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Halloween (1978) [Extended Edition] [Repost]

Posted By: ETRU
Halloween (1978) [Extended Edition] [Repost]

Halloween (1978) [Extended Edition]
DVD5 | VIDEO_TS | NTSC 16:9 | Cover | 01:41:00 | 4,20 Gb
Audio: English AC3 2.0 @ 192 Kbps | Subtitles: None
Genre: Horror, Thriller

Director: John Carpenter
Stars: Donald Pleasence, Jamie Lee Curtis, Tony Moran

The year is 1963, the night: Halloween. Police are called to 43 Lampkin Ln. only to discover that 15 year old Judith Myers has been stabbed to death, by her 6 year-old brother, Michael. After being institutionalized for 15 years, Myers breaks out on the night before Halloween. No one knows, nor wants to find out, what will happen on October 31st 1978 besides Myers' psychiatrist, Dr. Loomis. He knows Michael is coming back to Haddonfield, but by the time the town realizes it, it'll be too late for many people.


Halloween is one of those films where the attention to detail is evident in every frame. While there are many memorable moments, three scenes stand out above the rest. The first is the long, unbroken opening sequence where the young Michael dons a clown mask and murders his sister. Often copied, but never equaled, this scene was unique for its time and reminiscent of Psycho's shower murder for its effect. The second also occurs early in the movie, as Michael escapes from the asylum during a rain storm. To this day, I find these to be the most chilling three minutes of the movie. Finally, there's the scene near the end where Laurie is banging on a locked door while Michael approaches slowly and inexorably from behind. It's a credit to Carpenter that, no matter how many times you've seen the movie, the tension at this point still mounts to a palpable level.
James Berardinelli
Halloween (1978) [Extended Edition] [Repost]

So does John Carpenter. “Halloween” is an absolutely merciless thriller, a movie so violent and scary that, yes, I would compare it to “Psycho.” It's a terrifying and creepy film about what one of the characters calls Evil Personified. Right. And that leads us to the one small piece of plot I'm going to describe. There's this six-year-old kid who commits a murder right at the beginning of the movie, and is sent away, and is described by his psychiatrist as someone he spent eight years trying to help, and then the next seven years trying to keep locked up. But the guy escapes. And he returns on Halloween to the same town and the same street where he committed his first murder. And while the local babysitters telephone their boyfriends and watch “The Thing” on television, he goes back into action.

Halloween (1978) [Extended Edition] [Repost]

Period: That's all I'm going to describe, because “Halloween” is a visceral experience – we aren't seeing the movie, we're having it happen to us. It's frightening. Maybe you don't like movies that are really scary: Then don't see this one. Seeing it, I was reminded of the favorable review I gave a few years ago to “Last House of the Left,” another really terrifying thriller. Readers wrote to ask how I could possibly support such a movie. But it wasn't that I was supporting it so much as that I was describing it: You don't want to be scared? Don't see it. Credit must be paid to filmmakers who make the effort to really frighten us, to make a good thriller when quite possibly a bad one might have made as much money. Hitchcock is acknowledged as a master of suspense; it's hypocrisy to disapprove of other directors in the same genre who want to scare us too.

Halloween (1978) [Extended Edition] [Repost]

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: The camera establishes the situation, and then it pans to one side, and something unexpectedly looms up in the foreground. Usually it's a tree or a door or a bush. Not always. And it's interesting how he paints his victims. They're all ordinary, everyday people – nobody's supposed to be the star and have a big scene and win an Academy Award. The performances are all the more absorbing because of that; the movie's a slice of life that is carefully painted (in drab daylights and impenetrable nighttimes) before its human monster enters the scene.

Halloween (1978) [Extended Edition] [Repost]

We see movies for a lot of reasons. Sometimes we want to be amused. Sometimes we want to escape. Sometimes we want to laugh, or cry, or see sunsets. And sometimes we want to be scared. I'd like to be clear about this. If you don't want to have a really terrifying experience, don't see “Halloween.”
Rober Ebert's Review
Halloween (1978) [Extended Edition] [Repost]

John Carpenter's Halloween is a masterpiece of simplicity — a simple story beautifully, but unpretentiously, rendered by a gifted young filmmaker at the height of his powers. A fan of the stylized, convoluted gialli of Italian maestro Dario Argento, Carpenter delivered an Americanized version of the giallo as a lean, mean scare machine that avoids the maze-like plotting of its models. The film's success solidified its makers as a force to be reckoned with and helped to kick off a cycle of slasher films. There's no question that a gradually declining series of sequels and imitations have hurt Halloween's reputation over the years, but revisiting it reveals some surprises: firstly, unlike the majority of the films that came along after it, it's a tremendously subtle film. There's hardly any blood to speak of. Violence erupts quickly and is over just as fast. What little sex there is is handled in a chaste manner, with only a few fleeting images of above-the-waist female nudity. Like Hooper's Texas Chain Saw Massacre (1974) it's a film whose violent reputation rests more on the imitations than followed.

Halloween (1978) [Extended Edition] [Repost]

Halloween is also very much a product of filmmakers in love with the medium. In-jokes abound (Pleasence's Dr. Loomis is named after John Gavin's character in 1960's Psycho, while imperiled heroine Jamie Lee Curtis is the daughter of Psycho star Janet Leigh) but unlike later obnoxious efforts like Scream (1996), it never wallows in its own cleverness. Nonetheless, despite its obvious qualities, Halloween has remained a lightning rod for controversy with accusations of Puritanism lingering to this day. While it's true that the highschoolers who fall victim to Michael's blade are sexually active, it would be a mistake to assume that Carpenter (anything but conservative in his real life) is passing some kind of perverse judgment on them. As the director has stated many times, the horny teens perish simply because they are too preoccupied to notice that there is a killer around. In contrast, virginal Laurie Strode (Curtis) is a loner who is used to watching things from a distance — that she survives is due to the fact that she is alert and ahead of the situation, unlike her friends.

Halloween (1978) [Extended Edition] [Repost]

Halloween does not condemn its teenage victims, either. On the contrary, Carpenter spends a lot of time establishing the three major female characters are sympathetic and realistically depicted. Unlike many slasher films, one is actually encouraged to feel sorry for the victims — one senses a life has been taken and feels sorry for that act. Questions of intent to one side, one can hardly argue with Halloween's strengths as a film. Carpenter is one of the few current filmmakers who insists on shooting all his films in 2.35 Panavision, and his expert use of the frame recalls the best of Sergio Leone. Anybody who has ever seen Halloween (or any of his films, really) only on TV in Pan and Scan has effectively not seen the film. Shots which incorporate Michael into the frame become cropped and seem to take on the point of view of the killer, thus lending credence to the "filmmaker as judge and executioner" argument. One can see in the properly formatted widescreen edition that such arguments do not apply.

Halloween (1978) [Extended Edition] [Repost]

Carpenter is also a rarity in that he usually composes the music for his films, and his soundtrack for Halloween has passed into the annals of screen history as one of the finest of its kind. Though heavily influenced by Goblin's work on Deep Red and Suspiria, a fact the director acknowledges, his simple and haunting themes add an extra layer of suspense to the film. Unlike many of its ilk, Halloween is also a very well acted film. Donald Pleasence is superb as the obsessed Dr. Loomis — Carpenter first offered the role to Christopher Lee and then to Peter Cushing, and while I'm sure either would have done well by the role (though Cushing's ill health would have prevented him from appearing in many of the sequels), Pleasence fits the part like a glove.

Halloween (1978) [Extended Edition] [Repost]

The veteran actor confessed to Carpenter (whom he later referred to as the best director he ever worked with; high praise indeed from a man who worked with Roman Polanski, John Sturges, George Stevens and Woody Allen, to name but a few) that he accepted the role only because his daughter Angela loved Carpenter's Assault on Precinct 13 (1975), so one should be grateful to Ms. Pleasence for encouraging her father to take on what would become an iconic role. Jamie Lee Curtis, then a virtual unknown, is also superb as Laurie, covering a wide range of emotions and convincingly spending the final act in a state of heightened hysteria. Carpenter favorites Nancy Loomis (The Fog) and Charles Cyphers (Escape from New York) are also fine in their roles, and who can forget cute P.J. Soles as the bubble-headed Annie? ("Totally!")
Halloween (1978) [Extended Edition] [Repost]

Special Features:
- "About The TV Version" notes
Thanks to Someonelse for initial post.
–––––––
All Credits for DVD goes to Original uploader.

No More Mirrors, Please.



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