As much as I can vividly remember watching movies at the theater when I was a young kid, I often can recall watching the movie’s trailer even more. I’ve always loved movie trailers. When shot, edited and scored correctly these mere pieces of advertising can become a work of art. Some trailers can evoke such a feeling of exhilaration that the experience stays with you long after the feature presentation is over. Many of today’s best writer/directors choose to edit their own trailers and it shows. I can remember watching the trailer for Punch-Drunk Love and found myself days later still singing Shelley Duvall’s rendition of “He Needs Me” that plays over the commercial. Or the night I screened 3:10 to Yuma which was preceded by the trailer debut of There Will Be Blood and I spent the rest of the feature damning life because I was watching Yuma and NOT Blood.
I bring up trailers for two reasons. One being that fellow editors, David and Adam and myself spent Saturday night watching a two hour plus trailer pack at our theater. Sort of our farewell to 35mm since in two weeks our place of business is going all digital and consequently making our collection of 80s and 90s trailers obsolete. And two because trailers were often my first exposure to movies I was underage to see at the time. It is the trailer for Under Siege 2: Dark Territory that led me to run home and pretend I was Steven Seagal taking down terrorists on a train. The trailer for Tombstone that led me to pretend I was Wyatt Earp (or most times Sam Elliott) strolling the Old West. Of the recent trailer pack I had chills rewatching the Independence Day trailer and being taken back to the excitement I felt of seeing it for the first time in 96.
Which brings me to tonight’s post: Wes Craven’s New Nightmare.
At the age of 8 I had already seen a handful of the latter Elm Street films and always found them intense, a little creepy but rarely ever scary. I imagine it was the benefit of watching them with older audiences, like my older sister or older cousins and their friends who would make second rate Mystery Science Theater puns throughout each viewing. Even at a young age I knew that no matter how horrific the event, it was still just a movie. That is until I saw the trailer for Wes Craven’s New Nightmare in which the director’s original creation has somehow manifested itself into a real life terror. This meant that at the age of 8 I would scream “Holy shit you mean Freddy’s real!!!”
Throughout the late 80s and early 90s Wes Craven witnessed the genre he created, “the slasher film”, plummet to the depths of straight to video knockoffs and endless sequels barely resembling the presence of its original roots. In the age of Critters 3: You Are What They Eat and Scanners III: The Takeover and Puppet Masters 5: The Final Chapter it was clear that something needed to be done to save the empire that Craven had built on disembodied teenagers. Horror filmmakers needed a new way to strip and murder the innocent. In 1994 Wes Craven began the notion that would reinvigorate both his career and the genre for another decade. The plan was simple: Let the victims know they are in a horror movie. Lay out all the classic horror movie cliches in plain sight and watch as the knowing teens still meet their demise. Horror movies were now in on the joke and audiences were laughing with the movies and not at them.
A year before Craven perfected this idea with the genre busting Scream franchise, he wrote and directed the final official sequel to the Elm Street series. The plot follows Heather Langenkamp as herself who begins to suffer from nightmares similar to that of the Elm Street franchise just as production on the latest sequel gears up. Heather’s husband Chase is a prop designer on the film and in the opening sequence of the film she dreams he is being maimed by a robotic Freddy glove. Its spider-like crawl across the table being one of the images that terrified me as a kid.
Heather is invited to the set of the film by real life New Line producer Bob Shaye where she is offered the chance to reprise her role as Nancy from the original film. She declines but still arranges a meeting with director Wes Craven for information on her dreams. Craven explains to Heather that the new film he is writing has been coming to him through a series of dreams. In his script pure evil can be defeated if its essence is captured in a work of art that is able to allow evil to express itself and that the evil has taken the familiar form of Freddy. Apparently Freddy has decided to stalk Heather since she was the actress who portrayed Nancy and thus gave Nancy her power. What!!
Following the death of her husband, Heather must protect her son from Freddy and takes sleeping pills to put the two of them into a final showdown. The ending culminates into a Hansel and Gretel-like display of inserting Freddy into a lit furnace. At the age of 8 the idea of placing Freddy into the real world was quite terrifying. Watch the film now and it is a hilarious parody of the Hollywood system. Robert Englund is a tour de force in his dual role playing himself and the wretched Freddy Krueger. The great John Saxon appears playing the dual part as well and Craven seems to be having a ball letting his inner Hitchcock roam free in a portrayal of Hollywood directors. The movie doesn’t quite have the self-mockery smarts as Kevin Williamson’s script for Scream but its a nice direction toward madcap parody. Freddy’s look was also updated to resemble more of Craven’s original conception of the clawed one, attempting to make him more menacing than comical.
Though not a box-office or critical juggernaut, New Nightmare still holds as one of my personal favorites of the series and will remain the launching pad for the late 90s resurgence of slasher films and more importantly the “horror-satire”.