Phantasm (1979) ****
Phantasm (1979) is one of those films that I've seen many times, where I'm willing to forgive some of the clunkier aspects—the rough acting (and overacting), the dated f/x, the silly (but fun) dialogue, and some truly goofy character moments—because I can't help but marvel at the spirit and enthusiasm that its writer/director Don Coscarelli and his dedicated cast and crew were able to get up on screen with a micro budget. It's one of those films that inspires because you can tell it's made by people who truly cared and it's got an underdog quality that you can't help but root for.
In those ways, it's a lot like Sam Raimi's The Evil Dead (1981)—in fact there are physical gags in Phantasm that are similar to the type of humor used in The Evil Dead. Additionally, the chainsaw duel in this film's sequel, Phantasm II (1988), was likely a tribute to Tobe Hooper's The Texas Chainsaw Massacre 2 (1986), and the quadruple shotgun to Evil Dead II (1987).
Part of why Phantasm holds up well on repeat viewings is the surreal nature of the film. Even when you've seen it before, it can still be difficult to pinpoint exactly what is real, what is a dream, and what is in the imagination. There are also some beats that, while they might seem familiar or tropey now, actually subvert the expectations of audiences of the time.
While the execution of some themes (death, loss of family, fear of separation) doesn't always land perfectly, and the amateur performances can hamper the delivery at times, there is no denying that it's a film that makes you think. Particularly if you find yourself relating to the film's young star. There is a sense of melancholy that compliments the dread and never gets completely derailed during does those goofier moments mentioned earlier.
Fred Myrow and Malcom Seagrave's memorable synth score does a great deal to aid the atmosphere of the film, particularly in regard to its surrealist qualities. It struck me after a number of viewings of Phantasm just how much certain shots remind me of Lucio Fulci. There is definitely a more playful and adventurous vibe in Coscarelli's film, but the similarities are there in the dream-logic, the fog-enshrouded landscapes, the lighting, and the design—not to mention that the aforementioned score has a lot in common with Fabio Frizzi and Goblin.
40 years on, Phantasm stands as an incredibly successful and influential indie sci-fi horror cult classic. The sequels vary in quality from excellent (Phantasm II, which benefited from a bigger budget, better f/x and more action) to solid (Phantasm III (1994), which has its moments but has never wowed me) to great (Phantasm IV (1998), an introspective entry that ties back brilliantly to the first film) to terrible (Phantasm: Ravager (2016), which Coscarelli produced but didn't direct, and unfortunately plays like fan fiction). But with a badass car, an iconic villain, and plenty of heart, the original will always have a rightful place in movie history.
You can find my Don Coscarelli Feature Films Ranked list here.
In those ways, it's a lot like Sam Raimi's The Evil Dead (1981)—in fact there are physical gags in Phantasm that are similar to the type of humor used in The Evil Dead. Additionally, the chainsaw duel in this film's sequel, Phantasm II (1988), was likely a tribute to Tobe Hooper's The Texas Chainsaw Massacre 2 (1986), and the quadruple shotgun to Evil Dead II (1987).
Part of why Phantasm holds up well on repeat viewings is the surreal nature of the film. Even when you've seen it before, it can still be difficult to pinpoint exactly what is real, what is a dream, and what is in the imagination. There are also some beats that, while they might seem familiar or tropey now, actually subvert the expectations of audiences of the time.
While the execution of some themes (death, loss of family, fear of separation) doesn't always land perfectly, and the amateur performances can hamper the delivery at times, there is no denying that it's a film that makes you think. Particularly if you find yourself relating to the film's young star. There is a sense of melancholy that compliments the dread and never gets completely derailed during does those goofier moments mentioned earlier.
Fred Myrow and Malcom Seagrave's memorable synth score does a great deal to aid the atmosphere of the film, particularly in regard to its surrealist qualities. It struck me after a number of viewings of Phantasm just how much certain shots remind me of Lucio Fulci. There is definitely a more playful and adventurous vibe in Coscarelli's film, but the similarities are there in the dream-logic, the fog-enshrouded landscapes, the lighting, and the design—not to mention that the aforementioned score has a lot in common with Fabio Frizzi and Goblin.
40 years on, Phantasm stands as an incredibly successful and influential indie sci-fi horror cult classic. The sequels vary in quality from excellent (Phantasm II, which benefited from a bigger budget, better f/x and more action) to solid (Phantasm III (1994), which has its moments but has never wowed me) to great (Phantasm IV (1998), an introspective entry that ties back brilliantly to the first film) to terrible (Phantasm: Ravager (2016), which Coscarelli produced but didn't direct, and unfortunately plays like fan fiction). But with a badass car, an iconic villain, and plenty of heart, the original will always have a rightful place in movie history.
You can find my Don Coscarelli Feature Films Ranked list here.
Comments
Post a Comment