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The movie reserves its ultimate horror and its most telling social shot for the closing moments of the film, when the "new" Katharine Ross walks in on the old one . . . perhaps, we think, to murder her. Under her flowing negligée which might have come from Frederick's of Hollywood, we see Ms. Ross's rather small breasts built up to the size of what men discussing women over beers sometimes refer to as "knockers." And of course, they are no longer the woman's breasts at all; they now belong solely to her husband. The dummy is not quite complete, however; there are two horrible black pools where the eyes should be. Bad enough, and more spectacular, probably, but it was the import of those siliconeswollen breasts that chilled me. The best social horror movies achieve their effect by implication, and The Stepford Wives , by showing us only the surface of things and never troubling to explain exactly how these things are done, implies plenty.
I'll not bore you by rehashing the plot of William Friedkin's The Exorcist , another film which relies on the unease generated by changing mores; I'll simply assume that if your interest in the genre has been sufficient to sustain you this far, then you've probably seen it.
If the late fifties and early sixties were the curtain-raiser on the generation gap ("Is it a boy or a girl?" etc., etc., etc.), then the seven years from 1966 to 1972 were the play itself. Little Richard, who had horrified parents in 1957 when he leaped atop his piano and began boogeying on it in his lizardskin loafers, looked tame next to John Le
The images in rock music had become increasingly distressing: Mr. Tambourine Man seemed to be about drugs; with the Byrds' Eight Miles High there could be no question. Radio stations continued to play discs by one group even after two male band members a
Then there was the war in Vietnam. Messrs. Johnson and Nixon spread it out like a great big rancid picnic lunch over there in Asia. Many of the young elected not to attend. "I got no quarrel with them Congs," Muhammed All a
It was more than a generation gap. The two generations seemed, like the San Andreas fault, to be moving along opposing plates of social and cultural conscience, commitment, and definitions of civilized behavior itself. The result was not so much an earthquake as it was a timequake. And with all of this young vs. old nuttiness as a backdrop, Friedkin's film of The Exorcist appeared and became a social phenomenon in itself. Lines stretched around the block in every major city where it played, and even in towns which normally rolled up their sidewalks promptly at 7:30 P.M., midnight shows were scheduled. Church groups picketed; sociologists with pipes pontificated; newscasters did "back of the book" segments for their programs on slow nights. The country, in fact, went on a two-month possession jag.
The movie (and the novel) is nominally about the attempts of two priests to cast a demon out of young Regan MacNeil, a pretty little subteen played by Linda Blair (who later went on to a High Noon showdown with a bathroom plunger in the infamous NBC movie Born I
Substantatively, however, it is a film about explosive social change, a finely honed focusing point for that entire youth explosion that took place in the late sixties and early seventies. It was a movie for all those parents who felt, in a kind of agony and terror, that they were losing their children and could not understand why or how it was happening. It's the face of the Werewolf again, a Jekyll-and-Hyde tale in which sweet, lovely and loving Regan turns into a foul-talking monster strapped into her bed and croaking (in the voice of Mercedes McCambridge ) such charming homilies as "You're going to let Jesus fuck you, fuck you, fuck you." Religious trappings aside, every adult in America understood what the film's powerful subtext was saying; they understood that the demon in Regan MacNeil would have responded enthusiastically to the Fish Cheer at Woodstock.
A Warner Brothers executive told me recently that movie surveys show the average filmgoer to be fifteen years of age, which may be the biggest reason why the movies so often seem afflicted with a terminal case of arrested development. For every film like Julia or The Turning Point , there are a dozen like Roller Boogie and If You Don't Stop It, You'll Go Blind .
But it is worth noting that when the infrequent blockbusters which every film producer hopes for finally come along-pictures like Star Wars, Jaws, American Graffiti, The Godfather, Gone With the Wind , and of course The Exorcist -they always break the demographic hammerlock which is the enemy of intelligent filmmaking. It is comparatively rare for horror movies to do this, but The Exorcist is a case in point (and we have already spoken of The Amityville Horror , another film which has enjoyed a surprisingly old audience).
A film which appealed directly to the fifteen-year-olds that provide the spike point for movie-going audiences-and one with a subtext tailored to match-was the Brian De Palma adaptation of my novel Carrie . While I believe that both the book and the film depend on largely the same social situations to provide a text and subtext of horror, there's maybe enough difference to make a few interesting observations on De Palma's film version.
Both novel and movie have a pleasant High School Confidential feel, and while there are some superficial changes from the book in the film (Carrie's mother, for instance, seems to be presented in the film as a kind of weird renegade Roman Catholic), the basic story skeleton is pretty much the same. The story deals with a girl named Carrie White, the browbeaten daughter of a religious fanatic. Because of her strange clothes and shy ma
De Palma's approach to the material was lighter and more deft than my own-and a good deal more artistic; the book tries to deal with the loneliness of one girl, her desperate effort to become a part of the peer society in which she must exist, and how her effort fails. If it had any thesis to offer, this deliberate updating of High School Confidential , it was that high school is a place of almost bottomless conservatism and bigotry, a place where the adolescents who attend are no more allowed to rise "above their station" than a Hindu would be allowed to rise above his or her caste.
But there's a little more subtext to the book than that, I think-at least, I hope so. If The Stepford Wives concerns itself with what men want from women, then Carrie is largely about how women find their own cha
Heavy, turgid stuff-but in the novel, it's only there if you want to take it. If you don't, that's okay with me. A subtext only works well if it's unobtrusive (in that I perhaps succeeded too well; in her review of De Palma's film, Pauline Kael dismissed my novel as "an unassuming potboiler"-as depressing a description as one could imagine, but not completely inaccurate).
De Palma's film is up to more ambitious things. As in The Stepford Wives , humor and horror exist side by side in Carrie , playing off one another, and it is only as the film nears its conclusion that horror takes over completely. We see Billy Nolan (well played by John Travolta) giving the cops a big aw-shucks grin as he hides a beer against his crotch early on; it is a moment reminiscent of American Graffiti . Not long after, however, we see him swinging a sledgehammer at the head of a pig in a stockyard-the aw-shucks grin has crossed the line into madness, somehow, and that line-crossing is what the film as a whole is about.
We see three boys (one of them the film's nominal hero, played by William Katt) trying on tuxedos for the Prom in a kind of Gas House Kids routine that includes Donald Duck talk and speeded-up action. We see the girls who have humiliated Carrie in the shower room by throwing tampons and sanitary napkins at her doing penance on the exercise field to tootling, lumbering music which is reminiscent of "Baby Elephant Walk." And yet beyond all these sophomoric and mildly amusing high school cut-ups, we sense a vacuous, almost unfocused hate, the almost unpla