By Scott Ross
For every avid filmgoer there are those rare, popular movies whose first viewing are so powerful they alter the contours of experience. For this viewer, Poltergeist was one of the most indelible.
If, as I do, you love good horror movies, or ghost stories, your love is apt to be largely un-requited, and disappointed on a fairly regular basis. There simply have not been enough great ones. There are those that make an enormous impact on the wider culture but which, over time, can seem nugatory at best, ludicrous at worst. The 1931 Dracula is a fine (or rather, not so fine) example of the phenomenon. Seen today, this early talkie is beset by the technical limitations of the nascent sound-film; static dialogue sequences, stilted performances, and great long periods of sleep-inducing ennui. Stack Bela Lugosi’s hammy, self-regarding turn as the Count against Boris Karloff’s magnificent, shockingly sympathetic performance as Frankenstein’s Creature that same year, and its deficiencies become almost overwhelming. The only performer who really registers in Dracula is the unfortunate Dwight Frye, doomed as he was to increasingly minor roles, as Renfield; he’s as over-the-top as Lugosi, but his bizarre inflections and terrifyingly mad grin stay with you.
The master list of truly great horror movies, alas, add up to a paltry few: Frankenstein; King Kong (1933); The Invisible Man (1933); The Bride of Frankenstein (1935); The Thing (from Another World) (1951); Dead of Night (1945; the influential ventriloquist sequence starring Michael Redgrave, anyway); a few of the RKO Val Lewtons (the 1942 Cat People and the 1945 The Body Snatcher especially); the 1960 Hamer Brides of Dracula (if only for Peter Cushing’s jaw-dropping self-cauterization of the vampire’s bite); Psycho (1960, although it’s less a horror picture per se than an all-too human, contemporary shocker); Rosemary’s Baby (1968), less horrific than unsettling, especially if you’re a woman who has ever experienced or even contemplated pregnancy, and far funnier than was noted at the time; perhaps Planet of the Apes (1968); The Legend of Hell House 1971); The Exorcist (1973); Jaws (1975); Carrie (1976); Alien (1979); Dressed to Kill (1980); the woefully under-seen The Changeling (1980) and Wolfen (1981); Fright Night (1985); Aliens (1986); The Silence of the Lambs (1990), more police procedural, perhaps, than outright horror, and what you don’t see is more chilling than what you do; Bram Stoker’s Dracula (1992); and The Sixth Sense (1999). Television manged to produce two masterworks in The Night Stalker and Duel (both 1971), one very good, if desperately truncated adaptation (of Stephen King’s IT, 1990) and very little else since.
I recognize that I’ve left off this list a number of accepted “classics” of the genre—The Cabinet of Doctor Caligari (1920); London After Midnight (1927); Black Sunday (1960); The Innocents (1961); Night of the Living Dead (1968) and Dawn of the Dead (1978); The Abominable Doctor Phibes (1971); The Texas Chainsaw Massacre (1974); Nightmare on Elm Street (1984)—and can only offer the feeble but nonetheless binding excuse that I’ve never seen them. I also realize I’ve omitted any number of movies others love. The simple explanation is, I don’t happen to share the enthusiasm of the mavens for items like the following, whatever their individual or incidental accomplishments: The 1925) Phantom of the Opera (despite Lon Chaney’s extraordinary performance, and unforgettably grotesque appearance); The Mummy (1932); Freaks (1932, whose final image is so disturbing I cannot bring myself to watch the movie a second time… and what is the use of a “classic” you can’t bear to see again?); The Island of Lost Souls (1932); The Uninvited (1944), to which Poltergeist owes an obvious debt; The Ghost and Mrs. Muir (1947); the deeply unpleasant Peeping Tom (1960); Village of the Damned (1960); The Birds (1963); The Tomb of Ligeia (1964); and The Haunting (1963), which isn’t a patch on Shirley Jackson’s superb novel, except in its characterization of the parapsychologist’s wife, who in the book is a characaturish, meddlesome battle-ax.
Others are good but, by greater or lesser degrees, manage to skirt greatness: The Barrymore Dr. Jekyll and Mr. Hyde (1920); The Old Dark House (1932); The Wolf Man (1941), hobbled as it is by the appallingly amateurish performance of Lon Chaney, Jr.; perhaps the 1956 Invasion of the Body Snatchers (if you ignore its reactionary McCarthy-ite allegory); The Incredible Shrinking Man (1957); Theatre of Blood (1973, which is ultimately too mean-spirited to be wholly enjoyable); Halowe’en (1978, fatally marred by the supernatural implications at the end); the satirical 1978 Philip Kaufman version of Body-Snatchers; An American Werewolf in London (1981); The Company of Wolves (1984); the funny-frightening Arachnophobia (1990); Interview with a Vampire (1994); and, perhaps, Tim Burton’s 1999 Washington Irving fantasia Sleepy Hollow (and even his and John Logan’s 2007 adaptation of the Sondheim-Wheeler Sweeney Todd.)
Similarly, while I love it with an affection one reserves for Three Stooges shorts, Deep Rising (1998) can hardly be counted among the masterworks in the field any more than its writer-director Stephen Sommers’ later Mummy movies. And while there are horror comedies I hold in esteem—Bob Hope’s 1940 romp The Ghost-Breakers, Abbot and Costello Meet Frankenstein (1948), The Ghost and Mr. Chicken (1966), Ghostbusters (1984), Beetlejuice (1988), even the 1974 Young Frankenstein—these must be accounted as special institutions and not really what we mean when we talk about great horror movies.
(It’s a mark of real deficiency in the genre to note that horror’s most successful late 20th century practitioner has had so few good adaptations. Aside from Carrie, most of the 1983 Cujo and parts of the otherwise ludicrous 1980 Kubrick edition of The Shining, Stephen King’s work has produced only one great transliteration—and, at that, not a horror picture at all: Frank Darabont’s 1994 The Shawshank Redemption. There is something certifiably wrong with the people who make these things, that King’s batting average as a source is so undernourished.)
The foregoing is to suggest both the paucity of really satisfying cinematic horror, and why Poltergeist was, and remains, a high-water mark for the genre.
I first saw it on a weeknight in early June, just after its opening. The theatre was surprisingly empty, but the small gaggle of teenagers more than made up for the sparse audience, hooting and yakking throughout the first reel. I was on the verge of heading to the lobby to complain when the tree smashed through the window of the children’s bedroom and all Hell broke loose. After that, I never heard a peep from those kids. And that goes some way to suggesting the stunning power of that sequence, which the filmmakers had painstakingly prepared us for during the movie’s first 20 minutes, yet which burst with a suddenness and intensity that was genuinely shocking.
Tobe Hooper, who the credits tell us directed the movie, was widely suspected of being little more than a figurehead on the production, to the point that its producer (and story author) Steven Spielberg took out an ad in Variety to quell the rumors. His imprint on Poltergeist is not merely evident in its pace and lighting (that tell-tale kukaloris!) but in the way the characters and their milieu are introduced. The first reel of the movie bears an aura similar to sequences of domesticity in Jaws and Close Encounters of the Third Kind (1977): Fathers, mothers and children in everyday interaction, warm but not idealized. The Freelings—low-key father Stephen (Craig T. Nelson), earthy mom Diane (JoBeth Williams), eye-rolling teenager Dana (Dominique Dunne), overly sensitive son Robbie (Oliver Robbins) and adorable but not precocious youngest daughter Carol Anne (Heather O’Rourke)—are normal to the point of being mundane, yet strikingly individualized and almost documentary in their casual, ad-libbed normality; their suburban world is bordered by cookie-cutter architecture, Star Wars posters on the children’s walls… and the cathoid tube.
Indeed our first important image is of the tube itself, Stephen sprawled out in front of it, asleep, as the broadcast day ends. (Younger viewers may have to have that concept, and the pre-signoff playing of the National Anthem, explained to them; they’ve never known anything except the 24-hour cycle.) And the picture ends with Dad, in a credulity-stretching yet emotionally satisfying moment, banishing the TV from the Freeling’s motel room. Spielberg said the movie was his “revenge on television,” and he wasn’t kidding. Stephen and a neighbor nearly come to blows over control of their remotes, and the small screen, as in so many American households, is ubiquitous; it’s on in every room in which there is a set. Its banalities infect everything; as Diane makes a bed, she’s singing, not the latest pop hit but a then-current Miller Beer jingle. And it is from the television that un-welcome visitors first make themselves known to the little girl and, later, violently forge a portal to the interior walls of the Freeling home. (Side-note: The inclusion in one scene of a clip from A Guy Named Joe is not merely an in-joke for those who know Spielberg’s identification with it; the discussion of the intersection between life and death is very much germaine to Poltergeist.)
The opening sections play up this ordinariness bordering on banality… until, at breakfast, some odd things happen: Robbie’s milk glass shatters as he’s holding it, and his silverware curls while he’s not looking. Still, there’s nothing spectacular at play until that amazing moment when Diane turns back to the dining area to see all the chairs stacked on the table. What makes the moment especially startling is the way Hooper keeps Williams and O’Rourke in view throughout; only when Diane turns back and gasps do we see what she does. (I clocked this; the crew had fewer than 7 seconds to remove the chairs around the table and place the stacked ones on top of the table.) It’s this pleasurable little shock that let me know, in 1982, that I was seeing something very different from the normal run of spook-fests.
Another of Poltergeist‘s prime assets, one that puts it far above the usual run of escapist entertainment, is the lived-in, almost verité quality of the acting. Much of the dialogue in the early sequences has the same ad-libbed feel that gave the domestic scenes in Jaws their verisimilitude—a sense of reality that grounds the characters and that makes the terror, when it explodes, all the more shocking. In private, Stephen and Diane josh each other with an ease of long standing, and the children (young Oliver Robbins especially) perform with a naturalness seldom seen in a major Hollywood production. That Spielberg, whatever his unofficial function here (he is reputed to have been on set nearly every day of the shoot, and Zelda Rubinstein claimed he directed all of her scenes) has a special affinity for, and with, children was evident as early as Jaws, but not even the kids in E.T. have quite the unaffected spontaneity Robbins, Dunne and O’Rourke exhibit here. Robbins’ reaction to realizing he’s hearing Carol Anne’s voice coming from inside the television is so good it brings chills; anyone who’s ever been so frightened he or she could not produce speech, let alone a cry (“Scream, ladies and gentlemen! Scream for your lives!”) will recognize the phenomenon instantly. It’s one I’d never seen done quite so well in a movie before and have since only seen as convincingly once (Laura Dern in another Spielberg, Jurassic Park.)
Although my library includes a fairly extensive collection of movie “novelizations,” I don’t think I’ve actually read one in 30 years or more. But I sat down with James Kahn’s Poltergeist “tie-in” recently, and found it remarkably fulsome, and markedly different from the finished picture. Unusually, its cover proclaims it as “Based on the Story by Stephen Spielberg and the Screenplay by Steven Spielberg, Michael Grais and Mark Victor.” Kahn’s narrative deviates only in that it contains much about the parapsychologist Dr. Lesh (Beatrice Straight in the movie) and a great deal more about Tangina Barrons, who in the original conception was a woman haunted by her psychic gift, going forth through astral projection to do battle with what she calls “The Beast” on the plain of existence in which little Carol Anne Freeling is trapped. It’s fascinating, and makes Tangina much more central to the narrative; it also reassures the reader about her motives, which in the movie as shot are slightly ambiguous. (Kahn’s source may have been Spielberg’s earlier story-draft, which he eventually conflated with the work of Grais and Victor for the final screenplay.) As it turned out, introducing Lesh and Tangina separately, and after Carol Anne’s disappearance, suits a more streamlined, less amorphous, approach. And here we come to one of the movie’s great strengths: Beatrice Staright’s superb performance.
Viewers of Paddy Chayefsky’s Network had seen Straight’s stunning rendition of a monologue of grief, anger and rhetorical flourish—although brief, the role, and her reading of it, won her an Oscar. I believe she’s even better in Poltergeist, not least because she’s on screen longer. Dr. Lesh calls upon Straight to exude intellectual rigor, professional competence, mounting terror, and deep, embracing warmth in equal measure. She is, in a way, the beating heart of the movie. Straight has a couple of reactions in Poltergeist that I treasure (her look of shock on seeing Carol Anne’s room in a state of full possession, and the way her hand flutters to her face when the full extent of the Freeling’s un-welcome visitation is made manifest) but her finest scene of masterfully sustained acting is the one in which she talks, in a whisper, to Diane and Robbie. It’s an annealing sequence, beautifully acted, that brings a kind of desperately needed respite from all the supernatural goings-on which precede, and succeed, it. It’s also splendidly written, which is not something one expects, or very often gets, at a spook movie.
The women of Poltergeist are exceptionally strong, as written and performed, and share a bond that does not extend to the male characters. Diane becomes, in a sense, Supermom by the climax, willing herself through sheer, terrified determination. But Dr. Lesh and (to a smaller but no less plangent extent) Tangina act as surrogate mothers to her as well; these older women’s embraces comfort and sustain her. This intensely feminine aspect went largely un-remarked upon at the time of the movie’s release, but I’ve always felt it lies at the very center of the narrative, and is an essential part of its effectiveness. Motherhood itself is seldom as felt in a movie as it is in Diane’s anxious love. When a sudden gust in the den portends Carol Anne’s presence, Williams’ reaction, alternating from astonishment to joy to nearly hysterical anxiety (“She just moved through me… It’s my baby. She went through my soul…“) are almost palpable. It would take a sterner heart than mine not to melt at that moment.
The entrance of Tangina into the proceedings is so individualized I think it would have been a shame to have introduced her earlier, as Spielberg’s original story suggested. (That Kahn describes the character in the novel as a dwarf presumes that the casting of Rubinstein was no fluke.) Our lack of preparation and “back story” also give her an unknown, and unknowable, quality, and we may be forgiven for wandering, briefly, as Diane does at a crucial moment, whether Tangina is all she says, or some curious agent of The Beast. One drawback, or perhaps unintentional, mis-direction occurs in the finished film that is explained more fully in the novel; when Tangina says of the chief malevolence in the house, “To us, it is The Beast,” the sudden turn of phrase, and the other characters’ reactions to it, lead us to think she is referring to no less a presence in the house than Satan himself, and may cause some confusion as to exactly what we’re seeing later, when Diane is menaced by a spectral beast in the movie’s wild, accelerated climax.
There are two additional missteps in the movie as released. The first is the abrupt cut to Stephen and Diane with their genially hostile neighbor, especially as it comes in mid-dialogue. I’ve often wondered what’s missing between those scenes. The second is a rather poor special effect, in a movie almost over-brimming with exceptionally well-executed ones. When Dr. Lesh’s assistant Marty (Martin Cassella) hallucinates in the mirror and begins tearing off the flesh of his face, the countenance in the mirror is so obviously a made-up dummy that it completely dissipates the horror. I think it’s the quality of his hair: Marty’s is loose and lank; the hair on the Marty in the mirror seems plastered down to its head. (In Spielberg’s story, the sequence is even more terrifying, as Marty imagines he’s being overrun, and devoured, first by insects, then by a horde of rats; he later hallucinates turning into The Beast that bit him earlier.)
I remark on this lapse only because the rest of the movie’s effects (executed by ILM) are so spectacularly successful, and so perfectly integrated. This is notably true of the extended climax, in which the house itself seems to be doing its best to deter Diane’s repeated attempts to free Robbie and Carol Anne from the newly opened portal. Her confrontation with The Beast is both beautiful and almost unbearably sacrifying, but the moments leading to, and away from it are rendered with equal panache. There is, first, the way Diane is physically manipulated, up the wall of her bedroom and across the ceiling; it’s the old “upside room” trick, so memorably enacted by Stanley Donen when Fred Astaire dances all over the walls in Royal Wedding, but on a much grander and more astonishing scale. Hitchcock’s simultaneous zoom and pull-back effect in Vertigo has been imitated widely, but only Spielberg has used it appropriately, and twice: Once in Jaws, at the moment Roy Scheider feels most disoriented, fearful and isolated, and here, as Diane attempts to race down a hallway that elongates as she’s running, suddenly shrinking back to normal dimensions as she struggles to move forward. It’s a great moment in a movie filled with them.
Craig T. Nelson, like JoBeth Williams, is eminently strong, and equally likable, as Stephen Freeling. I particularly relish the quiet, affectionate manner in which he greets Carol Anne as he’s lowering the den lights (“Hello, Sweetpea”) and the confidence he shows as an actor when confronting his boss (the always dependable James Karen) at the climax. The way his voice careens into nearly incoherent screeching (“You son of a bitch! You moved the cemetery, but you left the bodies, didn’t you? You son of a bitch, you left the bodies and you only moved the headstones! You only moved the headstones! Why? Why?”) is deeply impressive. Only a performer of great confidence can afford to let hysteria take over quite so completely without being unmanned by it.
Special mention must be made of Matthew F. Leonetti’s sumptuous cinematography, which is responsible for much of the movie’s effectiveness, and of Michael Kahn’s kinetic editing. Like the direction, it eschews flash in favor of long scenes played with minimal fuss. The sight (and sound) of Beatrice Straight, Oliver Robbins and JoBeth Williams just talking, quietly, is as compelling as any of the more apocalyptic sequences. It’s an art that Hollywood, in its drive to (as they say in the ad biz) “blow you against the back wall of the theatre” has forgotten, seemingly forever.
The movie’s greatest collaborator after Hooper and Spielberg, however, is Jerry Goldsmith. Setting aside the annoying book-end device of children’s laughter electronically manipulated to sound like a gaggle of Rosemary’s offspring, the soundtrack LP quickly became one of my personal touchstones. In a career spanning some 50 years of scoring, and taking in everything from intimate drama to special-effects comedy, it would perhaps be unfair to cite Poltergeist as Goldsmith’s masterpiece. But its effectiveness, in what it brings to the movie, and as music, simply cannot be overstated. The “Carol Anne” theme, gentle and haunting at once, is the cornerstone of the score, imbuing the Freeling household with its own sense of innocence touched by something ineffably unsettling. But the “action” cues—particularly “Twisted Abduction,” “Night Visitor,” “Let’s Get Her/Rebirth” and “Night of the Beast”—are so muscular, so chromatically varied, instrumentally complex and gripping, they amount to almost a master-class in what a genius composer can bring to a film which, already strong, is made damn near invincible by his contributions. Sentiment rather than relative merit seemed to dictate Goldsmith’s being shut out at the Academy Awards that year by John Williams’ score for another Spielberg creation. I’m not knocking either Williams or E.T., which in its own rights is a landmark. But the more I listen to the Poltergeist soundtrack, the more convinced I become that this is one of the quintessential movie scores, to be placed in a Pantheon that includes Bride of Frankenstein, Sunset Boulevard, A Streetcar Named Desire, Spartacus, Psycho, To Kill a Mockingbird and Jaws as a prime representative of the art.
Much ineluctable noise has been made since 1982 concerning the fates of two of the the three young actors who played the Freeling children, and I don’t intend to rehearse that here… nor to ennoble the specious, insensitive talk of a “curse” attending the movie; Dominque Dunne’s murder was horrific, as was poor little Heather O’Rourke’s demise via medical misadventure. To imply otherwise, to suggest that somehow these young people “tempted” some god of chaos by appearing in a goddamn movie is to dishonor their deaths, and their lives. Just as using the current, odious Hollywood phrase “re-boot” to describe the planned 2015 “remake” of Poltergeist itself is to dignify the ghoulish (and creatively anemic) cinematic equivalent of grave-robbing.
- Text copyright 2014 by Scott Ross