"And did the Countenance Divine Shine forth upon our clouded hills? And was Jerusalem builded here Among these dark Satanic mills? "
William Blake, "Jerusalem", 1795
"We all have to make sacrifices!" --from the Mangler-screenplay, 1995
Coming from Stephen King's 1978 collection of shorts, "Night Shift", Tobe Hooper brings us his very different-take: a parable of 19th Century, proprietary-capitalism and the nightmare of the American-workplace. This film is what labor-conditions were 100-years-ago, and what they could easily become again if we aren't too-careful. Since the discovery of a slave-sweatshop in El Monte, California a few-years after the release of this film, it isn't so fantastic. Maybe some of us were too-comfortable to "get" this film in the Clinton-era. Most people don't get this film at-all, even just watching it on its surface-levels. It's a real hoot! Yep, you can watch it with a beer, and you can watch it with an open-mind thinking about its deeper-meanings, or you can do both. And--shocker!--ALL of them are FUN.
Tobe Hooper has said for-decades he wanted to do comedy, and he comes close here, which helps this film from being too-oppressive. Ithink Hooper understood the story better than Stephen King--it seems King worked in a clothes-pressing plant like this one in the 1960s, which gave-rise to it, but Hooper has always struck me as politically-radical in his approach-to-horror. The best horror usually has a real subversive-edge, and this is what makes this a good one. Sure, it's hokey, but it has its tongue firmly-planted in its cheek, it is jokey. It also has some sub-themes in the lines, "There's a piece of me in that machine--and a piece of it in me." It speaks well of how people are spiritually-contaminated by our system. The disease is greed.
If it wasn't for Ted Levine ("Buffalo Bill" in Silence of the Lambs) as the bedraggled town-cop John Hunton, Robert Englund would literally steal-the-show here. Tobe uses some great low-shots and wide-angle lens compositions (ala "Citizen Kane") that lend the film a great comic-book look, and make Englund shine as a despicable-villain. The irony is, mill-owner Gartley is also a victim of the machine, even robbing him of the ability to walk. He's also half-blind, which makes-sense. The characters are pretty well-drawn, and we learn that Detective Hunton has some baggage left-behind from the death of his wife in a car-accident, years-earlier. The town is run like a virtual-dictatorship by Gartley, who basically represents the "robber-barons" of the 19th century (as well as today), completely-uncaring about the safety and welfare of his employees. A man who has lost his humanity. Sound familiar?
Eventually, an accident occurs where the niece of Englund's character spills her own blood on the "Mangler", a clothes-press that must be 100-years-old. Another shop-employee spills her belladonna-laced antacids into the guts of the machine, and it begins taking-victims...and parts. Oddly, all the people Bill Gartley "owns" (the Mayor, the Police Chief, Doctors, etc.) have missing-fingers. Of course, the premise of a demoniacally-possessed machine is fantasy, which is what makes the story a parable, but it's fun. Over-time, Detective Hunton finds that the Gartley dynasty has been-sacrificing their own young to the infernal-machine for a century, and now they're "spreading-the-love". Don't all employers? Some require the blood of a virgin!
So, people have been wrong about this one. It's a minor-classic of a bad-decade for horror. The genre has its fallow-periods where interest isn't as-high, and 1995 wasn't exactly a banner-year for horror-buffs. And quit-comparing every film a director does to their most well-known ones, it's emotionally-retarded. This is a solid horror-film, and if it had been presented in the proper-context, would have been better-appreciated. The short-story is good, but this is better, and Stephen King sure isn't Edgar Allan Poe or Lovecraft ferchrissakes. The New Line DVD is great, it has a perfect widescreen-transfer, and even includes the gore that was cut with split-screen comparisons to the theatrical-version. A great horror-film, and a respectable one for Tobe Hooper. Now you can all go and rewatch the original "Texas Chainsaw Massacre"--just don't touch-yourself so-much this time. We all have to make sacrifices, after-all. Ignore the other reviews, those people are snobs.
William Blake, "Jerusalem", 1795
"We all have to make sacrifices!" --from the Mangler-screenplay, 1995
Coming from Stephen King's 1978 collection of shorts, "Night Shift", Tobe Hooper brings us his very different-take: a parable of 19th Century, proprietary-capitalism and the nightmare of the American-workplace. This film is what labor-conditions were 100-years-ago, and what they could easily become again if we aren't too-careful. Since the discovery of a slave-sweatshop in El Monte, California a few-years after the release of this film, it isn't so fantastic. Maybe some of us were too-comfortable to "get" this film in the Clinton-era. Most people don't get this film at-all, even just watching it on its surface-levels. It's a real hoot! Yep, you can watch it with a beer, and you can watch it with an open-mind thinking about its deeper-meanings, or you can do both. And--shocker!--ALL of them are FUN.
Tobe Hooper has said for-decades he wanted to do comedy, and he comes close here, which helps this film from being too-oppressive. Ithink Hooper understood the story better than Stephen King--it seems King worked in a clothes-pressing plant like this one in the 1960s, which gave-rise to it, but Hooper has always struck me as politically-radical in his approach-to-horror. The best horror usually has a real subversive-edge, and this is what makes this a good one. Sure, it's hokey, but it has its tongue firmly-planted in its cheek, it is jokey. It also has some sub-themes in the lines, "There's a piece of me in that machine--and a piece of it in me." It speaks well of how people are spiritually-contaminated by our system. The disease is greed.
If it wasn't for Ted Levine ("Buffalo Bill" in Silence of the Lambs) as the bedraggled town-cop John Hunton, Robert Englund would literally steal-the-show here. Tobe uses some great low-shots and wide-angle lens compositions (ala "Citizen Kane") that lend the film a great comic-book look, and make Englund shine as a despicable-villain. The irony is, mill-owner Gartley is also a victim of the machine, even robbing him of the ability to walk. He's also half-blind, which makes-sense. The characters are pretty well-drawn, and we learn that Detective Hunton has some baggage left-behind from the death of his wife in a car-accident, years-earlier. The town is run like a virtual-dictatorship by Gartley, who basically represents the "robber-barons" of the 19th century (as well as today), completely-uncaring about the safety and welfare of his employees. A man who has lost his humanity. Sound familiar?
Eventually, an accident occurs where the niece of Englund's character spills her own blood on the "Mangler", a clothes-press that must be 100-years-old. Another shop-employee spills her belladonna-laced antacids into the guts of the machine, and it begins taking-victims...and parts. Oddly, all the people Bill Gartley "owns" (the Mayor, the Police Chief, Doctors, etc.) have missing-fingers. Of course, the premise of a demoniacally-possessed machine is fantasy, which is what makes the story a parable, but it's fun. Over-time, Detective Hunton finds that the Gartley dynasty has been-sacrificing their own young to the infernal-machine for a century, and now they're "spreading-the-love". Don't all employers? Some require the blood of a virgin!
So, people have been wrong about this one. It's a minor-classic of a bad-decade for horror. The genre has its fallow-periods where interest isn't as-high, and 1995 wasn't exactly a banner-year for horror-buffs. And quit-comparing every film a director does to their most well-known ones, it's emotionally-retarded. This is a solid horror-film, and if it had been presented in the proper-context, would have been better-appreciated. The short-story is good, but this is better, and Stephen King sure isn't Edgar Allan Poe or Lovecraft ferchrissakes. The New Line DVD is great, it has a perfect widescreen-transfer, and even includes the gore that was cut with split-screen comparisons to the theatrical-version. A great horror-film, and a respectable one for Tobe Hooper. Now you can all go and rewatch the original "Texas Chainsaw Massacre"--just don't touch-yourself so-much this time. We all have to make sacrifices, after-all. Ignore the other reviews, those people are snobs.