Frog Baby returns! This month I’m pretty excited to bathe a little light on one of my favorite horror films of all time. That’s right, it’s time we take a little trip through Tobe Hooper’s Funhouse. Released in 1981, Hooper’s last true masterpiece is the end of a string of horror-pearls that Hooper mined in the halcyon days of his career. First it was the untouchable Texas Chainsaw Massacre (’74), then Eaten Alive (’77), followed by Salem’s Lot (’79), finally touring the good old Funhouse. For those who haven’t seen the flick, it centers on a foursome of bright eyed kids who happen upon a rural and random tent-show circus; a fucked up carnival of sorts. There, all kinds eerie and off-putting shit starts to go down. The atmosphere in the film is ultra-stylish, the dirt and perversion as palpable as you could want or evade from a movie. There’s something about the film stock and cast of deranged characters that lend itself to the feeling of a bad dream, a desired effect that is certainly no easy feat.
As it turns out, a demented masked-man begins stalking and slashing the teens one by one. We finally learn he is more or less a disgruntled side-show act that’s had enough of people gawking and laughing at his deformities. And so he decides to cut down all the precious new comers so as it feel a tinge better about his self. But what conjures most of the unease in the picture is really the environment and tone. The color palate is sensational, greens and purples and reds – it’s like one of those twisted Argento offerings, no doubt European inspired. That’s one of the main things I remember about the film after not seeing it in a long time, how the whole thing looks. Not to mention the finale, where we get one of the most awesomely drawn out fatalities in the history of cinema. Seriously, it’s like a ten minute sequence that just grows and improves to impress.
A couple of interesting tidbits: the flick was banned in the UK for a brief stint due to a mix up, people thought it was another true video nasty by the name of Last House on Dead End Street (with “The Fun House” as an alternate title). Also, renowned horror scribe Dean Koontz penned a novel based on the film which included all kinds of back story. This caused the flick to be delayed in post production, and the book was released in the mean before the film (which led many to believe the film was based on the book and not the other way around). Furthermore, Hooper opted to direct this film instead of taking Steven Spielberg’s offer to direct E.T., but they would eventually collaborate together on Poltergeist later that year.
Top 3 Moments:
-The opening sequence, said to pay homage to both Psycho and Halloween, is a very nice way to set things in motion.
-The carnival-show footage itself: filthy, disturbing, claustrophobic even – really good stuff!
-The aforementioned finale – a legit crash course in film-lighting – not to be missed.
