Posts Tagged ‘Carrie’

stephen_King_jpg_h380_jpg_568Since the idea of the auteur theory gives a, sort of , creative ownership to the director of a film, we often talk about films as creations of the director, and in the case of horror films, they usually are. However, when the film is an adaptation of a book, especially a novel by the illustrious Stephen King, the director becomes more of an interpreter than a creator. So when reviewing Brian De Palma’s Carrie or Kimberly Peirce‘s 2013 remake how much of the movie belongs to the director and how much is really the vision of the original novelist?

Carol Clover talks more of Mr. King’s creation of the girl who is hero, victim, and monster, and the themes that his ideas articulate. Jason Zinoman tells De Palma’s story and controversial decisions he made during filming. By comparing the two adaptations, it becomes obvious that while some things change (director’s call) some things remain the same (original story).

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C2 technologyCarrie was King’s first published novel, and it went stellar so fast that it made him a household name even before De Palma’s masterpiece became a hit. Although I really liked De Palma’s adaptation at the time, and it still holds a great deal of merit, I much prefer Peirce’s rendition of the story. It is clear that technology plays a significant role in the new film both inside and out. The girls use a cell phone to capture the humiliating episode in the shower, but the special effects used in the prom scene disaster sold the scene and really emphasis the power of what Clover calls the “assaultive gaze” (184).

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looking upGeorges Franju‘s Les Yeux Sans Visage or Eyes Without a Face is a poetry of images, disturbing images, yes, but also beautiful images. Eyes, of course are everywhere.

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Obsesses eyes, frightened eyes, hopeful eyes, wary eyes, longing eyes, searching eyes, blank eyes, dead eyes, wondering eyes. Edith Scob‘s eyes are the most impressive and expressive because for most of the movie that is all she has to emote with as Christiane Génessier the faceless woman behind the mask.

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Carol Clover points out that, like folk-tales, horror films have a predictable cast of characters, namely the victim, the monster, and the hero (12), but in modern horror films, enabled by the rise of feminism, often the victim and hero combine together to form what Clover calls “the female victim-hero” (4). Clover also discusses the story of Carrie White from the film Carrie based on the novel by Stephen King in which, throughout the story, Carrie takes on all three roles. I suggest that Christiane does the same in this film.

eyes3 In the beginning of the movie Christiane is presented as a victim trapped in her ivory tower by her controlling father and his over-loyal assistant. She is treated more like a doll than a person, and she resembles a doll as well. eyeswithoutaface390Her mannerisms come across as very doll-like. When the mask is on, she does not speak throughout the first part of the movie. When she sneaks out of her room and hides in the garage watching her father and his assistant come out of the hidden passageway, the audience wonders what she will discover and what she will do about it.

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However, her actions upon finding the girl strapped to the operating table reveal that she was aware of the room and it’s purpose all along, framing her as, if not accessory to the actions taken there, at least complacent in them, revealing a monstrous nature along with her monstrous face. The mask takes on a more sinister feel reminding one of other silent, masked monsters.

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WHEN-DOVES-FLYAfter the new skin graft does not take, and she returns to her mask, she once again takes on the role of victim asking the assistant to kill her using the drugs that her father uses to put down the dogs that he experiments on. Finally, she turns into “a monstrous hero” (4) when she kills the assistant imagesCAOOP1ISand sets free the next girl scheduled for mutilation as well as the dogs, who ironically tear off the face of the doctor.

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 But as she wanders off into the night, one wonders what she will become next.

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