For my first ever article for The Russell Bulletin, it seems fitting that I should talk about The Conjuring, one of the best horror films to debut in several years. I feel like I have to keep my love of horror movies a secret from the general public, and my friends to an even greater extent. Some of my earliest memories involve my dad and me going to the video rental store (insert “those are gone now” joke here, people who can’t get past the fact technology changes) and picking out some of the scariest classics: the original House of Wax or Night of the Living Dead when I was younger, graduating to Halloween or Nightmare on Elm Street when I was older. None of them, though, ever came close to the horror of The Exorcist.
The Exorcist was a movie of legend around my elementary school. If your parents let you watch The Exorcist, you got to be king of the playground. Kids would let you win at tag. No joke, one kid said that during his Student Government speech, and it got him elected Student Body President. My parents, though, were mostly sane and knew I would cry myself to sleep for the subsequent three years after seeing it, so they told me to wait until I was older. I resorted to only pretending I had seen it. (“Yeah, I’ve totally seen it. Remember when her head spins around? So totally tubular.”)
I apologize for the previous flashback, I was in my Rocket Power phase in 5th grade.
It wasn’t until high school when I made the call that I could watch it and would not cry. I talked my dad into renting it (I was very dependent on his desire to watch these movies also, in retrospect), and watched it on a cold rainy night in October.
Oh, how scared I was.
I always had a minor fear of the devil, so that movie ballooned it like Eddie Murphy in The Nutty Professor. I had to buy holy water from my Catholic friends in the most wacky misunderstanding of a drug deal the school administrators had ever seen. I thought that was the tops of scariness. I would never be scared again. And, in a sense, that was true. I thought I’d seen it all. Movies ever since have done little in terms of innovative scares. Every once in a while, you’ll have the calculated horror of Funny Games or The Strangers, or even the rotating fan camera action of Paranormal Activity 3, but nothing new really strikes out as, “Yes! I have never been scared like that before! You, film-makers, have added a new phobia to my list of things to remember to tell my girlfriends.”
Which brings me to The Conjuring.
The Conjuring is really nothing new. A scary doll, a family being tormented. These are all things that you can find in a McDonald’s in Pasadena right now. The impressive thing is the caliber that improves this often-gimmicky genre.
The acting is among the best I’ve seen in a horror film, particularly from Vera Farmiga as Lorraine Warren and Lili Taylor as the mother looking for safety for her family. The screenplay is not particularly revolutionary (usually a problem for me, as an aspiring playwright), but the passion that director Joseph Wan clearly has for the horror genre apologizes for these small missteps with a subtle flair of creepiness, in place of goriness. His concepts in movies such as Saw, Dead Silence, and Insidious have established him, in my opinion, as the leader of this often critiqued genre.
To quote my father: “Anyone can be gory. Add blood. There, it’s gory! Creepy, now there’s something.”
Truly, though. The production design of this film is reminiscent of a non-indulgent Tim Burton. Everything is in just the right amounts to make sure we understand something is off. Not dangerous or innately scary, but just….off. The camera work is usually awful in scary movies, but this struck me as everyone in the film business saying, “Hey, we haven’t made a good one of these in awhile. Let’s try this time.” Maybe that’s ultimately frustrating (or maybe I just have no idea how Hollywood works). The Conjuring succeeds because it trusts the movies that have come before it, and loves them, and shows them to the audience with the utmost respect.
I always watch my films with the end goal of the Oscars in mind (just wait for me around award season, kids), and I see little hope. Only one scary movie has ever made it to the Oscars, and that was that scary movie from my childhood, The Exorcist. I wonder if those kids knew that they were watching history in the making. If it got one nomination, I would consider it a success. Production Design is a long shot, but it would be deserved. Make-up and Hair would be the closest possibility, but horror movies are often overlooked for period pieces……or The Hobbit (curse you, Peter Jackson!). Too bad inanimate objects can’t win awards, because then I would have to give Best Supporting Actress to Annabelle, the doll that’s too big to be small and too little to be life-size, but sure knows how to look like Amy Winehouse’s final hours.
Is that too soon?