Well, of course, the iconic POV opening. Far from the first film to use killer POV, Halloween’s direct inspiration in the fun Black Christmas used it extensively as did many films in the giallo genre over in Italy that were more of an influence on early slashers than anything. But it is perfectly executed, it is just long enough for you to get the point and sneak in a little nudity in the opening minutes and establish most of what you need to establish. It is one of the great preambles in film in no small part because it mixture of brevity and shock.
More important on POV, is how they take the inherent claustrophobia and paranoia that the POV instills in close spaces traditionally and expand it out to the entire suburbs as Michael is stalking around town, replacing the safety of the neighborhood with creeping danger closing in on and trapping everybody. It is a simple twist on an established trope, but it is part of the simple masterwork that this film is.
Donald Pleasance is at his most subdued being a terrible therapist and absolute unhinged madman raving professional about evil in the series, not to spoil anything for future entries. They actually use his craziness to their advantage in this film, making him a possible unreliable narrator until the bloodshed actually happens, a kook crying of bad spirits. But once he’s proven true, you’re willing to go along with whatever he says, the moral force for good in suburb too sleepy for its own good. He is a delight.
The central “teens”, who age-wise are some of the most unconvincing teenagers I’ve ever seen in my life outside of maybe Jamie Lee Curtis, are still a huge asset to the film because they are all pretty good actresses for the genre and budget and you believe their playfully antagonistic and a selfish relationships with one another as genuine and it is no surprise Jamie Lee went on to be a star and PJ Soles was a cult icon who makes me sing “Rock rock rock rock Rock n Roll High School” every time I see her. Their interactions with each other are engaging because they are sarcastic and brazen, and it really drives much of a movie that barely has any real action until nearly an hour in but never feel dull or like it is dragging or building too much atmosphere.
Look, when you are a slasher aficionado, you realize that the idea of the kill being the whole thing wasn’t established yet, so while the scenes are well written and staged so iconic in their own right, there isn’t much gore at all and the kills are just to the point without much effects artistry. However, it doesn’t matter because they spent so much time developing the (admittedly horny) characters and situations that they carry emotional impact even if you aren’t getting the creative kills for which the genre would become known thanks to the likes of Tom Savini down the line. There is always tension, every scene, and the longer the film goes the more it dives in to the shadows of houses and streets.
The chief action half hour is fantastic, in part because its just a bit clumsy and feels all the more real like just pure terror coming at you and a fairly innocent teenage girl just trying to keep herself alive and two kids safe. “Was that the Boogeyman” “In fact, I believe that was”
Just nearly a perfect film, literally no notes.
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