PHENOMENALITY: *marvelous*
MYTHICITY: *fair*
FRYEAN MYTHOS: *drama*
CAMPBELLIAN FUNCTION: *metaphysical, psychological*
In two essays, here and here, I spent
some time showing how one subcombative horror-film, Sam Raimi’s
1983 EVIL DEAD, started out as a story about demons wasting a
cabin-ful of disposable victims. Then, after the first film's success, the next
two film sequels moved into combative territory, building up one
character, Bruce Campbell’s Ash, as a formidable demon-slayer. I
was aware of a similar transformation in Don Coscarelli’s PHANTASM
series, but I hadn’t realized that Coscarelli was ahead of Raimi in
both departments. That said, except for sharing some of the same “splatter”
techniques, PHANTASM does not greatly resemble the EVIL DEAD series
in tone.
In Stephen King’s book DANSE MACABRE, he
claims that his son defined death as “when the monsters get you,” and Coscarelli’s PHANTASM embodies that attitude toward fatality. The film opens in a downbeat manner, as three
small-town residents—Mike, his older brother Jody, and their mutual
friend Reggie—mourn the loss of another friend, Tommy. Unlike the
mourners, the viewers of the film know that Tommy was murdered by a
strange demon-woman. However, Mike observes suspicious activity on the part of the funeral home's head mortician—a gaunt old fellow billed as “the Tall Man” (Angus
Scrimm). Young Mike’s
investigations reveal that the funeral home conceals a gateway to
another world, and that the corpses of those interred at the
graveyard are not allowed to rest in peace. Instead, the corpses are
revived and mutated into dwarf-sized minions later called “Gravers,”
and they’re sent through a dimensional portal to another world,
where they serve as slave labor. However, when Mike tries to reveal
his discovery to Jody and Reggie, they think he’s come unhinged,
due to the effect of grief upon his young mind. Meanwhile, the Tall
Man seeks to silence the boy who has uncovered his alien secrets.
Despite some fast-paced and
ultraviolent scenes—particularly when the Tall Man unleashes unique
weapons, silver spheres with knife-like attachments—PHANTASM always
keeps a dream-like feeling of shifting realities, even after Mike
finally manages to convince Jody and Reggie to the looming danger.
Coscarelli’s script does not attempt to justify the Tall Man’s
operation in terms of logical motivation, and thus, despite the
science-fiction trappings, the monsters of the Morningside Funeral
Home might as well be demons from the world of death, preying upon
the bodies of the deceased simply out of general malice. In a
similar manner, the later Freddy Krueger, nominally a vengeful
revenant, would take on the stature of a child-killing demon. Jody perishes, leaving Michael and Reggie to struggle against the depredations of the iniquitous
otherworlders. The film ends by suggesting that the heroes are
ultimately defeated by the emissaries of death.
Seven years later, Coscarelli gives two
of his characters, Mike and Reggie, the chance to become “fearless
ghoul killers.” Mike was not killed as the end of the 1979 film
suggested, but was declared insane and institutionalized for seven
years, making him nineteen at the start of PHANTASM II. Reggie, for
his part, has more or less forgotten his experiences of the first
film, and when Mike once more tries to probe the mysteries of the
funeral home, the older man tries to keep the younger one from
exposing his obsessions. However, the boundaries between dream and
reality break down once more. Mike has dreamed that Reggie’s house
will blow up—and then it does, killing the older man’s family
committing him to the cause.
The first film has no significant
female characters; it’s purely a tale of men fighting demons. But here Mike also dreams of a young woman in another city, Liz, and tells
Reggie that she too is being victimized by the Tall Man’s
operations. Armed with a variety of weapons—a
chainsaw, a drillbit, and various guns—the two men set out to prevent the
death-demon from claiming more victims. For her part Liz suffers the
loss of her grandmother, later made into a dwarf-thing by the aliens,
but she acquits herself well in fighting back against the phantasmal
evils.
Despite the sequel’s greater emphasis
upon combative action, Coscarelli maintains the first film’s sense
of oneiric dread, the feeling that at any given time the forces of
the irrational can invade the waking world and sweep everything down
to dusky death. In future posts I plan to examine the other three
sequels, the better to judge their combative elements. As for the
mythicity of the first two films, Coscarelli’s sci-fi rendering of
the Great Unknown proves ingenious, but he never elaborates his
general notion into a concrescent concept, which may be the overall
result of his emphasis on unpredictability. And though many films about killing monsters center primarily on the monsters, here the monster-killers, both in their subcombative and combative phases, are the stars of the shows.
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