That Night

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I’m pretty sure I’ve seen Fright Night before.  It seems that it may have been on one of those trans-Atlantic flights where you exit the plane not quite sure what took place during those missing hours on earth.  I do recall that I had the hazy idea I wanted to see the movie under more controlled circumstances—with my feet on the ground and no pressurized cabin anywhere in sight.  It is certainly a passable vampire movie.  Tom Holland’s first as director.  Ironically, just the weekend before I’d had a hankering and rewatched Child’s Play, which he directed a few years after Fright Night.  I hadn’t realized they had the same director.  In any case, since the movie is now forty years old I’m not going to worry too much about spoilers.  Besides, I’d forgotten most of it since my last viewing, which was thirty or fewer years ago.

Copyright HAG ©2008

Charley Brewster and his mother live next door to a fixer-upper.  Charley, who’s a fan of the campy television show Fright Night, keeps getting distracted from his girlfriend Amy by goings on next door.  He immediately and correctly deduces that their new neighbor, Jerry Dandrige, is a vampire.  But nobody believes him, not even Amy.  As a teenager, he’s rather helpless and can’t take on the vampire alone.  When Amy sees their friend “Evil” has been transformed, she believes and eventually the unemployed star of Fright Night, Peter Vincent, styled “the vampire killer,” also joins them.  They have to stop Dendrige before Amy ends up a vampire forever.  There are a few good frights and the story still feels rather fresh.  The weird thing, it seemed to me, was the long, lingering reaction shots of Vincent (Roddy McDowall).  The pacing felt a bit off, but otherwise it was a fine movie.

The name Peter Vincent combines the two stars Holland wanted for the role, Peter Cushing or Vincent Price.  The campy performance of this character balances the body count and gore.  Although it involves teens, it landed an R rating, almost considered necessary for any serious horror movie.  The movie poster also makes it look like this might be more comedic than it is.  It has a distinctly 1980s horror film feel to it.  Now this is going to make me feel old, but I’m starting to be able to discern the differences between seventies and eighties horror films by remembering what those decades were like.  I don’t know when I saw Fright Night before, but I’m glad I saw it again.  And I’m keeping an eye on the neighbors, just in case.

Good Morning, London

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First of all, Virgin-Atlantic Airlines gets a gold star in my book. Having flown quite a bit over the past six months, I’ve been reminded on just how stingy airlines can be, making even a brief flight a test of endurance. They are very generous with full body scanners and less so with basic human services, such as food, entertainment choices on long flights, and a sense that you’re doing anything other than propping up a flailing, deregulated industry. Virgin-Atlantic demonstrated that air time need not be torturous. So, with many choices of movie to watch, on Good Friday, I decided on one of my favorite genres of religious movie—the vampire flick.

I have been anticipating Dark Shadows for well over a year now, but I had heard nothing about Fright Night. Really, in many ways Fright Night was an unremarkable vampire movie, but then again, watching on a plane is maybe not the place where one would expect the gothic mood required for full enjoyment. Nevertheless, the full range of religious cures of vampires was present with one notable exception: crucifixes. Crosses abounded, but here on Good Friday I saw no corpi. There was holy water, so clearly it wasn’t purely Protestant sympathies that led to the abandonment of crucifixes in the movie. In any case, crosses were only a minor deterrent in this scenario. What finally dispatched the chief vampire in this case was a traditional wooden stake. Which, somehow reminds me of typical airplane food on most airlines.

Driving around a secular London dressed in religious garb, St. Paul’s Cathedral lit splendidly in the night, was a reminder of the hold Christianity still has on even non-religious culture. It was kind of like the corpus-less crucifix in the movie. The inspiration behind the great gothic stylings of Big Ben and Parliament arise from their long association with Christian culture. On the streets people were milling about London late in the evening, not apparently fresh from church, standing in the shadow of Westminster Abbey and happily snapping photos. This may be a montage of disparate images colliding in my jet-lagged mind, but somehow virgins, vampires, crucifixes, and churches seem to fit naturally together.