[12] Hill adds that the "idea was to make him almost humorless, faceless — this sort of pale visage that could resemble a human or not."[14] Many of the actors wore their own clothes, and Curtis' wardrobe was purchased at J. C. Penney for around a hundred dollars.[10]
The limited budget also dictated the filming location and time schedule. Halloween was filmed in 20 days in the spring of 1978 in South Pasadena, California and the cemetery at Sierra Madre, California. An abandoned house owned by a church stood in as the Myers house. Two homes on Orange Grove Avenue (near Sunset Boulevard) in Hollywood were used for the film's climax.[15] The crew had difficulty finding pumpkins in the spring, and artificial fall leaves had to be reused for multiple scenes. Local families dressed their children in Halloween costumes for trick-or-treat scenes.[10]
In August 2006, Fangoria reported that Synapse Films had discovered boxes of negatives containing footage cut from the film. One was labeled "1981" suggesting that it was additional footage for the television version of the film. Synapse owner Don May, Jr. said, "What we've got is pretty much all the unused original camera negative from Carpenter's original Halloween. Luckily, Billy [Kirkus] was able to find this material before it was destroyed. The story on how we got the negative is a long one, but we'll save it for when we're able to showcase the materials in some way. Kirkus should be commended for pretty much saving the Holy Grail of horror films."[16] It was later reported, "We just learned from Sean Clark, long time Halloween genius, that the footage found is just that: footage. There is no sound in any of the reels so far, since none of it was used in the final edit."[17]
Writing[edit]
Yablans and Akkad ceded most of the creative control to writers Carpenter and Hill (whom Carpenter wanted as producer), but Yablans did offer several suggestions. According to a Fangoria interview with Hill, "Yablans wanted the script written like a radio show, with 'boos' every 10 minutes."[14] Hill explained that the script took three weeks to write and much of the inspiration behind the plot came from Celtic traditions of Halloween such as the festival of Samhain. Although Samhain is not mentioned in the plot of the first film, Hill asserts that:
“ ...the idea was that you couldn't kill evil, and that was how we came about the story. We went back to the old idea of Samhain, that Halloween was the night where all the souls are let out to wreak havoc on the living, and then came up with the story about the most evil kid who ever lived. And when John came up with this fable of a town with a dark secret of someone who once lived there, and now that evil has come back, that's what made Halloween work.[14] ”
Hill wrote most of the female characters' dialogue,[8] while Carpenter drafted Loomis' speeches on the evilness of Michael Myers. Many script details were drawn from Carpenter's and Hill's adolescence and early careers. The fictional town of Haddonfield, Illinois was derived from Haddonfield, New Jersey, where Hill grew up, and most of the street names were taken from Carpenter's hometown of Bowling Green, Kentucky. Laurie Strode was the name of one of Carpenter's old girlfriends and Michael Myers was the name of an English producer who had previously entered, with Yablans, Assault on Precinct 13 in various European film festivals.[10] In Halloween, Carpenter pays homage to Alfred Hitchcock with two characters' names; Tommy Doyle is named after Lt. Det. Thomas J. Doyle (Wendell Corey) of Rear Window (1954), and Dr. Loomis' name was taken from Sam Loomis (John Gavin) of Psycho, the boyfriend of Marion Crane (Janet Leigh, who is the real-life mother of Jamie Lee Curtis). Sheriff Leigh Brackett shared the name of a film screenwriter.
Casting[edit]



 Jamie Lee Curtis, in her feature film debut, plays Laurie Strode, the heroine of the film.
The cast of Halloween included veteran actor Donald Pleasence and then-unknown actress Jamie Lee Curtis. The low budget limited the number of big names that Carpenter could attract, and most of the actors received very little compensation for their roles. Pleasence was paid the highest amount at $20,000, Curtis received $8,000, and Nick Castle earned $25 a day.[10] The role of Dr. Loomis was offered to Peter Cushing and Christopher Lee; both declined the part due to the low pay (though Lee would later tell Carpenter that declining the role was his biggest career mistake).[8] English actor Pleasence — Carpenter's third choice — agreed to star. Pleasence has been called "John Carpenter's big landing." Americans were already acquainted with Pleasence as the villain Ernst Stavro Blofeld in the James Bond film You Only Live Twice (1967).[18]
In an interview, Carpenter admits that "Jamie Lee wasn't the first choice for Laurie. I had no idea who she was. She was 19 and in a TV show at the time, but I didn't watch TV." He originally wanted to cast Anne Lockhart, the daughter of June Lockhart from Lassie, as Laurie Strode. However, Lockhart had commitments to several other film and television projects.[12] Hill says of learning that Jamie Lee was the daughter of Psycho actress Janet Leigh, "I knew casting Jamie Lee would be great publicity for the film because her mother was in Psycho."[14] Halloween was Curtis' feature film debut and launched her career as a "scream queen" horror star. Another relatively unknown actress, Nancy Kyes (credited in the film as Nancy Loomis) was cast as Laurie's friend Annie Brackett, daughter of Haddonfield sheriff Leigh Brackett (Charles Cyphers). Kyes had previously starred in Assault on Precinct 13 (as had Cyphers) and happened to be dating Halloween's art director Tommy Lee Wallace when filming began.[19] Carpenter chose P. J. Soles to play Lynda Van Der Klok, another friend of Laurie's, best remembered in the film for dialogue peppered with the word "totally." Soles was an actress known for her supporting role in Carrie (1976) and her minor part in The Boy in the Plastic Bubble (1976). According to one source, "Carpenter realized she had captured the aura of a happy go lucky teenage girl in the 70s."[20]
The role of "The Shape" — as the masked Michael Myers character was billed in the end credits — was played by Nick Castle, who befriended Carpenter while they attended the University of Southern California. After Halloween, Castle became a director, taking the helm of films such as The Last Starfighter (1984), The Boy Who Could Fly (1986), Dennis the Menace (1993), and Major Payne (1995).[21]
Direction[edit]
Historian Nicholas Rogers notes that film critics contend that Carpenter's direction and camera work made Halloween a "resounding success".[22] Roger Ebert remarks, "It's easy to create violence on the screen, but it's hard to do it well. Carpenter is uncannily skilled, for example, at the use of foregrounds in his compositions, and everyone who likes thrillers knows that foregrounds are crucial ...."[23] The opening title, featuring a jack-o'-lantern placed against a black backdrop, sets the mood for the entire film. The camera slowly moves toward the jack-o'-lantern's left eye as the main title theme plays. After the camera fully closes in, the jack-o'-lantern's light dims and goes out. Film historian J.P. Telotte says that this scene "clearly announces that [the film's] primary concern will be with the way in which we see ourselves and others and the consequences that often attend our usual manner of perception".[24] During the conception of the plot, Yablans instructed "that the audience shouldn't see anything. It should be what they thought they saw that frightens them".[14] Carpenter seemingly took Yablans' advice literally, filming many of the scenes from Michael Myers's point-of-view that allowed audience participation. Carpenter is not the first director to employ this method or use of a steadicam; for instance, the first scene of Psycho offers a voyeuristic look at lovers in a seedy hotel. Telotte argues, "As a result of this shift in perspective from a disembodied, narrative camera to an actual character's eye ... we are forced into a deeper sense of participation in the ensuing action".[25] Along with the 1974 Canadian horror film Black Christmas, Halloween made use of seeing events through the killer's eyes.



 This scene features Michael (right), who pins Bob (left) to the door and observes his dying motions. Remaining relatively un-graphic, this scene displays the use of lighting to create its atmosphere rather than graphic blood and violence.
The first scene of the young Michael's voyeurism is followed by the murder of Judith seen through the eye holes of Michael's clown costume mask. According to one commentator, Carpenter's "frequent use of the unmounted first-person camera to represent the killer's point of view ... invited [viewers] to adopt the murderer's assaultive gaze and to hear his heavy breathing and plodding footsteps as he stalked his prey".[26] Another technique that Carpenter adapted from Alfred Hitchcock's Psycho (1960) was suspense with minimal blood and gore. Hill comments, "We didn't want it to be gory. We wanted it to be like a jack-in-the box."[14] Film analysts refer to this as the "false startle" or "the old tap-on-the-shoulder routine" in which the stalkers, murderers, or monsters "lunge into our field of vision or creep up on a person."[27] Carpenter worked with the cast to create the desired effect of terror and suspense. According to Curtis, Carpenter created a "fear meter" because the film was shot out-of-sequence and she was not sure what her character's level of terror should be in certain scenes. "Here's about a 7, here's about a 6, and the scene we're going to shoot tonight is about a 9½", remembered Curtis. She had different facial expressions and scream volumes for each level on the meter.[28]
Carpenter's direction for Castle in his role as Myers was minimal. For example, when Castle asked what Myers' motivation was for a particular scene, Carpenter replied that his motivation was to walk from one set marker to another.[8] The documentary titled Halloween Un-masked, featured in the 22nd anniversary DVD of Halloween, John Carpenter states he also instructed Castle to tilt his head a couple of times as if he was observing the corpse, particularly in the scene when Myers impaled one of his victims against a wall.[8]
Music[edit]
Another major reason for the success of Halloween is the moody musical score, particularly the main theme. Lacking a symphonic soundtrack, the film's score consists of a piano melody played in a 10/8 or "complex 5/4" meter composed and performed by director John Carpenter. Critic James Berardinelli calls the score "relatively simple and unsophisticated", but admits that "Halloween's music is one of its strongest assets".[3] Carpenter stated in an interview, "I can play just about any keyboard, but I can't read or write a note."[12] In the end credits, Carpenter bills himself as the "Bowling Green Philharmonic Orchestra" for performing the film's score, but he did receive assistance from composer Dan Wyman, a music professor at San José State University.[10][29]
Some songs can be heard in the film, one being an untitled song performed by Carpenter and a group of his friends who formed a band called The Coupe DeVilles. The song is heard as Laurie steps into Annie's car on her way to babysit Tommy Doyle.[10] Another song, "(Don't Fear) The Reaper" by classic rock band Blue Öyster Cult, appears in the film.[30]
The soundtrack was first released in the United States in October 1983, by Varese Sarabande. It was subsequently released on Compact Disc in 1985, re-released in 1990, and again in 2000.

[show]Original track listing







  
  
  
  
  
  
  
  
  
  
  

[show]20th Anniversary Edition track listing







  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
Release[edit]



 Ad, The Village Voice, Nov. 6, 1978: only known, published window for date of film's New York City premiere ("Held over...2nd week")[31]
Theatrical run[edit]
Halloween premiered on October 25, 1978 in Kansas City, Missouri (at the AMC Midland/Empire) and sometime afterward in Chicago, Illinois, and in New York City. It had its Los Angeles debut October 27, 1978.[31][32] It opened in Pittsburgh, Pennsylvania, on November 22, 1978.[33] The film grossed $47 million in the United States[1] and an additional $23 million internationally, making the theatrical total $70 million.[2]
On September 7, 2012, the official Halloween Movies Facebook page announced that the original Halloween would be theatrically re-released starting October 25, 2013 in celebration of the film's 35th anniversary in 2013. A new documentary was screened before the film at all locations, entitled, You Can't Kill the Boogeyman: 35 Years of Halloween, written and directed by HalloweenMovies.com webmaster Justin Beahm.[34][35]
Television rights[edit]

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In 1980, the television rights to Halloween were sold to the National Broadcasting Company (NBC) for $4 million. After a debate among Carpenter, Hill and NBC's Standards and Practices over censoring of certain scenes, Halloween appeared on television for the first time in October 1981.[14] To fill the two-hour time slot, Carpenter filmed twelve minutes of additional material during the production of Halloween II. The newly filmed scenes include Dr. Loomis at a hospital board review of Michael Myers and Dr. Loomis talking to a then 6-year-old Michael at Smith's Grove, telling him, "You've fooled them, haven't you Michael? But not me." Another extra scene features Dr. Loomis at Smith's Grove examining Michael's abandoned cell after his escape and seeing the word "Sister" scratched into the door. Finally, a scene was added in which Lynda comes over to Laurie's house to borrow a silk blouse before Laurie leaves to babysit, just as Annie telephones asking to borrow the same blouse. The new scene had Laurie's hair hidden by a towel, since Curtis was by then wearing a much shorter hairstyle than she had worn in 1978. The television scenes were released on a two-tape "limited-edition" VHS set of the film and the television version of the film was released on a second disc in the two-disc "limited-edition" DVD release of the film in 1999, by-itself in 2001 as Halloween: Extended Edition on VHS and DVD and as part of the Halloween: 30th Anniversary Commemorative Set along with the original Halloween on DVD and Blu-ray, disc one from the 25 Years of Terror documentary DVD and the DiviMax special editions of two of its sequels: 4: The Return and 5: The Revenge in 2008.
Home video release[edit]
Since Halloween's premiere, it has been released on VHS, LaserDisc, DVD, UMD and Blu-ray HD format. Early VHS versions were released by Media Home Entertainment and Blockbuster Video issued a commemorative edition in 1995. Anchor Bay Entertainment (succeder in-interest to Media Home Entertainment and Video Treasures) has released several restored editions of Halloween on VHS and DVD, including "Halloween: Unmasked" a documentary produced and directed by Mark Cerulli which featured an array of interviews with original Halloween cast & crew including Jamie Lee Curtis, Debra Hill, John Carpenter, Nick Castle and others. The most recent being the 2007 single-disc restored version, with improved picture and sound quality.[36] Anchor Bay has also released an "extended edition" of Halloween that features the original theatrical release with the scenes that were shot for the broadcast TV version edited in at their proper places.[citation needed] In 2003, the film was released on a two-disc "25th Anniversary edition" with improved DiviMax picture and audio, along with an audio commentary by John Carpenter, Jamie Lee Curtis and Debra Hill, the A Cut Above The Rest documentary, On Location: 25 Years Later featurette, the trailer, TV spots, radio spots, poster and still gallery, and DVD-ROM content. In 2007, the movie was released on Blu-ray as well, marking the film's first ever Blu-ray release. The Blu-ray features a commentary track by Carpenter, Hill and Curtis, the trailer, TV spots, radio spots, fast film facts and the documentary Halloween: A Cut Above the Rest.[32] In 2008, a "30th Anniversary commemorative set" was released, containing the film on DVD and Blu-ray along with the "extended edition", the first disc from the 25 Years of Terror documentary DVD and two of its sequels: 4: The Return and 5: The Revenge, including a collectible replica Michael Myers mask. The DVD release was THX certified. The film has made $18,500,000 in home video rentals.
On June 6, 2013, it was announced that a second, 35th anniversary, Blu-ray release for Halloween is in the works and that John Carpenter and Jamie Lee Curtis have recorded a new commentary.[37] On June 11, it was announced that Dean Cundey is supervising a new high-definition transfer.[38] On July 22, the official cover art for the 35th anniversary Blu-ray release was revealed including the new special features such as the all-new high definition transfer by Cundey, the new commentary track by Carpenter and Curtis as well as a new 7.1 audio mix, the original mono audio mix, a new featurette with Curtis titled "The Night She Came Home", an "On-Location" featurette, the trailer, television and radio spots and the additional scenes from the extended television version.
Reception[edit]
Critical reception[edit]
Critical response to the film was mostly positive. Although Halloween performed well with little advertising — relying mostly on word-of-mouth — many critics seemed uninterested or dismissive of the film. Pauline Kael wrote a scathing review in The New Yorker suggesting that "Carpenter doesn't seem to have had any life outside the movies: one can trace almost every idea on the screen to directors such as Hitchcock and Brian De Palma and to the Val Lewton productions" and claiming that "Maybe when a horror film is stripped of everything but dumb scariness — when it isn't ashamed to revive the stalest device of the genre (the escaped lunatic) — it satisfies part of the audience in a more basic, childish way than sophisticated horror pictures do."[39] The first glowing review by a prominent film critic came from Tom Allen of The Village Voice in November 1978, Allen noted that the film was sociologically irrelevant but applauded Carpenter's camera work as "duplicitous hype" and "the most honest way to make a good schlock film". Allen pointed out the stylistic similarities to Psycho and George A. Romero's Night of the Living Dead (1968).[31][40] The following month, Voice lead critic Andrew Sarris wrote a follow-up feature on cult films, citing Allen's appraisal of Halloween and saying in the lead sentence that the film "bids fair to become the cult discovery of 1978. Audiences have been heard screaming at its horrifying climaxes".[41] Renowned American critic Roger Ebert gave the film similar praise in his 1979 review in the Chicago Sun-Times, and selected it as one of his top ten films of 1978.[42] Once-dismissive critics were impressed by Carpenter's choice of camera angles and simple music, and surprised by the lack of blood, gore, and graphic violence.[3] Review aggregate website Rotten Tomatoes reports 94% of critics gave the film positive write-ups based on 49 reviews, with a rating of 8.5 out of 10 with the general consensus reading "Scary, suspenseful, and viscerally thrilling, Halloween set the standard for modern horror films."[43]
Many compared the film with the work of Alfred Hitchcock, although TV Guide calls comparisons made to Psycho "silly and groundless"[44] and critics in the late 1980s and early 1990s blame the film for spawning the slasher sub genre, which they felt had rapidly descended into sadism and misogyny.[45] Almost a decade after its premiere, Mick Martin and Marsha Porter critiqued the first-person camera shots that earlier film reviewers had praised and later slasher-film directors utilized for their own films (for example, Friday the 13th (1980)). Claiming it encouraged audience identification with the killer, Martin and Porter pointed to the way "the camera moves in on the screaming, pleading, victim, 'looks down' at the knife, and then plunges it into chest, ear, or eyeball. Now that's sick."[6]
More than 35 years after its debut, Halloween enjoys a reputation as a classic[43] and is considered by many as one of the best films of 1978.[42][46][47][48][49]
Themes and analysis[edit]
Many criticisms of Halloween and other slasher films come from postmodern academia. Some feminist critics, according to historian Nicholas Rogers, "have seen the slasher movies since Halloween as debasing women in as decisive a manner as hard-core pornography."[45] Critics such as John Kenneth Muir state that female characters such as Laurie Strode survive not because of "any good planning" or their own resourcefulness, but sheer luck. Although she manages to repel the killer several times, in the end, Strode is rescued in Halloween and Halloween II only when Dr. Loomis arrives to shoot Myers.[50]
On the other hand, other feminist scholars such as Carol J. Clover argue that despite the violence against women, slasher films turned women into heroines. In many pre-Halloween horror films, women are depicted as helpless victims and are not safe until they are rescued by a strong masculine hero. Despite the fact that Loomis saves Strode, Clover asserts that Halloween initiates the role of the "final girl" who ultimately triumphs in the end. Strode herself fought back against Myers and severely wounds him. Had Myers been a normal man, Strode's attacks would have killed him; even Loomis, the male hero of the story, who shoots Michael repeatedly at near point blank range with a large caliber handgun, cannot kill him.[51]
Aviva Briefel argued that moments such as when Michael loses his mask are meant to give pleasure to the male viewer. Briefel further argues that these moments are masochistic in nature and give pleasure to men because they are willingly submitting themselves to the women of the film; they submit themselves temporarily because it will make their return to authority even more powerful.[52] Critics, such as Pat Gill, see Halloween as a critique of American social values. She remarks that parental figures are almost entirely absent throughout the film, noting that when Laurie is attacked by Michael while babysitting, "No parents, either of the teenagers or of the children left in their charge, call to check on their children or arrive to keen over them."[53]
Another major theme found in the film is the dangers of pre-marital sex. Clover believes that killers in slasher films are fueled by a "psychosexual fury"[54] and that all the killings are sexual in nature. She reinforces this idea by saying that "guns have no place in slasher films" and when examining the film I Spit on Your Grave she notes that "a hands-on killing answers a hands-on rape in a way that a shooting, even a shooting preceded by a humiliation, does not."[55] Equating sex with violence is important in Halloween and the slasher genre according to Pat Gill, who made a note of this in her essay "The Monstrous Years: Teens, Slasher Films, and the Family". She remarks that Laurie's friends "think of their babysitting jobs as opportunities to share drinks and beds with their boyfriends. One by one they are killed... by Michael Myers an asylum escapee who years ago at the age of six murdered his sister for preferring sex to taking care of him."[53]
The danger of suburbia is another major theme that runs throughout the movie and the slasher genre itself, Pat Gill states that slasher films "seem to mock white flight to gated communities, in particular the attempts of parents to shield their children from the dangerous influences represented by the city".[56] Halloween and slasher films, generally, are supposed to represent the underside of suburbia. Michael Myers was raised in a suburban household and after he escapes the mental hospital he returns to his hometown to kill again; Myers is a product of the suburban environment.[56]
Carpenter himself dismisses the notion that Halloween is a morality play, regarding it as merely a horror movie. According to Carpenter, critics "completely missed the point there". He explains, "The one girl who is the most sexually uptight just keeps stabbing this guy with a long knife. She's the most sexually frustrated. She's the one that's killed him. Not because she's a virgin but because all that sexually repressed energy starts coming out. She uses all those phallic symbols on the guy."[8][9]
Awards[edit]
Halloween was nominated for the Saturn Award for Best Horror Film by the Academy of Science Fiction, Fantasy & Horror Films in 1979, but lost to The Wicker Man (1973).[57] In 2001, Halloween ranked #68 on the American Film Institute TV program 100 Years...100 Thrills.[58] The film was #14 on Bravo's The 100 Scariest Movie Moments (2004).[59] Similarly, the Chicago Film Critics Association named it the 3rd scariest film ever made.[60] In 2006, Halloween was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[61] In 2007, the AOL 31 Days of Horror countdown named Halloween the greatest horror movie.[62] In 2008, the film was selected by Empire magazine as one of The 500 Greatest Movies of All Time.[63] In 2010, Total Film selected the film as one of The 100 Greatest Movies of All Time.[64]
American Film Institute lists
AFI's 100 Years...100 Thrills – #68
AFI's 100 Years...100 Heroes & Villains: Michael Myers – Nominated Villain
AFI's 100 Years...100 Movies (10th Anniversary Edition) – Nominated
Influence[edit]
Halloween is a widely influential film within the horror genre; it was largely responsible for the popularization of slasher films in the 1980s. Halloween popularized many tropes that have become completely synonymous with the slasher genre. Halloween helped to popularize the final girl trope, the killing off of characters who are substance abusers or sexually promiscuous, and the use of a theme song for the killer. Carpenter also shot many scenes from the perspective of the killer in order to build tension. These elements have become so established that many historians argue that Halloween is responsible for the new wave of horror that emerged during the 1980s.[65][66] Due to its popularity, Halloween became a blueprint for success that many other horror films, such as Friday the 13th and A Nightmare on Elm Street, would follow.
The major themes present in Halloween would also become common in the slasher films it inspired. Film scholar Pat Gill notes that in Halloween, there is a theme of absentee parents[53] but films such as A Nightmare on Elm Street and Friday the 13th feature the parents becoming directly responsible for the creation of the killer.[67]
There are slasher films that predated Halloween, such as The Texas Chain Saw Massacre and Black Christmas which contained prominent elements of the slasher genre; both involving a group of teenagers being murdered by a stranger as well having the final girl trope. Halloween, however, is seen by historians as being responsible for the new wave of horror films because it not only used these tropes but also pioneered many others.[65][66]
The 1981 horror film spoof Student Bodies parodied these plot devices; characters are slain when about to engage in sex. Another slasher film with a twist was the 1986 film April Fool's Day. Director Wes Craven's 1996 film Scream and its three sequels detail the "rules" for surviving a horror film, even using Halloween as the primary example: no sex, no alcohol or illicit drugs, and never say "I'll be right back".[original research?]
Adaptations[edit]
Richard Curtis, under the pen name Curtis Richards,[68] penned a mass market paperback novelization of the same name which was published by Bantam Books in 1979. It was reissued in 1982; it later went out of print. The novel elaborates on aspects not featured in the film such as the origins of the curse of Samhain and Michael Myers's life in Smith's Grove Sanitarium. For example, the opening reads:

The horror started on the eve of Samhain, in a foggy vale in northern Ireland, at the dawn of the Celtic race. And once started, it trod the earth forevermore, wreaking its savagery suddenly, swiftly, and with incredible ferocity.[69]
In 1983, Halloween was adapted as a video game for the Atari 2600 by Wizard Video. None of the main characters in the game were named. Players take on the role of a teenage babysitter who tries to save as many children from an unnamed, knife-wielding killer as possible. The game was not popular with parents or players and the graphics were simple, as was typical in Atari 2600 games. In another effort to save money, most versions of the game did not even have a label on the cartridge. It was simply a piece of tape with "Halloween" written in marker. The game contained more gore than the film, however. When the babysitter is killed, her head disappears and is replaced by blood pulsating from the neck. The game's primary similarity to the film is the theme music that plays when the killer appears onscreen.[70][71]
Sequels and remake[edit]
Main article: Halloween (franchise)
Halloween spawned seven sequels, a 2007 remake of the same name directed by Rob Zombie — and a 2009 sequel to the remake, Halloween II, which is unrelated to the sequel of the original.[72] Of these films, only Halloween II (1981) was written by Carpenter and Hill. It begins exactly where Halloween ends and was intended to finish the story of Michael Myers and Laurie Strode. Halloween II was hugely successful, becoming the highest grossing horror film of 1981. It was also the most critically acclaimed sequel in the series. Carpenter did not direct any of the subsequent films in the Halloween series, although he did produce Halloween III: Season of the Witch (1982), the plot of which is unrelated to the other films in the series.[73] He also composed the music for the second and third films, along with Alan Howarth.
After the negative critical reception for Season of the Witch, the filmmakers brought back Michael Myers in The Return of Michael Myers.
The sequels feature more explicit violence and gore, and are generally dismissed by mainstream film critics. They were filmed on larger budgets than the original: In contrast to Halloween's modest budget of $320,000, Halloween II's budget was around $2.5 million,[74] while the final sequel to the original, Resurrection (2002), boasted a budget of $15 million.[75] Financier Moustapha Akkad continued to work closely with the Halloween franchise, acting as executive producer of every sequel until his death in the 2005 Amman bombings.[76]
With the exception of Halloween III, the sequels further develop the character of Michael Myers and the Samhain theme. Even without considering the third film, the Halloween series contains continuity issues, which some sources attribute to the different writers and directors involved in each film.[77] The 10 Halloween films, including the 2007 remake and its sequel, have had eight directors. Only Rick Rosenthal and Rob Zombie directed more than one: Rosenthal directed Halloween II and Halloween: Resurrection, while Zombie directed the remake and its sequel.
References[edit]
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37.Jump up ^ Barton, Steve (June 6, 2013). "Anchor Bay working on Halloween 35th anniversary Blu-ray; Carpenter and Curtis record new commentary". Dread Central. Retrieved June 12, 2013.
38.Jump up ^ Serafini, Matt (June 11, 2013). "Dean Cundey will supervise Halloween 35th anniversary Blu-ray". Dread Central. Retrieved June 12, 2013.
39.Jump up ^ Pauline Kael, review of Halloween, The New Yorker, 1978, at TheManWiththeHypnoticEye.com; last accessed April 19, 2006.
40.Jump up ^ Allen, Tom. "Halloween" (November 1978 review), reprinted at Criterion.com, "The Criterion Collection, Online Cinematheque"
41.Jump up ^ Sarris, Andrew. "Those Wild and Crazy Cult Movies", The Village Voice, December 18, 1978.
42.^ Jump up to: a b "Roger Ebert's 10 Best Lists: 1967–present". RogerEbert.com. Retrieved May 21, 2010.
43.^ Jump up to: a b Halloween at Rotten Tomatoes; last accessed May 19, 2008.
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45.^ Jump up to: a b Rogers, Halloween, pp. 117 – 118.
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50.Jump up ^ John Kenneth Muir, Wes Craven: The Art of Horror (Jefferson, N.C.: McFarland & Company, 1998), p. 104, ISBN 0-7864-1923-7.
51.Jump up ^ Carol J. Clover, Men, Women, and Chainsaws: Gender in the Modern Horror Film (Princeton, N.J.: Princeton University Press, 1992), p. 189, ISBN 0-691-00620-2.
52.Jump up ^ Aviva Briefel, "Monster Pains: Masochism, Menstruation, and Identification in the Horror Film", Film Quarterly, 58:3, (Spring 2005), 17-18. http://www.jstor.org/stable/10.1525/fq.2005.58.3.16.
53.^ Jump up to: a b c Pat Gill, "The Monstrous Years: Teens, Slasher Films, and the Family", Journal of Film and Video, 54:4, (Winter 2002), 22. http://www.jstor.org/stable/20688391.
54.Jump up ^ Carol Clover, "Her Body, Himself: Gender in the Slasher Film", Representations 20, (Autumn, 1987), 194. http://www.jstor.org/stable/2928507.
55.Jump up ^ Carol Clover, "Her Body, Himself: Gender in the Slasher Film", Representations 20, (Autumn, 1987), 198. http://www.jstor.org/stable/2928507.
56.^ Jump up to: a b Pat Gill, "The Monstrous Years: Teens, Slasher Films, and the Family", Journal of Film and Video, 54:4, (Winter 2002), 16. http://www.jstor.org/stable/20688391.
57.Jump up ^ Saturn Award Nominees and Winners, 1979 at Internet Movie Database; last accessed April 19, 2006.
58.Jump up ^ "AFI's 100 Years... 100 Thrills". afi.com. Retrieved May 22, 2010.
59.Jump up ^ "Bravo's 100 Scariest Movie Moments". web.archive.org. Archived from the original on October 30, 2007. Retrieved May 22, 2010.
60.Jump up ^ "Chicago Critics’ Scariest Films". AltFilmGuide.com. Retrieved May 22, 2010.
61.Jump up ^ "Halloween Added to the National Film Registry". Horror Movies, CA. Retrieved May 22, 2010.
62.Jump up ^ 31 Days of Horror Countdown; accessed February 23, 2008.
63.Jump up ^ "Empire's 500 Greatest Movies of All Time". Empire. Retrieved July 31, 2011.
64.Jump up ^ Total Film. "Film features: 100 Greatest Movies Of All Time". TotalFilm.com. Retrieved July 2, 2010.
65.^ Jump up to: a b Carol Clover, Men, Women, and Chainsaws: Gender in the Modern Horror Film (Princetom: Princeton University Press, 1993), 24.
66.^ Jump up to: a b Ian Conrich, "Killing Time and Time Again: The Popular Appeal of Carpenters Horror’s and the Impact of the Thing and Halloween", in The Cinema of John Carpenter: The Technique of Terror, ed. Ian Conrich, and David Woods (Wallflower Press, 2005), 92.
67.Jump up ^ Pat Gill, Journal of Film and Video, 54:4, (Winter 2002), 26. "The Monstrous Years: Teens, Slasher Films, and the Family".
68.Jump up ^ Richard Curtis, "Writing John Carpenter's Halloween Novelization" at
69.Jump up ^ Curtis Richards, Halloween (Bantam Books, 1979), ISBN 0-553-13226-1; 1982 reissue ISBN 0-553-26296-3.
70.Jump up ^ Review of Halloween video game at X-Entertainment.com; last accessed April 19, 2006.
71.Jump up ^ Gregory D. George, "History of Horror: A Primer of Horror Games for Your Atari" at The Atari Times; last accessed April 19, 2006. Archived April 22, 2006 at the Wayback Machine
72.Jump up ^ HalloweenMovies.com; last accessed May 19, 2008.
73.Jump up ^ Behind the Scenes of Halloween III: Season of the Witch at HalloweenMovies.com; last accessed April 19, 2006.
74.Jump up ^ Business statistics for Halloween II at Internet Movie Database; last accessed April 19, 2006.
75.Jump up ^ Business statistics for Halloween: Resurrection at Internet Movie Database; last accessed April 19, 2006.
76.Jump up ^ "Moustapha Akkad (obituary)". The Daily Telegraph (London). November 12, 2005. Retrieved April 19, 2006.
77.Jump up ^ "Rob Zombie interview". HalloweenMovies.com. June 16, 2006. Retrieved April 19, 2006.
BibliographyBadley, Linda (1995). Film, Horror, and the Body Fantastic. Westport, Connecticut, United States: Greenwood Press. ISBN 0-313-27523-8.
Baird, Robert (Spring 2000). "The Startle Effect: Implications for Spectator Cognition and Media Theory". Film Quarterly 3 (53): 12–24.
Noël, Carroll (Autumn 1987). "The Nature of Horror". Journal of Aesthetics and Art Criticism 1 (46): 51–59.
Cumbow, Robert C. (2000). Order in the Universe: The Films of John Carpenter (2nd ed.). Scarcrow Press. ISBN 0-8108-3719-6.
Johnson, Kenneth. "The Point of View of the Wandering Camera". Cinema Journal 2 (32, Winter 1993): 49–56.
King, Stephen (1981). Danse Macabre. New York: Berkley Books. ISBN 0-425-10433-8.
Prince, Stephen (2004). The Horror Film. New Brunswick, New Jersey, United States: Rutgers University Press. ISBN 0-8135-3363-5.
Schneider, Steven Jay (2004). Horror Film and Psychoanalysis: Freud's Worst Nightmare. Cambridge: Cambridge University Press. ISBN 0-521-82521-0.
Williams, Tony (1996). Hearths of Darkness: The Family in the American Horror Film. Rutherford, New Jersey, United States: Fairleigh Dickinson University Press. ISBN 0-8386-3564-4.
Clover, Carol (1993). Men, Women, and Chainsaws: Gender in the Modern Horror Film. Princeton, New Jersey: Princeton University Press.
Conrich, Ian (2005). "Killing Time and Time Again: The Popular Appeal of Carpenters Horror's and the Impact of the Thing and Halloween". In Conrich, Ian; Woods, David. The Cinema of John Carpenter: The Technique of Terror. Wallflower Press. pp. 91–106.
External links[edit]
 Wikiquote has a collection of quotations related to: Halloween
Official website of the Halloween series
Halloween at the Internet Movie Database


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Halloween (2007 film)
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Halloween
Halloween2007.jpg
Theatrical release poster

Directed by
Rob Zombie
Produced by
Malek Akkad
 Rob Zombie
 Andy Gould
Written by
Rob Zombie
Based on
Characters
 by John Carpenter
Debra Hill
Starring
Malcolm McDowell
Sheri Moon Zombie
Tyler Mane
Scout Taylor-Compton
Brad Dourif
Danielle Harris
William Forsythe
Music by
Tyler Bates
Cinematography
Phil Parmet
Editing by
Glenn Garland
Studio
Dimension Films
 Nightfall Productions
 Spectacle Entertainment Group
 Trancas International Films
Screen Gems
Distributed by
The Weinstein Company
Metro-Goldwyn-Mayer (United States)
Paramount Pictures (United Kingdom)
Release dates
August 31, 2007

Running time
109 minutes
Country
United States
Language
English
Budget
$15 million[1]
Box office
$80,249,467
Halloween is a 2007 American slasher film written, directed, and produced by Rob Zombie. The film is a remake/reimagining of the 1978 horror film of the same name; it is a reboot of the Halloween film series, making it the ninth installment of the franchise. The film stars Tyler Mane as the adult Michael Myers, Malcolm McDowell as Dr. Sam Loomis, and Scout Taylor-Compton as Laurie Strode; Daeg Faerch portrays a ten-year-old Michael Myers. Rob Zombie's "reimagining" follows the premise of John Carpenter's original, with Michael Myers stalking Laurie Strode and her friends on Halloween night. Zombie's film goes deeper into the character's psyche, trying to answer the question of what drove him to kill people, whereas in Carpenter's original film Michael did not have an explicit reason for killing.
Working from Carpenter's advice to "make [the film] his own",[2] Zombie chose to develop the film as both a prequel and a remake, allowing for more original content than simply re-filming the same scenes. Despite mostly negative reviews, the film, which cost $15 million to make,[1] went on to gross $80,208,039 worldwide, making it the highest grossing film in the Halloween franchise in unadjusted U.S. dollars. Zombie followed the film with a sequel, Halloween II, in 2009.


Contents  [hide]
1 Plot
2 Production
3 Release
4 Reception 4.1 Box office
4.2 Critical response
5 Home media
6 References
7 External links

Plot[edit]
On Halloween in Haddonfield, Illinois, having already shown signs of psychopathic tendencies, ten-year-old Michael Myers (Daeg Faerch) murders a school bully named Wesley (Daryl Sabara). Later that night, Michael murders his older sister Judith (Hanna R. Hall), his mother’s boyfriend Ronnie (William Forsythe), and Judith's boyfriend Steve (Adam Weisman). Only his baby sister, Angel Myers, is spared. After one of the longest trials in the state’s history, Michael is found guilty of first degree murder and sent to Smith's Grove - Warren County Sanitarium under the care of child psychologist Dr. Samuel Loomis (Malcolm McDowell).
Michael initially cooperates with Dr. Loomis, claiming no memory of the killings; his mother, Deborah (Sheri Moon Zombie), visits him regularly. After a year, Michael becomes fixated on his papier-mâché masks, closing himself off from everyone, even his mother. When Michael kills a nurse (Sybil Danning) as Deborah is leaving from one of her visits, she can no longer handle the situation and commits suicide. For the next fifteen years, Michael (Tyler Mane) continues making his masks and not speaking to anyone. Dr. Loomis, having continued to treat Michael over the years, attempts to move on with his life and closes Michael’s case. Later, while being prepared for transfer to maximum security, Michael escapes Smith’s Grove, killing the sanitarium employees and a truck driver (Ken Foree) for his overalls, and heads to Haddonfield. On Halloween, Michael arrives at his old home, now abandoned, and recovers the kitchen knife and Halloween mask he stored under the floorboards the night he killed his sister.
The story shifts to Laurie Strode (Scout Taylor-Compton), and her friends Annie Brackett (Danielle Harris) and Lynda Van Der Klok (Kristina Klebe) on Halloween. Throughout the day, Laurie witnesses Michael watching her from a distance. That night, she heads to the Doyle residence to watch their son Tommy (Skyler Gisondo). Meanwhile, Lynda meets with her boyfriend Bob (Nick Mennell) at Michael's childhood home. Michael appears, murders them, and then heads to the Strode home, where he murders Laurie's parents, Mason (Pat Skipper) and Cynthia (Dee Wallace). Having been alerted to Michael's escape, Dr. Loomis comes to Haddonfield looking for Michael. After obtaining a handgun, Loomis attempts to warn Sheriff Brackett (Brad Dourif) that Michael has returned to Haddonfield. Brackett and Dr. Loomis head to the Strode home, with Brackett explaining along the way that Laurie is actually Michael Myers' baby sister Angel.
Meanwhile, Annie convinces Laurie to babysit Lindsey Wallace (Jenny Gregg Stewart), a girl Annie is supposed to be watching, long enough so she can have sex with her boyfriend Paul (Max Van Ville). Annie and Paul return to the Wallace home; during sex, Michael kills Paul and attacks Annie. Bringing Lindsey home, Laurie finds Annie on the floor, bloodied but alive, and calls 911. She is attacked by Michael, who chases her back to the Doyle home. Sheriff Brackett and Loomis hear the 911 call and head to the Wallace residence. Michael kidnaps Laurie and takes her back to his home. Michael approaches Laurie and tries to show her that she is his younger sister, presenting a photo of the siblings with their mother. Unable to understand, Laurie grabs Michael's knife and stabs him before escaping the house; Michael chases her, but is repeatedly shot by Dr. Loomis. Laurie and Loomis are just about to leave when Michael grabs Laurie and heads back to the house. Loomis intervenes, but Michael attacks him by squeezing Loomis's skull with his hands. Laurie takes Loomis's gun and runs upstairs; she is chased by Michael, who, after cornering her on a balcony, charges her head-on and knocks both of them over the railing. Laurie finds herself on top of a bleeding Michael. Aiming Loomis' gun at his face, she repeatedly pulls the trigger until the gun finally goes off just as Michael's hand grips Laurie's wrist.
Production[edit]
On June 4, 2006, Dimension announced that Rob Zombie, director of House of 1000 Corpses and The Devil's Rejects, would be creating the next installment in the Halloween franchise.[3] The plan was for Zombie to hold many positions in the production; he would write, direct, produce, and serve as music supervisor.[3] Bob Weinstein approached him about making the film, and Zombie, who was a fan of the original Halloween, and friend of John Carpenter, jumped at the chance to make a Halloween film for Dimension Studios.[3] Before Dimension went public with the news, Zombie felt obligated to inform John Carpenter, out of respect, of the plans to remake his film.[4] Carpenter's request was for Zombie to "make it his own".[2] During a June 16, 2006 interview, Zombie announced that his film would combine the elements of prequel and remake with the original concept. He insisted that there would be considerable original content in the new film, as opposed to mere rehashed material.[5] The BBC reported that the new film would disregard the numerous sequels that followed Halloween.[6]



 The Myers house film location early March 2007 on Glendon Way in South Pasadena, California.
Zombie's intention was to reinvent Michael Myers, because, in his opinion, the character, along with Freddy Krueger, Jason Voorhees, and Pinhead, has become more familiar to audiences, and as a result, less scary.[6][7] The idea behind the new film was to delve deeper into Michael Myers' back story. A deeper back story would add "new life" to the character, as Zombie put it.[5] Michael's mask will be given its own story, to provide an explanation as to why he wears it, instead of having the character simply steal a random mask from a hardware store, as in the original film.[8] Zombie explained that he wanted Michael to be true to what a psychopath really is, and wanted the mask to be a way for Michael to hide. He wants the young Michael to have charisma, which would be projected onto the adult Michael. Zombie has decided that Michael's motives for returning to Haddonfield should be more ambiguous. As Zombie explains, "was he trying to kill Laurie, or just find her because he loves her?"[4]
Moreover, Michael would not be able to drive in the new film, unlike his 1978 counterpart who stole Loomis' car so that he could drive back to Haddonfield.[8] Zombie also wants the Dr. Loomis character to be more intertwined with that of Michael Myers; Zombie said that the character's role in the original was "showing up merely to say something dramatic".[7] Although Zombie has added more history to the Michael Myers character, hence creating more original content for the film, he chose to keep the character's trademark mask and Carpenter's theme song intact for his version (despite an apparent misinterpretation in an interview suggesting the theme would be ditched).[5] Production officially began on January 29, 2007.[9] Shortly before production began, Zombie reported that he had seen the first production of Michael's signature mask. Zombie commented, "It looks perfect, exactly like the original. Not since 1978 has The Shape looked so good".[10] Filming occurred in the same neighborhood that Carpenter used for the original Halloween.[8]
On December 19, 2006, Zombie announced to Bloody-Disgusting that Daeg Faerch would play the part of ten-year-old Michael Myers.[11] On December 22, 2006, Malcolm McDowell was officially announced to be playing Dr. Loomis.[12] McDowell stated that he wanted a tremendous ego in Loomis, who is out to get a new book from the ordeal.[8] On December 24, 2006, Zombie announced that Tyler Mane, who had previously worked with Zombie on The Devils Rejects, would portray the adult Michael Myers.[13] Mane stated that it was very difficult to act only with his eyes.[14] Scout Taylor-Compton endured a long audition process, but as director Zombie explains, "Scout was my first choice. There was just something about her; she had a genuine quality. She didn't seem actor-y."[15] She was one of the final people to be cast for a lead role after Faerch, Mane, McDowell, Forsythe, and Harris.[16] A contest was held for a walk on role in the film, at the time called Halloween 9; it was won by Heather Bowen.[17] She played a news reporter who covered Michael's arrest but her scene was cut from the film and does not appear in the deleted scenes.[18]
Release[edit]
Approximately four days before the theatrical release of the film, a workprint version of Halloween appeared online and was circulated around various BitTorrent sites. Upon hearing of the leaked copy, Zombie stated that whatever version had been leaked was an older version of the film, unlike what was about to be released in theaters.[19] The leak of Zombie's workprint led to speculation that the film's box office success could be damaged the same way director Eli Roth attributed the financial failure of his film, Hostel: Part II, to the leaking of a workprint version.[20] Dark Horizons webmaster Garth Franklin noted that watching the workprint allows a viewer to see what was changed after test screenings of the film in June 2007. For example, one particular scene—the rape of one of the Smith's Grove female inmates—was replaced in the final version.[21] Halloween was officially released on August 31, 2007 to 3,472 theaters in North America,[22] giving it the widest release of any of the previous Halloween films.[23]
Reception[edit]
Box office[edit]
On its opening day, Halloween grossed $10,896,610,[24] and immediately surpassed the opening weekend grosses for Halloween II (1981) at $7,446,508, Season of the Witch (1982) at $6,333,259, The Return of Michael Myers (1988) at $6,831,250, The Revenge of Michael Myers (1989) at $5,093,428, and The Curse of Michael Myers (1995) at $7,308,529.[23] From September 1–2, Halloween earned $8,554,661 and $6,911,096, respectively, for a 3-day opening weekend total of $26,362,367. The film would earn an additional $4,229,392 on Labor Day for a 4-day holiday weekend gross of $30,591,759,[24] making it the highest ever for that holiday.[25] As a result, the 2007 film would immediately surpass the total box office gross for Halloween II (1981) at $25,533,818, Halloween III (1982) at $14,400,000, Halloween 4 (1988) at $17,768,757, Halloween 5 (1989) at $11,642,254, The Curse of Michael Myers (1995) at $15,116,634, and Halloween: Resurrection (2002) with $30,354,442.[23]
Following its first Friday after its opening weekend, Halloween saw a 71.6% drop in attendance, earning $3,093,679.[24] The film, which earned the #1 spot at the box office in its opening weekend,[26] earned only $9,513,770 in its second weekend—a 63.9% decrease—but still claimed the #2 spot at the box office just behind 3:10 to Yuma.[27] The film continued to appear in the weekend top ten going into its third weekend, when it earned $4,867,522 to take sixth place.[28] It was not until the film's fourth weekend that it fell out of the top ten and into twelfth place with $2,189,266.[29] Halloween would fail to regain a top ten spot at the box office for the remainder of its theatrical run.[30]
Thanks to its opening weekend of $30.5 million, the film broke the box-office record for the Labor Day weekend, surpassing the record set in 2005 by Transporter 2 with $20.1 million.[31] It still currently resides as the top Labor Day weekend grosser.[32] Halloween was also the 8th highest grossing R-rated film of 2007,[33] and finished out the year in 44th place for domestic box office gross.[34] With its $58 million box office gross, Halloween was the second highest grossing film among the recent slasher remakes, taken over by A Nightmare On Elm Street (2010 film) with $63 million, however it is third in the list which consists of When a Stranger Calls (2006) at $47.8 million, Black Christmas (2006) at $16.3 million, Prom Night (2008) at $43.8 million, My Bloody Valentine 3D (2009) with $51.4 million, and Friday the 13th (2009) leading the group with $60 million.[35] Halloween is also ranked eleventh overall when comparing it to all of the horror remakes,[36] as well as eighth place for all slasher films in general, in unadjusted dollars.[37]
In addition to the film's North American box office, it opened alongside Michael Clayton and Mr. Woodcock in foreign markets on the weekend of September 29, 2007. Halloween led the trio with a total of $1.3 million in 372 theaters – Michael Clayton and Mr. Woodcock took in $1.2 million from 295 screens and $1 million from 238 screens, respectively.[38] By November 1, 2007, Halloween had taken in an additional $7 million in foreign markets.[39] Ultimately, the film would earn approximately $21,981,879 overseas.[22] By the end of the film's theatrical run, the film had taken a worldwide total of $80,253,908.[40] Comparing this film to the rest of the films in the Halloween film series, Zombie's remake is the highest grossing film in unadjusted US dollars.[23] When adjusting for the 2009 inflation,[41] Zombie's Halloween—which adjusts to $60.4 million domestically—is fourth, behind Carpenter's Halloween at $166.9 million, Halloween H20 at $73.8 million, and Halloween II at $66.7 million.[42]
Critical response[edit]
Based on 109 reviews collected by Rotten Tomatoes, Halloween received an average 25% overall approval rating based on 110 reviews, with the consensus "Rob Zombie doesn't bring many new ideas to the table in Halloween, making it another bloody disappointment for fans of the franchise."[43] By comparison, Metacritic calculated a normalized score of 47 out of 100 from the 18 reviews it collected.[44] CinemaScore polls reported that the average grade cinemagoers gave the film was "B-minus" on an A+ to F scale; it also reported that 62% of the audience was male, with 57% being 25 years or older.[45]



 Various critics thought that Malcolm McDowell was perfectly cast as Loomis.
Peter Hartlaub, of the San Francisco Chronicle, felt Zombie was successful in both "[putting] his own spin on Halloween, while at the same time paying tribute to Carpenter's film"; he thought Zombie managed to make Michael Myers almost "sympathetic" as a child, but that the last third of the film felt more like a montage of scenes with Halloween slipping into "slasher-film logic".[46] Nathan Lee of The Village Voice disagreed in part with Harlaub, feeling that Halloween may have placed too much emphasis on providing sympathy for Michael Myers, but that it succeeded in "[deepening] Carpenter's vision without rooting out its fear".[47] The View London film critic Matthew Turner believed the first half of the film, which featured the prequel elements of Michael as a child, were better played than the remake elements of the second half. In short, Turner stated that performances from the cast were "superb", with Malcolm McDowell being perfectly cast as Dr. Loomis, but that the film lacked the scare value of Carpenter’s original.[48] Jamie Russell from the BBC agreed that the first half of the film worked better than the last half; she stated that Zombie’s expanded backstory on Michael was "surprisingly effective"—also agreeing that McDowell was perfectly cast as Loomis—but that Zombie failed to deliver the "supernatural dread" that Carpenter created for Michael in his 1978 original.[49]
New York Daily News critic Jack Matthews believed the film lacked tension, and went more for cheap shocks—focusing more on enhancing the "imagery of violence"—than real attempts to scare the audience; he gave the film one and a half stars out of five.[50] Dennis Harvey, from Variety magazine, echoed Matthew's opinion that the film failed to deliver on the suspense; he also felt that you could not tell one teenage character from the next, whereas in Carpenter's original each teenager had real personalities.[51] In contrast, Rossiter Drake of The Examiner applauded Michael's backstory, feeling that it was a "compelling take on the mythology" that managed to be "unique" and "shocking" at the same time.[52] In agreement with other critics, Empire magazine's Kim Newman felt that, because Zombie seemed less focused on the teenagers being stalked and killed by Michael, the film "[fell] flat" when it came to delivering suspense or anything "remotely scary"; Newman did praise McDowell for his portrayal of the "dogged psychiatrist".[53] Ben Walter, of Time Out London, felt Zombie added "surprising realism" to the development of Michael Myers’ psychopathic actions, but agreed with Newman that the director replaced the original film’s "suspense and playfulness" with a convincing display of "black-blooded brutality".[54]
Frank Scheck, of the Hollywood Reporter, believed that even though Zombie's remake of Carpenter's Halloween was better than getting another sequel in the long running franchise it still was not comparable to the 1978 original. For Scheck, Zombie replaced Carpenter's building suspense, which made it so "brilliant", with graphic violence and extended scenes of nudity; he also criticized McDowell for lacking the intensity that Donald Pleasence brought to the Loomis character.[55] By contrast, TV Guide's Ken Fox felt that Zombie did deliver a "scary horror movie", not by copying Carpenter, but by making the film his own. Fox noted that Zombie seemed to follow more in the footsteps of Wes Craven and Tobe Hooper's "savage, greasy-haired '70s" films, which allowed him to bring Michael back to his roots and successfully terrify an audience which has grown accustomed to the recent "torture porn" horror films.[56] Bill Gibron, of PopMatters, believes that audiences and critics cannot compare Carpenter's film to Zombie's remake; where Carpenter focused more on the citizens of Haddonfield—with Michael acting as a true "boogeyman"—Zombie focuses more on Michael himself, successfully forcing the audience to experience all of the elements that Michael went through that would result in his "desire for death".[57]
Halloween won the Rondo Hatton Classic Horror Award for Best Film of 2007, drawing in 550 votes, the most ever in the history of the award.[58] The film also won the 'Best Remake Award' at the 2008 Spike TV Scream Awards.[59] Dan Mathews, vice president of PETA, sent Rob Zombie a thank-you letter for what he perceived as Zombie sending a message to audiences when he depicted the young Michael Myers torturing animals, something he felt demonstrated that people who commit acts of cruelty to animals are likely to move on to humans. Mathews went on to say, "Hopefully, with the attention focused by your movie on the link between cruelty to animals and human violence, more people will recognize the warning signs among people they know and deal with them more forcefully. We wish you continued success!"[60]
Home media[edit]
The film's soundtrack was released on August 21, 2007; it includes 24 tracks, consisting of 12 dialogue tracks and 12 instrumentals. The album contained both new tracks, as well as ones recycled from the original Halloween and its sequel. Tyler Bates' interpretation of John Carpenter's original Halloween theme is the first musical track, with "(Don't Fear) The Reaper," which appeared in Halloween, and "Mr. Sandman", which appeared in Halloween II and Halloween H20: 20 Years Later, performed by Nan Vernon.[61] Writing about its selection from the 1981 film, one reviewer for the BBC commented that it worked well to "mimic Laurie’s situation (sleeping a lot)", making "the once innocent sounding lyrics seem threatening in a horror film".[62] The album also includes Kiss's "God of Thunder", Rush's "Tom Sawyer", Alice Cooper's "Only Women Bleed", Peter Frampton's "Baby, I Love Your Way", Nazareth's "Love Hurts", Bachman–Turner Overdrive's "Let It Ride", Misfits' "Halloween II", and an Iggy Pop live version of the The Stooges' "1969" among others.[63]
On December 18, 2007, the film was released on DVD in the United States; both the theatrical (109 minutes) and an unrated director's cut (121 minutes) were released as two-disc special editions containing identical bonus features.[64] The film was released on DVD in the UK on April 28, 2008, known as the "Uncut" edition.[65] On October 7, 2008, a three-disc set was released.[66] This Collector's Edition of Halloween features the same bonus features as the previous unrated edition, but includes Rob Zombie's four-and-a-half hour "making-of" documentary similar to the "30 Days in Hell" documentary for Zombie's The Devil's Rejects.[66]
References[edit]
1.^ Jump up to: a b "Boo! ‘Halloween’ scares up record 4-day debut". MSNBC. 2007-09-03. Retrieved 2007-09-04.
2.^ Jump up to: a b "Rob Zombie to Re-Make Halloween". TheGauntlet.com. 2006-06-04. Retrieved 2006-12-19.
3.^ Jump up to: a b c "New "Halloween" film". HalloweenMovies.com. 2006-06-04. Retrieved 2007-04-09.
4.^ Jump up to: a b "Halloween: On Set With Director Rob Zombie!". Bloody-Disgusting. 2007-03-19. Archived from the original on 2007-12-11. Retrieved 2007-04-11.
5.^ Jump up to: a b c "Interview with Rob". HalloweenMovies.com. 2006-06-16. Retrieved 2007-04-09.
6.^ Jump up to: a b "Zombie 'to resurrect Halloween'". BBC News. 2006-06-05. Retrieved 2008-10-12.
7.^ Jump up to: a b "Evil Reborn: Zombie resurrects a horror classic". MTV. Retrieved 2007-04-10.
8.^ Jump up to: a b c d "Zombie Kills 'Halloween' Theme Song, Revokes Myers' Driver's License". MTV. 2007-03-07. Retrieved 2007-04-10.
9.Jump up ^ "Official Halloween Casting Breakdown, Synopsis". Bloody-Disgusting. 2007-11-22. Archived from the original on 2007-02-18. Retrieved 2010-04-12.
10.Jump up ^ "The Big Question Answered Halloween". Bloody-Disgusting. 2007-01-04. Retrieved 2007-01-04.
11.Jump up ^ "Daeg Faerch to Play a Young Michael Myers in the Next Halloween Movie". Movieweb.net. 2006-12-19. Retrieved 2007-06-13.
12.Jump up ^ "Rob Zombie's MySpace". MySpace. 2006-12-22. Retrieved 2007-04-09.
13.Jump up ^ "Michael Myers cast in Rob Zombie's 'Halloween'". Bloody-Disgusting. 2006-11-24. Retrieved 2008-10-10.
14.Jump up ^ "Exclusive: Cast Interview Featurette". Movieweb. Retrieved 2008-10-10.
15.Jump up ^ Turek, Ryan (September 2007). Scout's Horror. Fangoria.
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17.Jump up ^ "Webmaster(Chad) Interviews Halloween 9 contest winner Heather Bowen!". Halloween Series.com. 2005-08-16. Archived from the original on June 29, 2007. Retrieved 2008-09-20.
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39.Jump up ^ Conor Bresnan (2007-11-01). "Around the World Roundup: 'Ratatouille' Still Served at Top Spot". Box Office Mojo. Retrieved 2008-08-17.
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42.Jump up ^ Using Tom's Inflation Calculator based on the numbers given at Box Office Mojo
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51.Jump up ^ Dennis Harvey (2007-08-27). "Variety review". Variety. Retrieved 2008-04-27.
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External links[edit]

Portal icon Film portal
Official website
Halloween at the Internet Movie Database
Halloween at allmovie
Halloween at Box Office Mojo
Halloween at Rotten Tomatoes
Halloween at Metacritic


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Categories: 2007 films
English-language films
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