Hellraiser
August 12th 2010 00:46
Shortly after Clive Barker published his six volumes of short stories, The Books of Blood he published his first novel (The Damnation Game), and then followed it with the novella The Hellbound Heart, a most succulent and succinct piece of nightmare prose. It was this phantasmogorical and diabolical inner darkness, where sadomasochists emerged from beyond the grave, which was then adapted (semi-faithfully) for the screen and directed by the demon writer himself Clive Barker, and Hellraiser (1987) was unleashed upon the modern horror world.
Frank Cotton (Sean Chapman), an impulsive and violent man, eagerly purchases an arcane box, somewhere, in the back lanes of Morocco. In the privacy of his abode he studies the puzzle in front of him. It appears to be some kind of device and Frank runs his fingers over its esoteric design. It comes alive, parts move, shift, and re-adjust. The puzzle has been solved, the Lament Configuration completed. Chains shoot out from nowhere and hook themselves into Frank’s flesh. He screams out in agony.
The creatures known as Cenobites appear, for Frank has summoned them, whether he wanted it or not. They have come for one thing: to tear apart his soul, for they are the explorers in the further regions of experience. They are demons to some, angels to others, and they deliver an indiffusable meld of pain and pleasure. Frank’s flesh is torn asunder. But this is not the last we will see of him, nor of the Cenobites; Lead Cenobite (Doug Bradley) aka Pinhead, as he was later nicknamed by adoring horrorphiles, Chatterer (Nicholas Vince), Butterball (Simon Bamford), and Female Cenobite (Grace Kirby).
Frank’s less-adventurous brother Larry (Andrew Robinson) moves into Frank’s abandoned house with his new wife Julia (Clare Higgins), assuming Frank is off on one of his extended nefarious journeys. Clare has a secret; she had an affair with Frank, and she still lusts after him. Larry teenage daughter Kirsty (Ashley Laurence) chooses to live at her own pad as she doesn’t get along with Julia. While trying to move a mattress upstairs Larry cuts his hand badly on a nail. He goes weak and seeks Julia for help bleeding all over the creepy upstairs bedroom. It is below these floorboards where Frank’s soul lies in wait for nourishment. Larry’s blood is just enough to regenerate his skeletal frame and later he secretly confronts Julia and demands she help complete his regeneration.
Hellraiser is one of the most original horror movies of the 80s. What it lacks in high end special effects and performance it more than makes up for in sheer nightmarish gusto. Clive Barker’s debut directing job is a highly competent piece of work. In fact, watching it again for the first time in fifteen years I was pleasantly surprised at how well it holds up. The very modest budget ($1m) is not pushed beyond its means (and reaped twenty times that in profit). Bob Keen’s special effects work might not have the most authentic-looking blood (far too gloopy and jam-like), but his prosthetic appliances work a treat. Industrial band Coil was commissioned to do the original soundtrack, but it was rejected by the studio for being “bowel-churning” (it received its own independent release further down the track).
The move is mostly let down by the less-than-impressive performance from Ashley Laurence, who must have been cast for her looks alone. Andrew Robinson and Sean Chapman are both excellent, as is Oliver Smith who has the job of playing Frank the Monster (sans skin). Clare Higgins is good also. I had forgotten the bit-part of the derelict (Frank Baker, whom I thought might have been Clive Barker in a cameo) who eyes Kirsty on the train station platform, then later appears in the pet store and devours the crickets, and finally turns up right at the end to collect the Lament Configuration box from within the flames and subsequently reveals its true self: Satan as winged skeletal serpent. Nice touch.
“Ahhh, the suffering, the sweet suffering …” Hellraiser took the critics and horrorphiles by surprise and become and instant cult classic. It spawned seven sequels of which only the first is of any note (and will be the only one I’ll bother to review). A remake is in pre-production. It was originally to be helmed by Alexandre Bastillo and Julien Maury (Inside) back in 2007, with a screenplay by Patrick Melton and Marcus Dunstan (Feast, Saw IV & V). Bastillo and Maury left the project and director Pascal Laugier (Martyrs) came onboard, but unfortunately he dropped out as well. As much as I moan about remakes, a big-budgeted, no-holds-barred, gore-to-the-wall remake with sophisticated production design could really kick some serious butt. I so hope they give the director’s chair to the right person.
Otherwise there will be Hell to pay.
Here's the original trailer (with curious Australian & English over-dubs):
Frank Cotton (Sean Chapman), an impulsive and violent man, eagerly purchases an arcane box, somewhere, in the back lanes of Morocco. In the privacy of his abode he studies the puzzle in front of him. It appears to be some kind of device and Frank runs his fingers over its esoteric design. It comes alive, parts move, shift, and re-adjust. The puzzle has been solved, the Lament Configuration completed. Chains shoot out from nowhere and hook themselves into Frank’s flesh. He screams out in agony.
The creatures known as Cenobites appear, for Frank has summoned them, whether he wanted it or not. They have come for one thing: to tear apart his soul, for they are the explorers in the further regions of experience. They are demons to some, angels to others, and they deliver an indiffusable meld of pain and pleasure. Frank’s flesh is torn asunder. But this is not the last we will see of him, nor of the Cenobites; Lead Cenobite (Doug Bradley) aka Pinhead, as he was later nicknamed by adoring horrorphiles, Chatterer (Nicholas Vince), Butterball (Simon Bamford), and Female Cenobite (Grace Kirby).
Frank’s less-adventurous brother Larry (Andrew Robinson) moves into Frank’s abandoned house with his new wife Julia (Clare Higgins), assuming Frank is off on one of his extended nefarious journeys. Clare has a secret; she had an affair with Frank, and she still lusts after him. Larry teenage daughter Kirsty (Ashley Laurence) chooses to live at her own pad as she doesn’t get along with Julia. While trying to move a mattress upstairs Larry cuts his hand badly on a nail. He goes weak and seeks Julia for help bleeding all over the creepy upstairs bedroom. It is below these floorboards where Frank’s soul lies in wait for nourishment. Larry’s blood is just enough to regenerate his skeletal frame and later he secretly confronts Julia and demands she help complete his regeneration.
Hellraiser is one of the most original horror movies of the 80s. What it lacks in high end special effects and performance it more than makes up for in sheer nightmarish gusto. Clive Barker’s debut directing job is a highly competent piece of work. In fact, watching it again for the first time in fifteen years I was pleasantly surprised at how well it holds up. The very modest budget ($1m) is not pushed beyond its means (and reaped twenty times that in profit). Bob Keen’s special effects work might not have the most authentic-looking blood (far too gloopy and jam-like), but his prosthetic appliances work a treat. Industrial band Coil was commissioned to do the original soundtrack, but it was rejected by the studio for being “bowel-churning” (it received its own independent release further down the track).
The move is mostly let down by the less-than-impressive performance from Ashley Laurence, who must have been cast for her looks alone. Andrew Robinson and Sean Chapman are both excellent, as is Oliver Smith who has the job of playing Frank the Monster (sans skin). Clare Higgins is good also. I had forgotten the bit-part of the derelict (Frank Baker, whom I thought might have been Clive Barker in a cameo) who eyes Kirsty on the train station platform, then later appears in the pet store and devours the crickets, and finally turns up right at the end to collect the Lament Configuration box from within the flames and subsequently reveals its true self: Satan as winged skeletal serpent. Nice touch.
“Ahhh, the suffering, the sweet suffering …” Hellraiser took the critics and horrorphiles by surprise and become and instant cult classic. It spawned seven sequels of which only the first is of any note (and will be the only one I’ll bother to review). A remake is in pre-production. It was originally to be helmed by Alexandre Bastillo and Julien Maury (Inside) back in 2007, with a screenplay by Patrick Melton and Marcus Dunstan (Feast, Saw IV & V). Bastillo and Maury left the project and director Pascal Laugier (Martyrs) came onboard, but unfortunately he dropped out as well. As much as I moan about remakes, a big-budgeted, no-holds-barred, gore-to-the-wall remake with sophisticated production design could really kick some serious butt. I so hope they give the director’s chair to the right person.
Otherwise there will be Hell to pay.
Here's the original trailer (with curious Australian & English over-dubs):
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Comment by Matt Shea
20/20 Filmsight
I haven't seen this in years but love Barker's work. Nightbreed is probably my pet favourite of his. Need to give HR I & II a revisit. Great write-up, Bryn.
Comment by Bryn
Horrorphile
Comment by Lovetrucker
Lovetrucker
Comment by JohnDoe
Film & TV on DVD
I really rank Hellraiser but always thought the sequel was better. Haven't seen either in over a decade so I think it may be time to throw my critical eye on them in a modern perspective. Hope they stand up.
Comment by Bryn
Horrorphile
JD, well, yes, so did I for many many years. But having recently watched the two movie back to back my opinion has changed considerably.
Comment by ShaunK
Screen Adventure
Comment by Bryn
Horrorphile