Halloween 4: The Return of Michael Myers (1988): "The Shape" of Things To Come

First, he came home on Halloween. Then he continues his carnage late that night at the local hospital. Then he, well, he appeared on a TV in the background of a scene while the world was almost annihilated by druids with masks, and finally, despite being shot twice in the head and blown up during his last real appearance, he comes back again in Halloween 4: The Return of Michael Myers. So how did everyone’s favorite Shape come back from having his noggin blown off and being incinerated? He had the ultimate protection, poor box office receipts for the previous un-Myers edition of the franchise. So producer Moustapha Akkad wanted to go back to the well again, and Cannon films approached John Carpenter about penning a sequel, which he did, with Dennis Etchison who had penned novelizations of the series. Their script, detailing a Haddonfield reeling from the killings after banning Halloween, was rejected, and it soon lead to Carpenter, and longtime collaborator Debra Hill, exiting the series. Instead, what came next is a film that would shape the series’ arc for a number of installments and redefine Michael Myers as more supernatural force than man.

Halloween Top 13: The Devil Made Me Do It #12: Children of the Corn (1984)

Today’s film has been stalking me for some time. Every time I put an ear out to hear what films folks might want me to write about, it was a-maize-ing how many popped off about this title. I thought there must be more to this film than the kernel of an idea that I remembered, and I have to stop these corny jokes. Turns out, Stephen King’s The Children of the Corn is a tasty horror niblet perfect for #12 on The Halloween Top 13: The Devil Made Me Do It. Over the past year, I’ve gotten to talk about a ton of Uncle Stevie’s film adaptations, and some work better than others. For every Christine or Salem’s Lot, there seems to be a number of films like Tommyknockers and the Sometimes They Come Back sequels to far outweigh the good ones.  Children of the Corn has a lot of things going for it, creepy, satanic kids, King’s fascinating story, and fields and fields of corn.


Burt and Vicky (Peter Horton and Linda Hamilton) are on their way to Seattle where Burt is due to start a new job at the hospital. Taking the scenic route to avoid the Interstates seemed like a serene way to spend the trip cross country, but not long after they enter Nebraska, their idyllic drive comes to an abrupt halt when Burt thinks he’s hit someone. Stopping the car, he finds that he did hit a kid, but one whose throat had recently been slashed open. Burt loads the kid in the car, but after failing to get any help at the nearest service station, the couple heads for the nearest town, Gatlin. What they don’t know is that three years earlier, Isaac (John Franklin) and his ginger goon Malachi (Courtney Gains) lead the children in killing off all the old people in town. Now, the kids remain sacrificing themselves to a demonic entity, “He Who Walks beyond the Rows”, on their 19th birthday. Naturally when Burt and Vicky hit town it’s all welcome wagons and streamers. Oh, wait, no, the opposite. The kids immediately start trying to kill them or capture them to sacrifice to the corn demon.

If you’ve never run through a cornfield, let me tell you, it’s not as much fun as it looks. The leaves of corn are sharp as a razor and can tear and rip at your clothes and skin. However, I suppose having violent, knife wielding, Satan worshipping kids hanging out between the stalks would make it worse. Stephen King first penned the story “Children of the Corn” for publication in Penthouse of March 1977, and it was later included in his collection of short stories Night Shift (1978). The fifteen page story bears a resemblance to the movie version only in passing. The characters of (SPOILER ALERT on almost a 35 year old story.) Burt and Vicky don’t live to see the end, there are no kids saved, and no demons are defeated. In other words it’s a Stephen King story. While I can separate my love for the story and the movie, I know Uncle Stevie doesn’t seem to be able to do the same. In 1995 he let his feelings be known in USA Today. King said, “My feeling (sic. On books turned into movies) is like a guy who sends his daughter off to college. You hope she won’t fall in with the wrong people. You hope she won’t be raped at a fraternity party, which is pretty well what happened to Children of the Corn.” Some of this disappointment has to come in how his big bad are treated. Where the TV version of his novel IT oversimplified the monster into a giant spider, the demonic anti-Christ “He Who Walks beyond the Rows” of Children of the Corn comes off like “He Who Has Seen Altered States", just some wan animation thrown on top of the frame.

While there are plenty of changes, I fail to see how the story was raped. It’s more like the filmmakers were making sweet (and slightly boring) love to every nook and cranny. I have to give some respect to writer George Goldsmith for taking the 15 pages and drawing them out into 90 minutes. The movie does occasionally drag, and one has to wonder why it took the Doctor and his wife so long to figure things out. They seem like smart people, but they insist on making dumb decisions. Overall, the film is able to entertain far beyond where King’s story left off. While I would like to see a fair, accurate representation, Goldsmith ties the film up with a dénouement which is not very Stephen King, but satisfies the viewer and, in the greatest horror tradition of the 80’s, left it wide open for a long line of sequels. Children of the Corn was the first credit for director Fritz Kirsch (who would go on to make Gor (1987) and Tuff Turf (1985) featuring a young James Spader), and he did a wonderful job capturing the isolation of those Nebraska corn fields. Also notable is the score from first time film composer Jonathan Elias. Since then Jonathan has scored Two Moon Junction (1988), Leprechaun 2 (1994), Pathfinder (2007), and recently the SyFy remake of Children of the Corn.

The leads in the film Peter Horton (Singles, Thirtysomething) and Linda Hamilton (Sarah Conner in The Terminator) are relatable, likable folks, but there doesn’t seem to be much to them. In King’s story, the couple is on rocky footing, but I never got that from the movie at all. The real stars are the kids. Though some of them aren’t even kids at all. John Franklin, who plays cult leader Isaac, was actually twenty five when he played the diminutive demonic devotee. Franklin has a condition known as Growth Hormone Deficiency leaving him appearing youthful, small of stature, and with a higher voice than most grown men. Franklin was maniacally terrific, but I have to mention one thing. If his character was not the inspiration (at least in part) for Eric Cartman on South Park, I would be highly, highly surprised. The other notable is Courtney Gains. Dude acts like a straight up creep and is clearly loving it. (And who wouldn't love yelling, "Outlander! We have your woman!" as loud as they could?) The redheaded actor would go on to appear in films such as The ‘burbs and Memphis Belle and still can be found working today as a character actor both on the small and the big screen.

In researching Children of the Corn, I also discovered the 1983 short film Disciples of the Crow also based off King's story. Made for no budget a year before the big screen version, director John Woodward (who would get a shot at a feature title seven years later with Good Girl, Bad Girl) makes a film as tense and effective as the studio managed to produce. In fact his Vicky and Burt, Eleese Lester and Gabriel Folse both first time actors still in films and TV today) actually come across more like the character in King’s story. I almost forgot to mention that Disciples of the Crow manages to get across its story in less than fifteen minutes, a much better page top screen ratio than the feature film. I have included both parts of DotC under the trailer if you’re interested in checking it out.

Children of the Corn may not mention the devil or a demon by name, though there is little doubt as to what “He Who Walks” is supposed to be, however, Satan’s work is on full display. Who else could convince kids to kill the folks that buy them iPads and Xboxes and… what’s that? Oh they’re 80’s kids. Well too imaginative for their own good probably. I could see that happening. One thing’s for sure. The only thing that could be scarier than killer kids is killer kids with an agenda to kill fueled by religious fanaticism. I’m meaning to tell you that if I lived in Nebraska when this film was released I would have moved. Somewhere quiet where there wouldn’t be a bunch of religious nuts causing a ruckus. Maybe somewhere down in Texas, I hear Waco is real nice. Well that about brings us to the end of another installment of The Halloween Top 13. I sure hope you enjoyed #12, and I’ll see you all back here tomorrow for #11! Until then, like Children of the Popcorn, I hope this review get stuck in your teeth.

Bugg Rating

Terrifying Tuesday: Kill, Baby, Kill (1966)

I just can’t get enough vengeful daughters this week, but tonight’s female on the warpath leaves behind the science in favor of a more macabre solution to her issues. Also tonight we leave Spain behind and travel to Italy to visit an old friend. Sometimes, in the deluge of films to watch, I find myself unable to revisit some directors that I dearly love. For pure visual delight, Mario Bava always manages to dazzle. In tonight’s tale we are treated to another feast for the eyes when Bava plays with an array of dazzling color and set design.  

Kill, Baby, Kill [Italian: Operazione paura] (1966) starring Giacomo Rossi-Stuart, Erika Blanc, Fabienne Dali, Valerio Valeri, and Giovanna Galletti. Directed by Mario Bava. 

Dr. Eswai (Rossi-Stuart), a coroner, is called to a remote Transylvanian village to assist Inspector Kruger in the investigation of a death of a young girl. The locals object to the meddling of the Coroner and try to obstruct him from tampering with the body. When he is finally able to perform the autopsy, he finds a coin has been placed in the girl’s heart. He learns of the local superstition from the nurse, Monica (Blanc), who has been sent to assist him. As a native of the area, she knows the villagers believe that only a gold coin in the heart will grant peace in the afterlife to a soul which has met a violent end. 

As the Doctor begins to investigate, he uncovers the tale of Melissa (Valeri), a young girl trampled to death at a village festival. The citizens of the town believe they are haunted by the vengeful spirit of the little girl, but Eswai scoffs at them. He believes they are haunted by their own guilt coupled with ignorant superstition. However when Inspector Krugar is found dead of a self inflicted gunshot, Eswai begins to question his own beliefs. With the help of local witch Ruth, the mystery of Melissa and her mother, Baroness Grafs (Galletti), slowly begins to come to light, and the good doctor and Monica are drawn to the Baroness’ castle where the truth will all be known. 

Film Facts

--Two weeks into filming, the producers ran out of money. Bava and the cast finished the film without any pay. 

--This was the first of his father’s films that Lambert Bava served as Assistant Director. 

--Carlo Rustic Elli, who handled the massive score, was a veteran composer with 156 credits to his name before Kill, Baby, Kill. He would go on to turn in music for Fulci’s 1973 film White Fang and Joe D’Amato’s fantasy film Ator, the Invincible among many others. 

--Piero Lulli appeared here as Inspector Kruger, but he had a long career that spanned across many genres. He ended his career in 1977 after his turn in the infamous Nazi Love Camp 27. 

The Bug Speaks

A triumph of style and depth, the screen is filled with a series of sumptuous delights for the eyes for nearly the whole of Kill, Baby, Kill’s 85 minute running time. From the moment we see daylight as the Doctor arrives in town, we are plunged into a world ruled by tones of black, blue, and green. Each scene seems to have been given a thorough working by the lightning department, and Bava, working a with frequent collaborator cinematographer Antonio Rinaldi, takes full advantage of each shot. The screen is alive with colors, and with the richly detailed sets, I believe they were also playing with perspective. 

I would love to say that this film is a feast for all the senses, but other than for sight, I don’t think it does much for the rest of the gang. Perhaps I’m wrong though, let’s check. Well, as far as smell, there’s the titles this film has repeatedly been saddled with. Kill, Baby, Kill conjures hipster notions and sounds a bit more like Russ Meyer fare. The original Italian title, Operazione paura, has a literal translation of Operation Fear. While the spy film was certainly in vogue by ‘66, this film decidedly does not fit that bill. The German Die Toten Augen des Dr. Dracula (The dead eyes of Dr. Dracula) is equally as baffling, and the list goes on with Don’t Walk in the Park and Curse of the Living Dead. The fact that this Gothic horror defies description boggles the mind, and probably is at fault for the lack of praise this film receives. 

To keep up the exploration of the senses (after all I’ve started it now), you will hear a good bit of Carlo Rustichelli’s score, and this is where the film begins to lose footing. The orchestral score is so pervasive that often it feels that Bava was leaning too heavily on the score to create tension though some rather bland, slowly paced scenes. Perhaps intended to strike the tone that many Hammer film scores achieve, it instead quickly becomes a nuisance. The feeling of the film suffers from this as well, but some of the acting touches such a nerve that it is wonderful to watch.

 While neither of the leads, the Doctor or Monika, provide much entertainment. (Although Erika Blanc is quite fetching.), Fabienne Dali’s witchy woman Ruth and her paramour Burgomeister Karl (Luciano Catenacci) provide the most inspired acting. Dali commands the screen every time she appears, and ultimately she supplants the erstwhile Doctor as the film’s true hero.  Luciano Catenacci gives a thrilling performance that will remain the best bug eyed frenzy I have seen from an actor this side of Peter Lorre. This is enhances by some of the scenes where Bava did some beautiful work with shadow on the Burgomeister’s bald head. 

Another character whose role is defined by the camera is Valerio Valeri as Melissa. Valeri is actually a little dark haired boy dressed up like a little blonde girl. Now that’s no kind of Sleepaway Camp-esque spoiler (Oops, I managed to spoil SC by denying a spoiler! Curses!), Bava met with many young girls for the part, but when he saw Valerio, Mario found his spectral little girl. Melissa’s slightly masculine features manage to add to the creepiness of her supernatural menace. Kill, Baby, Kill also might have served as inspiration for Stanley Kubrick in The Shining. The long hallway shots of the little blonde girl playing with a ball are very reminiscent of those in the Stephen King adaptation. 

In the end the question is what kind of taste did this film leave in my mouth. Well, after licking the DVD for some time, I decided a literal answer might not be what I was looking for. (If you want one, one word: Pears.) Instead I’ll say that Kill, Baby, Kill is again another triumph of Bava’s vision as a film maker. However the shaky story and slow pacing do detract from this film, but while these had their effect, my overall enjoyment factor of the film was quite high. Had it not been for the dazzling visuals (and I didn’t even get a chance to touch on the eerie dream sequences with the killer baby doll), I may have lost interest in the film. It really didn’t offer up much in the way of story. Fans of Bava’s will want to see this one for it’s stylistic qualities, and anyone interested in the obscure Hammer films will probably find much to like. 

Bug Rating