Welcome back to The Texas Chainsaw Massacre retrospective! In today’s entry we’re going to be looking at the sixth entry in the franchise, the 2006 prequel-to-the-remake, The Texas Chainsaw Massacre: The Beginning. After the considerable financial success of the remake, a follow-up seemed inevitable. However, was a prequel the right way to go to fill in some of the blanks left by its predecessor? Read on to find out…

PRODUCTION
After the considerable success of The Texas Chainsaw Massacre, Platinum Dunes started looking towards other horror franchises to remake for low cost and high turn-around. Their next project was The Amityville Horror, but when that failed to scare up higher numbers despite having more than double the budget, they turned their eyes back to the Chainsaw franchise. However, Dimension Films were looking to steal the franchise from underneath New Line after putting in an offer with the rightsholders. To prevent this, New Line ended up having to pay an additional $3.1 million just to retain the rights, increasing the film’s budget considerably. Jonathan Liebesman (who would later go on to direct such stinkers as Battle: Los Angeles, Wrath of the Titans and Teenage Mutant Ninja Turtles) was hired to direct, having just come off of success with Darkness Falls and Rings (a short prelude to The Ring Two). Liebesman had been considered to direct the previous film, but had made Darkness Falls instead.

Interestingly enough, the landscape of horror had shifted in the three years between Chainsaw films. The torture porn genre had begun kicking off with such films as Saw, Hostel and Wolf Creek taking over the market and emphasizing brutal violence and gore. In the making-of featurette for the film, the producers name-drop Hostel and The Hills Have Eyes, claiming that Chainsaw was the granddaddy of extreme horror and therefore they had to push the envelope as far as possible to beat the other films of the time. Scott Kosar was supposed to return to write the script, but was unavailable at the time. David J. Schow, who had written the screenplay for Leatherface: The Texas Chainsaw Massacre III, returned to co-write the story along with screenwriter Sheldon Turner.

Possibly the best part about making the next film in the franchise into a prequel was that R. Lee Ermey could return as Sheriff Hoyt, despite having been killed off in the last movie. Andrew Bryniarski was also able to return as Leatherface. The new cast included more pretty, young up-and-comers, most notably Jordana Brewster (Mia from The Fast & The Furious) as Chrissie and Diora Baird (known for Wedding Crashers and risque modelling for Guess? and Playboy) as Bailey. The leading roles were rounded out by Matt Bomer (Ken from the Magic Mike series) as Eric and Taylor Handley as Dean.

PLOT SYNOPSIS
The film opens with a woman at the old slaughterhouse being forced to work by her supervisor even when her water breaks. The birth presumably kills her and the deformed baby is thrown into the dumpster out behind the slaughterhouse as if this were an Amazon warehouse. However, the baby is found by Luda Mae Hewitt and brought home to be adopted as a son named Thomas. The boy grows up being made fun of for his skin disease and he ends up making a mask from a dead coyote to hide his face, eventually going on to work at the slaughterhouse under the very supervisor who had unknowingly thrown him away years ago. However, the slaughterhouse is eventually shut down for health violations, which devastates the town. When the supervisor tries to tell Thomas to stop working, he turns on him and kills him, stealing a chainsaw in the process. The local sheriff discovers this and goes to Charlie Hewitt to try to apprehend Thomas, but when they find him, Charlie kills the sheriff and assumes his identity, becoming Sheriff Hoyt. He takes the sheriff’s body home and cooks him, declaring that they’re not going to leave this town and let it be overrun by pillagers.

Meanwhile, brothers Eric and Dean, along with their girlfriends Chrissie and Bailey, respectively, are heading through Texas after being drafted to fight in the Vietnam War. Eric has already been on one tour of duty and is gung-ho to fight alongside his brother, but Dean is planning on draft dodging into Mexico during the trip. When they stop at a local shop, Chrissie and Bailey are accosted by a group of bikers and decide to continue on their way. However, one of the bikers chases their car and tries to rob the group. This distracts Eric and causes him to get into an accident with a stray cow, flipping the vehicle and ejecting Chrissie from it in the process. The female biker sticks up the injured youths still in the vehicle, but then Hoyt arrives and blows her away with his shotgun. Hoyt finds burnt draft papers and realizes that one of the men was planning on draft dodging, but Eric lies and says that it was him in order to protect his brother. Hoyt forces Eric, Dean and Bailey into his police car and then takes them back to his house. Chrissie comes to and watches as he takes them away. Moments later, a tow truck arrives to take away their vehicle and Chrissie hides inside the wreck, which also gets taken to the Hewitt residence. She then sneaks away to try to find help.

Once they have arrived, Bailey is tied up under the table inside the house and Dean and Eric are tied up in the shed, where Hoyt tortures them until Dean admits that he was the one who was planning on skipping the draft. Hoyt tells Dean that he’ll let him go free if he can do ten push-ups, which Dean succeeds at despite being beaten mercilessly by Hoyt. Eric then manages to break free and rescues Bailey, then tries to sacrifice himself as a distraction while Dean and Bailey flee. However, Thomas captures Bailey with a meathook and drags her back and Dean steps in a bear trap before Hoyt knocks Eric out. Meanwhile, Chrissie comes across the boyfriend of the biker who was killed, who takes her back to the house in order to rescue his girlfriend.

That night, Thomas takes Eric to the basement and begins skinning him alive, while Bailey is taken upstairs and raped by Hoyt. The biker heads off on his own while Chrissie sneaks into the house and finds Eric horribly mutilated. The biker shoots Uncle Monty in the leg and then forces Hoyt to take him to his girlfriend. Hoyt mistakenly thinks that his girlfriend is Bailey, but before the biker can kill Hoyt, Thomas appears and then chainsaws the biker in half. He then heads back downstairs and kills Eric with the chainsaw, before cutting Eric’s face off and making his first mask out of it. Chrissie witnesses all of this in horror and tries to flee before she has a crisis of conscience and returns for Bailey. However, she is discovered and captured.

When Chrissie comes to, she is restrained at the dinner table along with Dean and Bailey. Hoyt says grace and then Leatherface kills Bailey for being disrespectful. While trying to take away Chrissie, she breaks free and flees the house. Leatherface pursues her into the old slaughterhouse. Meanwhile, Dean wakes up and, enraged upon seeing Bailey’s corpse, attacks Hoyt and beats him senseless before chasing after Chrissie. He manages to rescue Chrissie from Leatherface, but is killed in the process while Chrissie flees to a nearby vehicle. She drives away from the scene until she spots a Texas state policeman. However, Leatherface then reveals that he has been hiding in the back seat this whole time and runs his chainsaw through her back, causing the car to veer into the policeman. Leatherface then walks away from the scene.

REVIEW
The Beginning is a rather interesting case when I reflect on it. You can really see the influence of David J. Schow on the story and his background in splatter films. Leatherface: The Texas Chainsaw Massacre III was already a nasty film at times, even with the MPAA restrictions. However, The Beginning takes nastiness to a whole other level, as this film just feels like punishment to watch. It definitely took a page from the splatter film/torture porn trend which was becoming popular at the time, because even comparing it to its predecessor is a night-and-day difference. As I noted in the previous entry in this series, the Chainsaw remake is surprisingly restrained in its depiction of violence and tends to be more effective as a result. In contrast, The Beginning revels in its depictions of drawn-out violence and gore. I had to reflect back on all of the other Chainsaw films again to compare the nature of their violence – usually, characters die quite quickly (either by bludgeoning or chainsaw) because the villains aren’t reveling in the kill, they just want them to be dead. Usually when a character doesn’t get killed, it’s because the villains are saving them for later (Pam and Andy), not because they want them to suffer. The only times the violence gets drawn out is when L.G. was skinned alive in Chainsaw 2, but this was done accidentally by the villains and is meant to be incredibly shocking because of that. Leatherface: The Texas Chainsaw Massacre III was the only exception to this, with Michelle getting nailed to a chair and Ryan being hung on the meathooks with the explicit intent of taunting him, because of Schow’s splatter background. However, Leatherface still wasn’t as nasty or protracted as The Beginning is.

Even the way that the main characters are treated is different in this film – usually Chainsaw films (and slashers in general) feature the main characters getting unknowingly picked off one-by-one, but The Beginning drags its the characters into the wringer at the same time in order to maximize the suffering that each of them sustains, closer to the format of a Saw sequel. Maximized suffering is probably the best way to describe this film’s goal – as soon as the group gets into their car accident, they’re subject to all manner of escalating awfulness. Special mention first goes to Eric’s death. When it finally comes, the poor guy has been tortured and then beaten by Hoyt after he tries to sacrifice himself so his friends can escape (before realizing that they were unsuccessful). He then gets taken to the basement where Leatherface ties him down and then begins skinning his freaking arms while alive, HOLY SHIT!!! Then when Chrissie finds him in a half-delirious state, they call-back to how many kids they were going to have together, just in time for Leatherface to come back and then, while Chrissie watches, chainsaw him to death. Oh but it’s not over yet, because then Leatherface cuts off Eric’s face and then makes his first mask out of it, thereby spending the rest of the film psychologically torturing Chrissie even more with that imagery. Suffice to say, it’s brutal.

Dean, in comparison, is totally wasted in this film. Early on, much of the conflict of the story revolves around him not wanting to fight in Vietnam and whether he is a coward because of this. As far as the film seems concerned, yeah he kind of is, because he lets Eric take the fall for him when Hoyt realizes that one of the brothers is draft-dodging. Then, when he finally fesses up and performs ten push-ups for his freedom, he is too beaten to actually do anything. Then when he tries to escape, he gets caught in a bear trap, where he spends most of the rest of the film unable to get away. Then when Chrissie is finally captured, he gets dragged unconscious to the dinner table where he doesn’t even awaken until he can become a handy deus ex machina to knock out Hoyt’s front teeth (callback!), save Chrissie and then immediately get chainsawed to death for it. Not really a satisfying story arc, eh? Dean is just one of the clear aspects of this film which reveal that the story doesn’t actually matter, it’s all about maximizing suffering.

Bailey gets the absolute worst deal of the bunch though, infuriatingly so. For one thing, she is immediately sexed-up by the film (how surprising, considering that they hired a Playboy model for the role) and gets barely any lines to actually establish herself as a character with any sort of agency. From there, the way that her suffering stands out is notable. First of all, they tie her up under the table while Luda Mae Hewitt has tea with a friend, explicitly dehumanizing and objectifying her. Sure, it’s not torture and beatings, but the way that she’s excluded says more about the way women are seen as different. Then, if you thought she was getting things easy, she gets meathooked by Leatherface while trying to escape and then gets chained to a bed and FREAKING RAPED BY HOYT, FUUUUCK!!! Then she gets her teeth all knocked out (presumably so she can’t bite Hoyt’s dick off, or perhaps to prevent her from killing herself by biting off her tongue) before getting her throat slashed open when he isn’t being “proper”… bloody hell. So, what sort of things do we know about this character? She’s pretty, sexually active and… uh… yeah, that’s about it. Even when discussing the character, all that the cast can say is that she’s a “free spirit” which just sounds like “loose” to me… Maybe you can see why I hate what happens to this character so much – since she’s a pretty woman, she gets oogled by the camera first and then later the villains turn that sexualization into violence before killing her when she isn’t being a “good woman”. I see enough of this bullshit in manosphere screeds about Madonnas and whores, and it does not feel like this film is playing such a message as anything other than straight (if they even realize that that’s the sort of message that they’re conveying at all).

Compared to everyone else, Chrissie gets off pretty easily in The Beginning. She gets inexplicably thrown from Eric’s vehicle after the accident and is somehow unscathed. She then spends the majority of the film using her Boots of Sneaking to pass impossible DC30 stealth checks, and even when she gets captured she doesn’t suffer too much (physically anyway, seeing your boyfriend’s face worn by Leatherface would scar anyone for life). However, she is killed in the absolute cheapest way when somehow Leatherface manages to outrun Chrissie to her vehicle, then hides in the back seat for like fifteen minutes before popping up and chainsaws her through the back… because this is a prequel, so therefore all the characters have to die! It’s not like we’re supposed to give a shit about anyone anyway, right?

It’s not just the main characters who suffer either. In the film’s opening moments we’ve got Leatherface breaking both of the legs of the slaughterhouse supervisor with a sledgehammer before he goes for the kill, a level of malicious intent unseen in the character until now. Uncle Monty also gets some of the most random suffering, to the point where it’s darkly funny. First he gets shot in the kneecap by the biker and then Hoyt decides that the best thing to do is amputate the leg, so he gets Leatherface to chainsaw it the hell off. However, Leatherface screws up and cuts into the other leg, so they just saw off the other leg off as well, all while Monty and Luda Mae are (understandably) freaking out.

So yeah, in case I hadn’t made it incredibly obvious already, this movie is brutally violent, to the point where it all just feels senseless. Perhaps worst of all though is that it relies on the shock value of its violence to be scary, something which falls flat in my opinion. It’s not like the violence is even particularly intense, unlike some moments from the remake. It’s just brutal and protracted to the point where it feels like I’m being punished by the film for watching it. To some degree I can understand why they would take the film in this direction – as the filmmakers state in the making-of featurette, it’s a nasty story so it deserves a nasty treatment. That’s fair enough as an artistic decision, and perhaps some people would really appreciate that stance, but I just really was turned off by it. Don’t get me wrong, I appreciate gory films such as Evil Dead, Piranha 3D, even some of the Saw films, but I need to feel like there’s at least some purpose beyond violence for the sake of violence and The Beginning doesn’t give me that.

Even if the violence in the film wasn’t turning me off, there’s still plenty to dislike. First of all, the script sucks on a number of different levels. For one thing, it really struggles to even justify why the Chainsaw remake needed a prequel. The entire origin story for Leatherface and Hoyt is breezed over in the first twenty minutes of the film. From there the film basically becomes a more violent rehash of the remake with some really inconsequential details from the last film explained. Why does Uncle Monty have no legs? A biker shot him and then Leatherface cut them off! Why does Hoyt have no front teeth? Dean knocked them out! Wow, who cares! Of course, there’s a bit more to it than that (we get Leatherface’s first skin mask and chainsaw kills, for example), but even some of the big moments are not very satisfying. A particular example is “where did Leatherface get his chainsaw?” Apparently it was literally just lying around in the supervisor’s office in the slaughterhouse so he just… picked it up? That’s, uh… that’s it? No special affection for it, he just found it and decided that that’s his thing now? It’s also worth noting that, after all my complaints about the lack of motivation for the Hewitts in the remake, The Beginning restores the Hewitt family’s cannibalism. We also get a bit of interesting background for Hoyt regarding this – he was a POW during the Korean War and once a week they were forced to pick a fellow POW to kill and eat in order to survive. Obviously this contributed to the character’s screwed up philosophy on life and it’s too bad that it’s just relegated to an expository line. Like, imagine a proper Chainsaw prequel which hadn’t just rushed through all the details of the family’s evil upbringing in order to get to a half-baked rehash… y’know, something like All-American Massacre was promising us. The laziness of this film is so bad that the climax is, once again, in the same slaughterhouse and the film ends with a really tacked on voice over to remind us that this is supposed to be a true story, both of which were handled far better in the previous film.

If you’re familiar with my retrospectives series then you’re probably aware that I get really annoyed by an overuse of lazy plot conveniences and The Beginning is just loaded with them. Leatherface just finding his chainsaw randomly might be the most egregiously insulting storywriting decision of the bunch, but there are much worse examples. For example, there is apparently only one cop in this entire town and he was conveniently shipping out to Michigan, which allows Hoyt to kill him, assume his identity and then go on crime sprees uncontested… because blue lives really don’t matter it seems. It’s even worse because Chrissie comes across a Texas state trooper at the end of the film and he actually gets run over by her car, so it’s not like this place really is a lawless wasteland anyway. Plus, wouldn’t a dead cop make the state police investigate when they find a chainsaw-impaled woman at the scene? Oh and then there’s the gang of bikers who taunt Chrissie and Bailey, but then later the group is pursued by a single biker who has gone out to rob them. They have a whole gang, why not send out at least a couple people in case something goes wrong? It’s even worse because later her boyfriend is once again riding alone when Chrissie conveniently comes across him and no one bothers to call in the rest of their gang to attack the Hewitt house. Then when she gets away Dean conveniently finds her in the slaughterhouse just in time to save her and to get himself killed, since the film is wrapping up and we can’t have any loose ends dammit!

Hell, if convenience could coalesce into a living person, she would look just like Chrissie. It starts off with a god-tier act where she gets thrown hundreds of feet from a freaking car accident and walks away completely unscathed, conveniently waking up just in time to see Hoyt taking her friends away. Then she manages to sneak into the wreck of the vehicle just in time to hide from a tow truck driver who somehow doesn’t notice her while inspecting the wreck. Then the tow truck driver just so happens to be working for Hoyt and drags the wreck back to the Hewitt residence. Then Chrissie randomly comes across the boyfriend of the biker who Hoyt killed. Then she manages to sneak around the Hewitt residence for like twenty minutes completely unnoticed despite having no idea where she’s going and a number of close calls. AND THEN she finally gets noticed because “they already know you’re here!”, AKA it was finally convenient for the writers for her to get captured. Bloody hell. Oh and then Chrissie somehow manages to miss the fact that a 300lb man outran her to her vehicle, hid in the back seat with his chainsaw and then lay there silently for like fifteen minutes or more before popping up to get a final scare and to make sure there are no survivors that can tell people about the Hewitts’ crimes. How convenient! Imagining Leatherface lying there just waiting for the perfect moment to scare the shit out of her is just hilarious to think about though.

The characters are also one dimensional at best. Of the leads, Matt Bomer puts in a pretty good performance as Eric, but he’s given basically nothing to work with. The only reason I care about the character at all is because of Bomer’s acting. I’ve already mentioned how Diora Baird’s Bailey gets totally shafted in the film as well, Baird is basically just set dressing. I mean, her boobs put in a standout performance at the start of the film, which was probably all that the filmmakers wanted anyway. Don’t get me wrong, I think that Diora Baird could have put in some good work on this film, but she isn’t even given the opportunity with this script. However, Taylor Handley’s Dean is the worst performance of the whole group, giving overly-acted line deliveries and just coming across as whiny when he should be sympathetic. It’s weird, the director and casting director really rave about Handley’s performance and talk like he’s going to be a superstar, but he’s definitely not showing any of that potential in this film. The fact that Matt Bomer was only cast in response to Taylor Handley’s casting was a very happy accident on the filmmakers’ part. Again, it’s not like the script helps him anyway as he gets totally wasted in the second half of the film, and the Vietnam War draft dodging subplot is half-baked with no real payoff. Jordana Brewster’s Chrissie is also just a strangely wasted character. She spends half of the film not even involved in the nastiness going down in the Hewitt house so by the time it comes for her to be the final girl, she hasn’t really left much of an impression other than “man that girl is really good at sneaking around unnoticed”. Again, it’s too bad, I expect Jordana could put in a good performance but she doesn’t have much to actually work with. Even R. Lee Ermey is kind of wasted by this film. He still definitely puts in the best performance and has the most material to work with, but compared to the previous film he’s much less enjoyable to watch. In the remake, he loves to taunt his victims and assert his control over them that way, whereas here he’s basically just an evil dick. The only time he really taunts someone is when he beats Dean during his pushups for freedom. He also doesn’t get nearly as many memorable or funny lines (although his first line after he shoots the sheriff is fantastic: “Shit I just killed the whole fuckin’ sheriff’s department”).

Andrew Bryniarski’s Leatherface is also not as interesting in this film. He certainly comes across as less experienced in this film, but we mostly get the same information the remake conveyed to us – people were mean to Leatherface and it caused him to lash out. This is demonstrated quite bluntly in the early parts of the film, where the slaughterhouse workers call him a dumb animal and the sheriff says that he’s retarded, both of which cause the obviously-intimidating Leatherface to become a raging, mad dog type character. It’s also kind of interesting to me that in this prequel the slaughterhouse is shut down because of health concerns. No longer is it a story about society and technology leaving rural people like Leatherface behind, it’s now about how they’re bad, disgusting people whose impoverishment is basically their own fault (doubly so when you consider that the owner of the slaughterhouse was also established as a bad person for not letting Leatherface’s mother give birth safely and for throwing the resulting baby in the dumpster). There isn’t really any sort of social commentary here anymore, it’s just about enigmatic evil people out there who mean to do us harm, and Leatherface’s toxic masculine rebirth in the remake duology is demonstrative of the dumbed-down, commercial direction this franchise took. Oh, I will add that Leatherface’s mask made from Eric’s face is pretty creepy, I like it a little bit less than the mask from the remake, but it’s certainly one of the better masks in the franchise.

Hell, I’m nearing the end of this review and I haven’t even mentioned that they rip off the dinner scene again in this one. It’s one of the better dinner scenes in the franchise, if only because we actually get some character development for the Hewitt family out of it. During the scene, Hoyt says grace and the family twists Bible verses in order to justify their actions. It is fairly interesting, but considering the merciless brutality we have seen out of this family, it really makes me wonder why the Hewitts would even invite their victims to dinner in the first place? There really isn’t a good reason other than to just reference the original film.

Suffice to say, I did not like The Texas Chainsaw Massacre: The Beginning. I found its handling of brutal violence very distasteful. Look, I don’t mind a gory, brutal film, but I prefer when it’s not just suffering for the sake of suffering. Add in that this is a crappy rehash of the previous film with a crap script and I feel quite justified that I’m not just pillorying this film for simply not suiting my tastes. Literally, the only moment in this film that was truly a bright spot was when Eric uses a screaming, morbidly obese house guest as a barricade, but that is nowhere near worth sitting through the rest of the film to get to.

3/10

Be sure to tune in soon as we take a look at the seventh film in the franchise, Texas Chainsaw 3D!

Welcome back to The Texas Chainsaw Massacre retrospective! In today entry we’re going to be covering the Platinum Dunes remake, 2003’s The Texas Chainsaw Massacre! This is the film which kicked off the horror remake craze in the 2000s, for better or worse. It was also my first exposure to the franchise – I remember as a kid hearing about this movie from other kids on the bus talking about people getting their limbs chainsawed off and getting hung on a hook. Suffice to say, as a little evangelical kid it sounded like evil debauchery to me, but the imagery in my mind stuck with me and made me curious throughout the years until I finally saw the film. How does the remake hold up? Read on to find out…

PRODUCTION
After Columbia Tristar tried to bury Texas Chainsaw Massacre: The Next Generation, the rightsholders spent years in court before the whole fiasco was settled. During this time, William Hooper (son of Tobe Hooper) was planning on making a new Chainsaw short starring Bill Moseley. This film was going to be called “All American Massacre“ and would have featured Chop Top recounting stories of his family’s misdeeds. This short ended up getting expanded into a 60 minute feature with a score by Buckethead. However, it was eventually shelved when Hooper ran out of money to complete it, leaving the project in limbo where it currently resides, with only a short trailer proving it ever existed.

Late in 2001 Michael Bay’s new production company, Platinum Dunes, decided that they wanted their first project to be a remake of The Texas Chain Saw Massacre and went ahead securing the rights. Platinum Dunes aimed t0 produce low-budget films with high profit margins and a Chainsaw remake seemed like the best way to test that. Tobe Hooper and Kim Henkel were brought on a co-producers on the film. Marcus Nispel, a director of many high-profile music videos, was hired to direct the film. Interestingly, Nispel’s regular cinematographer and long-time friend, Daniel Pearl, was actually the cinematographer for the original Chainsaw. Pearl was also hired as director of photography for the remake. Scott Kosar, writer of such films as The Machinist, The Crazies and the remake of The Amityville Horror, made his scriptwriting debut on this film. He decided early on that the film shouldn’t be a direct remake of the original, but rather take the same scenario and use it as inspiration. He also went back to the story of Ed Gein for further influence.

Jessica Biel was cast to play the film’s heroine, Erin. Biel was just coming off of her role in 7th Heaven and (whether true or not) there was a perception that she was looking to shed her goody-goody image that the show had fostered. In earlier drafts of the script, Erin was actually supposed to be nine months pregnant which would have added an interesting dimension to the plot, but Michael Bay shot the idea down. Nispel claims that Erin is pregnant during the events of the film, but there is nothing in the film itself which suggests that this is the case. The principal cast were filled out with a number of young, up-and-coming actors: Eric Balfour was cast as Erin’s boyfriend, Kemper, Erica Leerhsen as Pepper, Mike Vogel as Andy, and Jonathan Tucker as Morgan. On the villainous side of the cast, freaking R. Lee Ermey was cast as Sheriff Hoyt. As for Leatherface, Andrew Bryniarski (most notable for playing Zangief in the Street Fighter movie) was a friend of Michael Bay’s and asked him at a Christmas party if he could play the role. However, Bay had to turn him down because Leatherface had already been cast. However, according to Wikipedia (so take this info as you will, I only found an interview that verifies this story) the actor who was cast as Leatherface was injured on the very first day of shooting after lying about his physical qualifications and was subsequently fired. In dire need of a replacement actor to play the villain, Byrniarski was called up and cast.

The film’s budget was set at less than $10 million and filming took place in Texas once again. Like all of the other Chainsaw films in Texas, this created the usual problems for the cast and crew, with hot and humid weather making life difficult. This was hardest on Bryniarski, as he had to perform in a fat suit and wore a mask during the entire shoot, making it difficult to breathe and forcing him to stay hydrated to avoid passing out. The film was released on October 17, 2003 and made its budget back within the first day. Suffice to say, it was a box office hit although the reviews at the time were mixed. Roger Ebert famously hated it, giving the film a rare 0/4 stars.

PLOT SYNOPSIS
The film opens with police footage of the “real life” crime scene of the Hewitt family (the name of the family has been changed from “Sawyer” in this timeline). It then flashes back to the events of that day and we are introduced to a group of young people travelling through Texas. The group has just returned from a vacation in Mexico, where they picked up a woman named Pepper who Andy has had a tryst with, and are headed to a Lynyrd Skynyrd concert. Erin discovers that the group is secretly smuggling drugs that they acquired during the trip south of the border and, after distracting her boyfriend, Kemper, about it, he nearly hits a woman walking beside the road. The group picks the woman up and tries to take her to the hospital, but she begins going crazy and shoots herself in the head. The group is, understandably, shocked and tries to find the local sheriff to report the incident. The locals direct them to an old mill to wait for the sheriff, but when he does not arrive, a local boy directs Kemper and Erin to a nearby house where he is supposed to live. When they arrive, the owner of the house says that the sheriff does not live here, but offers Erin use of his phone. Kemper then wanders into the house and is ambushed by Leatherface and killed. Erin leaves after phoning the sheriff, not realizing that Kemper had gone into the house and assuming that he went back to the others.

Meanwhile, Sheriff Hoyt arrives at the mill and begins taunting and questioning Andy, Morgan and Pepper about what happened. He forces Andy to help him wrap up the body and then gets Morgan to join in and help put the body in the back of his vehicle before leaving. Erin gets back after he has left and is surprised that the sheriff has already come and gone. She also is surprised that Kemper is not with the others and so she and Andy decide to return to the house to figure out what happened to Kemper. Erin distracts the homeowner while Andy sneaks into the house, but when they are discovered, Leatherface chases after the pair with a chainsaw. During the escape, Andy’s leg is sawed off by Leatherface and he is dragged into the basement to be hung on a meathook. Erin makes it back to the others and then tries to get the van started so that they can find help, but they are stopped by Sheriff Hoyt. Hoyt doesn’t listen to Erin’s stories about a chainsaw-wielding maniac killing her friends and instead arrests them after finding marijuana in the vehicle. He taunts Morgan, forcing him to re-enact the hitchhiker’s suicide until Morgan turns the gun on Hoyt. However, the gun is not loaded and Hoyt beats Morgan before taking him away in his squad car.

Now on their own, Erin and Pepper try to escape in the van, but are attacked by Leatherface. Pepper is killed while trying to escape, while Erin flees to a nearby home. The owners of the house try to placate her, until Erin realizes that they are complicit with the Hewitts – the child in this home was from a family killed by the Hewitts. The locals drug Erin and when she awakes she has been brought to the Hewitt house by Hoyt. She gets dumped into the basement by Leatherface where she finds Andy hanging from the meathook. After trying to free him, Andy begs Erin to kill him, which she does so using a large knife. She then finds Morgan, badly beaten, and tries to escape with him. Leatherface realizes that they are trying to escape and pursues them into another abandoned house. After a lengthy game of cat-and-mouse, Leatherface finds the pair and kills Morgan. Erin flees into the local slaughterhouse where she finally gets the upper-hand on Leatherface, severing his arm with a meat cleaver. She then flags a passing truck driver to escape, but when the driver tries to find locals to help her, she realizes that he’s going to inadvertently deliver her back to Hoyt. She escapes the truck and finds that they’re at the house with the kidnapped child. Erin takes the child back and then, when Hoyt comes to investigate the truck, she runs him over with his own police cruiser and escapes, but not before Leatherface shows up for one last swipe at the fleeing vehicle. In the epilogue, it is revealed that the police seen in the opening footage were killed by Leatherface and that he is still out there somewhere.

REVIEW
I don’t want to spend the bulk of this review comparing the remake with the original film, but suffice to say that The Texas Chainsaw Massacre strikes a good balance between original ideas and reverence to the original. One aspect of the remake which stands out is that it’s far more glitzy than any of the other Chainsaw films. This is likely due to the influence of Platinum Dunes, as Michael Bay is known for his flashy, flawless, Hollywood film-making aesthetic. Daniel Pearl was quite up-front about not wanting to recreate the grainy, documentary-style aesthetic of the original Chainsaw, but the differences go further than that. Whereas the original film and (to a lesser extent) its sequels had aimed for fairly normal-looking actors, the remake casts very pretty, Hollywood talent. The film also just feels different, no longer lingering on disturbing imagery and forcing the audience to piece a picture together from what they’ve seen. Instead, scares are far more conventional, edited in a disorienting fashion and set to “scary music”. Thankfully, the film doesn’t really rely on irritating jump scares, but regardless the horror is nowhere near as effective as it was in the original.

I was also surprised by how little gore there was in this film – I’ve seen this movie at least two or three times now and I remember it being far bloodier and nastier than it actually was. However, while the film is definitely far more explicit than the original film, it follows a similar philosophy of keeping the worst of the violence to your imagination. For example, Andy gets his leg chopped off very quickly and with only a little blood, Pepper gets hacked up with a chainsaw off-screen, Morgan gets cut nearly in half from the crotch upward off-screen, and Kemper’s face gets cut off and made into a mask entirely off-screen. In fact, the only truly R-rated scenes of violence are the hitchhiker shooting herself in the head (complete with a camera pan backwards through the freaking bullet hole) and Leatherface losing his arm, but the film is nowhere near as brutal as I remembered. This works in the film’s favour though, it makes you use your imagination to fill in the blanks, hence why I remembered the film being nastier than it actually was. Apparently the film was originally intended to be far more graphic though, with much more brutal on-screen kills for Morgan, Pepper and Kemper planned, and Leatherface was also supposed to murder his own nephew Jedidiah for helping Erin and Morgan escape (which presumably was cut due to it being too brutal for a kid to be killed).

As for the film’s script, it follows the outline of the original film in very broad strokes without straight-up ripping off any of the scenes (unlike all of the other sequels in this franchise, each of which have effectively remade the dinner scene). Like, instead of travelling to Texas to check in on their family’s grave, the group is heading to a concert. Instead of picking up a hitchhiker who attacks the group, the hitchhiker commits suicide in their car. Instead of stumbling across the Sawyer house while looking for gas, they find the Hewitt residence while searching for the sheriff. As you can see, the remake follows the same outline as the original, while also providing its own twists on the formula, which is a good direction to take a remake in my opinion. In fact, I’d argue that some of the additions are actually improvements (blasphemy, I know). In particular, the characters’ deaths feel like there is much more purpose to them in this film. In the original, the characters just kept wandering onto the Sawyers’ property and getting murdered because of that. In the remake, characters usually die for more interesting reasons. The characters come across the Hewitt house because they were told that that was where they could find the sheriff, which leads to Kemper getting ambushed by Leatherface. Andy gets his leg cut off because he broke into the Hewitt house trying to find Kemper and then gets mercy-killed by Erin. Pepper dies trying to escape Leatherface. Morgan dies saving Erin. I get that the purposelessness of the original film’s deaths is part of the point of that film, but I have to say that the remake’s deaths feel more satisfying from a narrative standpoint. There are also some interesting little additions to the film which I enjoyed, such as the peepholes that the Hewitts have installed around their house which allow them to spy on uninvited guests, having Erin’s rescue mirror the hitchhiker’s suicide from the start of the film and that the whole community seems to be complicit with the Hewitts’ crimes now.

However, the script has some definite issues and is also noticeably messy and disappointing in its third act. The film is really solid up until Erin is kidnapped and brought to the Hewitt house, at which point it starts to nosedive. For one thing, there are just too many dumb conveniences here. Like, when Leatherface tossed Erin into the basement unrestrained, what was he expecting to happen? Of course she was going to free Morgan and try to escape. In addition, Jedidiah’s character is just super convenient. For no explicable reason he suddenly decides to grow a conscience and help Erin and Morgan escape. It also doesn’t help that the third act doesn’t bother to give us any motivation for the villains. There’s nothing to suggest that the Hewitts are cannibals, they just kill people… because, I guess? Funnily enough, as much as I rag on Chainsaw films ripping off the dinner scene every time, this film actually needed a dinner scene, or an emotional equivalent, in its third act. Instead, we just get an extended chase sequence for the entire last half hour of the film. Imagine if the original Chainsaw had ended with Sally running away from the gas station for another 10 minutes after finding out Drayton is a villain and then the film just ends – obviously it wouldn’t have anywhere near the same impact, but that’s basically what this film does. While I’m glad that they didn’t just rip off the dinner scene again, this film definitely needed some sort of scene with Hoyt taunting Erin and a giving us better understanding of what the Hewitts are up to. I’m also not a huge fan of the ending – between Erin rescuing the kidnapped kid that no one really cared about in the first place and her confrontation with Hoyt, it isn’t that great. Her reaction to killing Hoyt felt weird to me because the two characters barely interacted throughout the film – all of his emotional abuses were directed towards the other characters, whereas Erin was usually absent, so it doesn’t really resonate as well as it should. Also, the rescued kid felt totally tacked on, possibly all the way back to the draft where Erin was nine-months pregnant. Having her somehow sneak in and rescue this kid was just pointless, like the producers wanted to force some sort of ray of sunshine into the ending.

Something else odd that I noticed about the remake is that it follows traditional slasher morality codes more than any other entry in the franchise up to this point. For example, Erin is our final girl because she’s the only member of the group who follows traditional morality – she objects to the group’s post smoking and excessive drinking and she always insists on doing the “moral” action (rescuing the hitchhiker, waiting for the sheriff to arrive to take the body, etc). During the opening scene, she is contrasted against the pot-smoking Morgan, the furiously horny Andy and Pepper and the moral conflict of Kemper. However, this is also a cruel irony because she is also the reason why everyone else dies – as Hoyt himself says, if she hadn’t picked up the hitchhiker, then they wouldn’t have gotten into this mess in the first place. It’s kind of interesting to consider that in the remake compassion is what gets everyone killed, not simply that the villains are evil.

The film has far less going on in it than the original, but it does notably carry on the theme of society vs barbarism from the first film. Notably, the Texas locals in this film all have some sort of deformity to them, from missing limbs, to gout, to just being sheer lunatics. These deformities are contrasted even more obviously than in the original due to the remake’s much more glamorous and pretty cast. Funnily enough, when I saw the kidnapped kid I was actually going to make a note that this was the first local we had seen which was actually “normal” looking, until it was revealed that this child was actually kidnapped from “civilized” society, a fact which pretty much signifies that this distinction was totally intentional. With this in mind, rescuing the kid at the end is thematically significant to the message of the film, as tacked-on as that part of the ending may seem. I wonder whether the post-9/11 climate helped to inform the tone of the film, where not only is compassion being taken advantage of by evil people, but society and its deviant fringes are colliding violently.

As for the characters, it seems to me that they are all quite flat in the script and only really gain any weight from the people playing them. Luckily for the film, I actually quite liked most of the performances, but when I think back on the characters themselves I realize that there isn’t really much to any of them. Jessica Biel’s Erin makes for a pretty great and capable final girl, probably the second best in the franchise after Stretch. However, she isn’t exactly a compelling character and the revelation that this very moral character spent time in juvie for hot-wiring vehicles comes across as pretty convenient. After her, Kemper is probably the next most compelling, in part due to Eric Balfour’s performance. He really sells the character’s conflict without having to rely on the material to get that across – he’s trying to get money to pay for a wedding ring he purchased for Erin, but in order to do so he is planning on selling pot at the Lynyrd Skynyrd concert they’re attending, a fact which Erin does not approve of. After the hitchhiker kills herself in their vehicle, his plans start to come apart at the seams and it’s interesting seeing him have to make his decisions and juggle the various factors weighing on him. It’s just really sad to see him die, and then later for Erin to see Leatherface wearing her boyfriend’s face is just traumatic. Andy also gets enjoyable in the second half of the film. The first half wastes him as a generic pretty boy, but by the time he joins Erin to try to rescue Kemper, he gets much more interesting. He even gets a short fight with Leatherface before getting his leg chopped off, at which point I just feel really sorry for him. I really like Mike Vogel and I think that his performance is what makes me like Andy so much, it’s just too bad he doesn’t get much to work with. As for Pepper and Morgan? Meh. Morgan is just a total douche, whereas Pepper really doesn’t get much of a character at all.

The villains are where things really shine though. While Sheriff Hoyt is also a rather flat character, R. Lee Ermey turns him into an absolute joy to watch, nearly on par with Chop Top. He isn’t just a rip-off of Full Metal Jacket’s Sargeant Hartman either. Instead of being just abrasive, Hoyt gets a hoot out of being sadistic dick. He loves to taunt his victims and lord himself over them, such as when he makes inappropriately sexual jokes about the hitchhiker’s corpse just to make Andy uncomfortable. He’s also a total bastard when taunting people, most notably when Hoyt tricks Morgan into trying to shoot him, only to reveal that he had unloaded the gun first. He can also be darkly hilarious – during one scene he’s chatting up Morgan and when Morgan tells him that they were heading to a Skynyrd concert, Hoyt tells him that they have something in common. Then he bashes Morgan with a bottle, knocking out a tooth, which causes him to show that he’s missing his front teeth and say that now they have something else in common. It’s nasty, but the way that Ermey sells it is fantastic. Unsurprisingly, he straight-up steals every scene he’s in and the fact that he died in the last year leaves us all poorer as a result.

As for Leatherface, Andrew Bryniarski’s performance is the best since Gunnar Hansen and his mask is also by far the best-looking since the original film, in my opinion . He has a great physical presence and is genuinely frightening to see pursuing the heroes. The character has also been changed a fair bit in this incarnation. He does seem to be mute, but he does not seem to be mentally handicapped anymore; he’s far more cunning and purposeful in his actions than he ever has been. Leatherface also has some sort of skin disease which has eaten away his nose. It actually looks quite nasty and marks the first time we see the character’s face in this series. Also, instead of killing to eat or to defend his home, Leatherface just seems to be evil and going on a rampage in this film. According to director Marcus Nispel, Leatherface is so sadistic and evil because… he was bullied? No seriously, here’s the quote:

“If my son would go mad and wear other people’s faces, I wouldn’t be supportive of him *unless* something happened to him – a deformity or whatever – that is being ridiculed. I think about that a great deal when I think about Columbine. I wonder, ‘Where are the real monsters?’ Who made these kids be that way? […] Now, here’s someone who has no identity, so he has to wear other people’s faces for a mask. People that heckled him. People that are much more beautiful than he is, and a family that knows what drove him to this; namely, that heckling. And that’s why they support him. […] But what really makes it scary is that he’s a real guy – the neighbor’s son on a wild rampage.”

Umm, okay… I get that this was very much inspired by all of the conversations in the aftermath of Columbine, but I really don’t see this as a reasonable motivation for the character to be killing people, let alone why Hoyt would be joining in on it or why the locals would be complicit in his actions. Seriously, this film needed some sort of actual justification for the Hewitt family’s crimes, it just feels like they’re only killing people because they’re evil now. Cannibalism was a commentary on the climate of its time, so perhaps the lack of motivation reflects on the post-9/11 confusion about the causes of evil in the world?

All-in-all, The Texas Chainsaw Massacre is a decent horror remake. It definitely has its issues and the material could have been much stronger, but it’s a pretty enjoyable watch and is quite well-made, especially compared to the horror remakes which tried to ape its success. If more remakes that followed in its wake had actually followed its strengths, then perhaps the trend would not have been as reviled as it came to be.

5.5/10

Be sure to tune in again soon as we take a look at the sixth entry in the franchise, the prequel to the remake, The Texas Chainsaw Massacre: The Beginning!

Welcome back to The Texas Chainsaw Massacre retrospective! In today’s entry we’re going to be looking at the fourth film in the franchise, Texas Chainsaw Massacre: The Next Generation! Normally I would try to avoid talking about the quality of a film too much until I get to the actual analysis, but I feel like I need to be a little more upfront with The Next Generation than usual. As of the time of writing, this film is ranked #41 on the IMDb Bottom 100 alongside such prestigious contemporaries as Birdemic, Troll 2 and half of Uwe Boll’s early catalogue. Yikes. However, the film has received some reappraisal since its release and has its defenders, some even saying it’s one of the best Chainsaw sequels. Which side did I fall on? Well, you’ll have to read on to find out…

PRODUCTION
When Leatherface: The Texas Chainsaw Massacre III failed to scare up big business, New Line Cinema shelved any further sequels that they had planned. As a result, the rights for the film reverted back to Kim Henkel, the writer and co-creator of the original 1974 film. That said, in part due to the shady financing of the original film, the rights for this franchise are quite complicated and required years of litigation to sort out properly. At the time of The Next Generation, a trustee for the owners of the original film, Chuck Grigson, had a slice of the rights and had to be paid and promised a cut of the profits before Henkel could have a stab at the franchise.

For the production portion of this retrospective, I was able to find cast interviews and a documentary of the making of the film with first-hand footage which will inform most of my information and assumptions about the production, unless otherwise specified. Perhaps disappointed with the direction the sequels had gone, Henkel decided to go about making his own entry in the franchise, titling it The Return of the Texas Chainsaw Massacre. In the documentary, Kim Henkel implies that he never really understood why the original Chainsaw Massacre resonated with people so much; he says that it looks to him like a backyard film made by kids and that its appeal is that people like watching other people get brutalized. Special effects and stunts crew member J. M. Logan states that Kim Henkel said that The Return of the Texas Chainsaw Massacre “was what he wanted the original Chainsaw to be. He’d been working on it ever since. This is the movie he wanted to make without Tobe’s influence. This was his pure vision.” The film was made on a low budget, on location in Texas with local cast and crew. It was produced by a wealthy lawyer friend of Henkel’s named Robert Kuhn, one of the investors for the original Chainsaw and one of the fellow rightsholders for the franchise. J. M. Logan estimates that the budget was in the neighbourhood of a couple hundred thousand dollars and everything was done as basically and cheaply as possible. Along with that came the creative freedom that Henkel had wanted and which Chainsaw sequels had thus far been denied. In many ways, filming tended to mirror the production of the original Chainsaw: shot on a gruelling schedule to avoid extra expenses and with the safety of the people involved being a questionable concern. The film was almost entirely shot at night in hot, humid weather with little in the way of amenities for cast and crew.

In retrospect, the cast was the most notable aspect of the film and which would dominate any discussion surrounding The Next Generation. Renée Zellweger was cast in the lead heroine role as Jenny, while Matthew McConaughey was cast as the main villain, Vilmer. Both were on the cusp of super-stardom and this was their first major leading role in a film. They, along with most of the other cast, were local Texan actors and for many of them, Chainsaw was one of their first films. Among the film’s heroes, Lisa Marie Newmayer was cast as Heather, Tyler Cone as Barry and John Harrison as Sean. Among the villains, Tonie Perenskie was cast as Darla, Joe Stevens as W.E. Slaughter and James Gale as Rothman. This film’s Leatherface (referred to only as “Leather” by the characters) was played by Robert Jacks.

After receiving positive reviews at a premiere screening at South By Southwest (which Matthew McConaughey reportedly attended), Columbia Pictures signed a distribution deal for the film. However, as Zellweger and McConaughey’s careers started to take off, Columbia pushed the film’s release back to try to take advantage of their newfound stardom (which is pretty common with small budget films like this, such as what House at the End of the Street did when Jennifer Lawrence‘s career began to take off). However, as they did so, an agent for Zellweger or McConaughey put pressure on Columbia Pictures to not release the film in order to prevent it from damaging their client’s career. Apparently this worked, because the film’s release was delayed further, which caused Henkel and Kuhn to sue Columbia for failing to follow through on their distribution deal. Then, to make matters worse, Chuck Grigson went and sued both sides for not delivering on the terms set in the deal he had signed with Henkel in order to get the rights. Tyler Cone and Robert Jacks have gone on record stating that they believed that Zellweger’s agent was behind this further delay, but considering that McConaughey is the only one named in the legal case Grigson made regarding the estoppel, it would seem to me that it was his agent who was responsible. In either case, neither Zellweger or McConaughey have disassociated themselves from the film or even really had bad words to say about it. After being reedited by the studio and being renamed Texas Chainsaw Massacre: The Next Generation, the film was finally released on August 29, 1997 in only 23 theatres in the US, grossing $185,989 and being critically panned.

PLOT SYNOPSIS
The film opens at a Texan prom. Heather finds her boyfriend, Barry, kissing another girl. She leaves in a huff and gets into Barry’s father’s car and speeds away as Barry get in with her and tries to console her. His efforts are thwarted by their friends, Jenny and Sean, who were apparently hiding in the back seats doing drugs this whole time. Heather’s manic driving gets the group into two accidents, the second of which wrecks the vehicle and leaves another motorist badly injured. Heather, Barry and Jenny go to find a service station while Sean stays with the injured motorist. The group finds a woman named Darla at a real estate office who calls for a man named Vilmer who has a tow truck. However, when Vilmer arrives, he breaks the injured motorist’s neck and then repeatedly runs over Sean with his truck.

Barry, Heather and Jenny try to get back to Sean, but somehow manage to get separated. Barry and Heather come across a house and try to find someone who can drive them out, but Barry gets held at gunpoint by W.E. Slaughter and Heather gets captured by Leather and stuffed in a meat freezer. When Barry goes inside the house to try to find Heather, Leather bludgeons him to death and then hangs Heather on a meat hook.

Meanwhile, the now-lost Jenny is picked up by Vilmer, but she quickly realizes that he’s insane, a fact which is confirmed when she sees Sean’s body in the back of the truck. She jumps from the truck and flees into the woods, but is pursued by Leather with a chainsaw. He chases her through the woods, to the house where Barry was killed and then back to the real estate office where Darla comforts her. This is short-lived though, because soon W.E. arrives and stuffs her in the trunk of Darla’s car. Darla goes to pick up some pizza for the family and then comes across a badly-injured Heather in the middle of the road, having somehow escaped the meat hook.

Vilmer begins taunting Jenny, but Jenny steals a shotgun and nearly escapes. Darla tells Jenny that Vilmer works for the Illuminati, but Jenny doesn’t believe her. Darla then takes Jenny to yet another dinner scene, where Vilmer continues to manically taunt Jenny and Heather. However, when he tells Jenny that Leather wants to wear her face for his new mask, a dark-suited man named Rothman shows up and intimidates Vilmer, telling him that he’s supposed to be showing Jenny the meaning of true horror. When Rothman leaves, a visibly-shaken Vilmer takes Heather and then crushes her head before telling Leather to kill Jenny with a chainsaw. Jenny manages to break free though and flees into the woods with Leather and Vilmer in pursuit.

Jenny manages to come across an RV being driven by an elderly couple and escape with them, but then Vilmer and Leather drive alongside them and the RV crashes. When Vilmer and Leather pursue Jenny on foot, a crop duster swoops down and strikes Vilmer in the back of the head, killing him. Leather is distraught by this and stops as a black car pulls up and rescues Jenny. Rothman is there and apologizes to Jenny for everything that happened, saying that it was supposed to be a spiritual experience before dropping Jenny off at the hospital.

REVIEW
You might be able to tell from that plot description, but Texas Chainsaw Massacre: The Next Generation is… hoo boy, it’s an experience to say the least. Let’s start with the things that I liked first though. First of all, the references to the original tend to be much more sly than the in-your-face references in Leatherface. By far the best reference was that the camera flashes in the opening scene mirror the flashes illuminating the corpses in the original film, even playing the same sound effect. It was very clever and actually has some purpose for the film as well as it signifies that these kids are going to be corpses before this is all over. Also, the film looks fairly professional, especially considering the low budget. It certainly doesn’t have interesting cinematography or atmospheric lighting (unlike Leatherface), but the film at least looks like it wasn’t shot by Tommy Wiseau (although there’s at least one shot I noticed where the camera is focused on wrong person, leaving the person the shot’s supposed to be focused on somewhat blurry). Oh, and I’ll admit that I grinned like a school kid when Matthew McConaughey walked out and went “ALRIGHT, ALRIGHT, ALRIGHT!” And… uhh… yeah, that’s seriously everything I liked. This movie was so bad that those are the best things that I can come up with to praise it for without reservation.

First of all, let’s talk about that script, because that’s where most of this film’s issues stem from. Seriously, at at least half of the notes that I took when watching this film were some variation of “WTF!?”, because there’s just so much baffling shit in this film. I mean, look no further than the introduction of our heroine, Jenny. She just shows up in the back of the car with Sean, having apparently been lying on the floor for the past several minutes silently as Barry and Heather argued and sped through the roads of Texas. I get that it’s supposed to be a funny moment, but there isn’t really any set-up so you can’t call it a joke, it just makes you go “wait, WTF just happened?” The Next Generation goes in a dark comedy direction like Chainsaw 2 did, but that doesn’t really explain all the insane stuff that happens, or make the comedy particularly good. For example, Darla is portrayed in her introduction as a cartoonish sexual deviant. When a group of kids break the window of her office, her response is to… flash them? Umm, it’s one thing to be an exhibitionist, but is she trying to encourage vandalism against her property as well? Then there’s the most obvious comedic scene in the film, where Darla goes to pick up pizza with Jenny tied up in her trunk. The scene just keeps going on and doesn’t really add anything to the plot, but tries so hard to be funny. The main issue is that this farcial scene just comes out of nowhere, suddenly making Jenny and Darla out to be a couple of oblivious idiots, as if this is a completely different movie. I mean, it’s kind of funny that Jenny just goes with Darla’s threats as long as she pokes some air holes in her bag, and it’s kind of funny that they’re surrounded by tons of people (including clueless cops) at the time. I get that this is probably meant to be a send-up of slasher films, where no one notices these crimes happening around them. However, the scene is so at odds with the tone of the rest of the movie that is just confusing and frustrating to watch. Plus, as I already said, the scene makes our heroine look like a complete idiot, which goes against the actual intent of the film in literally every other scene in the movie.

Then, when the film’s not trying to be funny, it screws up with writing so sloppy that you can scarcely believe that this film was written and directed by a professional screenwriter, let alone one who had considered this a passion project twenty years in the making. First of all there are all of the pointless characters, of which Sean is the most egregious. He’s is implied to be Jenny’s boyfriend and is introduced in a manner that makes you think he’s one of the main characters. Nope, he gets maybe three lines and then gets killed without us knowing a thing about him. How about the motorist who crashes into the group’s car? Nope, he gets left behind and then has his neck snapped the moment we see him again without having learned a thing about him (he’s literally credited as “I’m Not Hurt” after his one line in the film). I could just keep going on and on: there are the cops in the pizza scene, a friend of Heather’s who we meet at the prom, the old couple who pick up Jenny, crash and then are immediately forgotten, etc.

Then there are all the moments in the script that just don’t make any sense and which are just done for convenience’s sake usually. Like, how did Jenny manage to lose Heather and Barry? I get that a truck passed by and Barry and Heather chased it, but they’re on a road and Jenny has the flashlight, I sincerely doubt they could manage to lose each other. Or how about Heather inexplicably conjuring the upper body strength to pull herself off the meathook and then crawl out into the woods without anyone noticing? Or the scene where the film accidentally makes Jenny look like an idiot, because she doesn’t freak out when Darla calls Vilmer again. This comes after having already revealed that Vilmer is the guy who killed Sean, so shouldn’t she have realized that the tow truck driver is the guy who killed him?

Even beyond the script, there’s just so much wrong with this movie. We’ve got a car crash where you can clearly see the stunt driver in one shot and then in the next shot you see I’m Not Hurt with his head smashed against the windshield. You’ve got bad editing which makes it look like Barry, who’s within earshot of Heather, doesn’t even notice her screaming for minutes on end when Leather attacks her. You’ve got Rothman, who just finishes chewing out Vilmer for being a crazy, unhinged dickhead, turn around and then repeatedly lick Jenny’s face (WTF)!?! You’ve got “scares” which consist of people coming across something that isn’t actually scary and then playing loud, jump scare music. These aren’t even used as fake-outs for a real scare – they are the scares. Even when you have moments that are potentially thrilling, such as Leather chasing Jenny through the woods or Vilmer freaking out at the dinner table, these are just weak rip-offs of scenes which were effective in the original Chainsaw.

As for the characters, they are not great. Jenny’s a decent final girl and actually gets some chances to fight back and turn the tables on her tormentors, but Renée Zellweger’s performance is fairly flat and, as I’ve mentioned, sometimes the script just makes her into an idiot for no discernible reason. Then there’s Heather, but I really can’t tell you all that much about her. She seems like a fairly normal, stereotypical teenage girl, but Lisa Marie Newmyer’s performance is not great. Plus, as soon as she gets put onto the meathook her character doesn’t really have any more presence in the film… even though she somehow gets off the meathook, is present for the whole dinner scene, gets set on fire and gets her freaking head crushed. Seriously, she gets put through the wringer in the second half of the film, but she doesn’t really get to react to any of it. Then there’s Barry, who is both a total asshole and an idiot to boot. He’s the kind of character who cheats, lies and insults everyone to get his way, who is always talking up how great he is, and who just constantly does stupid shit (such as calling the guy with a gun on the other side of a flimsy door a “dumbass” after he locks them out of their own home).

As for the minor villains, we have W.E. Slaughter and Darla. W.E.’s played well enough by Joe Stevens, but the character isn’t particularly compelling – he likes to quote literary figures, but that’s about his only quirk of note. Darla, played charmingly by Tonie Perensky, is better and is probably the least-insane of the villains. However, she’s very cartoonishly sexualized and the fact that she spends half of her scenes with Vilmer getting violently abused by him is uncomfortable to say the least.

Moving onto the main villains, we’ve got “Leather” – that’s what this film calls him anyway and I refuse to consider this character the Leatherface we’re familiar with, because holy shit he’s an abomination. Gone is the Leatherface whose twisted motivations you could understand, now he’s just a cartoon who spends every moment of every scene he’s in wailing and screaming like an idiot. I’m not kidding – he screams the entire time he chases Heather, he screams when he bashes Barry, he screams during the entire 5-10 minute sequence where he chases Jenny through the woods… the only time he shuts up is during the dinner scene, but even then he does almost nothing during that entire sequence. It’s incredibly grating to listen to his ceaseless wailing. On a possibly-related note, Kim Henkel plays up Leatherface’s gender ambiguity much more than any other Chainsaw film does. Some people take issue with the idea of Leatherface in drag, but I’m okay with this, personally. Gender ambiguity and cross-dressing has always been a defining aspect of the character, a fact which is often forgotten (or straight-up ignored in the more commercial Chainsaw sequels). I’m not sure if I like the way that Henkel went about playing up this aspect of the character though. According to Henkel, Leather’s “confused sexuality” is “complex and horrifying at the same time”. He also claims that he made the gender ambiguity of the character more upfront compared to the original Chainsaw because “you can’t be comfortable because this is a minor and incidental perversion”… and when you add those two elements together, that sounds a lot like homophobia to me, or at the very least leveraging the homophobia of the audience against itself. That’s why I mention that Leather’s constant wailing might be intended to be playing into flamboyant gay stereotypes, not to mention the fact that the character’s name has been changed to “Leather”. Honestly, I’m not entirely sure how to interpret this. It wouldn’t surprise me if Henkel is intending to parody gay stereotypes by making the biggest gay stereotype he possibly could (complete with a giant, roaring, penetrating phallus-shaped weapon), but I don’t feel like that was the intent, especially considering how the character has absolutely no agency of his own in this film. Making things even more complicated is the fact that actor Robert Jacks was, himself, a homosexual, but I don’t know how much influence he had on Henkel’s decisions about the character.

Even if the portrayal of Leather wasn’t questionable, the mask alone would make this the absolute worst incarnation of the character out there. Good God, there is nothing else in this film which shows how shoestring this film’s budget was than the awful Leatherface masks. They are so rubbery, like a Chinese knock-off of a Michael Myers mask. It looks even worse when Leather dresses up like a woman and actually wears a woman’s skin to achieve the effect – this could have been incredibly horrifying imagery, but it just looks like a bad, rubber Halloween costume. This is all so unfortunate because near the end of this film’s dinner scene, Vilmer claims that Leather wants Jenny because her face will make a great new mask for him. I don’t think Henkel realized it, but that alone is an amazing idea for a whole Chainsaw film. Just imagine that villainous motivation – Leatherface sees someone he thinks is beautiful and he’s chasing them around just to get ahold of their face so he can wear it and be beautiful too. Holy shit that’s a disturbing idea, one which is just a passing reference in this film and which never gets capitalized on. Fuck this movie.

As for Vilmer, he’s a strange case. I think that Matthew McConaughey puts in a legitimately good performance, totally losing himself in the role. However, he actually goes so far with it that it makes the performance distracting in its insanity. I mean, he’s always watchable, but the character is so insane and random that you can’t even begin to fathom what his motivations might be or take him in any way seriously – this is the sort of character who will deepthroat a shotgun one second and then hold it over his head howling like a Tusken Raider the next. The film doesn’t even bother with any mystery or suspense with the character, despite him appearing fairly normal – he shows up, immediately kills I’m Not Hurt and then kills Sean. I question why anyone even follows him because he seems to have no direction. Vilmer abuses Darla to the point of almost killing her on multiple occasions and he bashes W.E. in the head with a hammer when he gets angry, which actually kills his brother as far as we are shown. Of course, then we find out that he works for the Illuminati, the “people who killed JFK”. I went into this film knowing that about the Illuminati twist, but holy shit it made no sense. The film explains that the Illuminati want to give people a transcendent experience via “true horror” and aren’t really happy with how Vilmer is going about it, but… well, at what point did they become so disappointed? Are they okay with Vilmer murdering at least three other people just so Jenny can have this experience? Why would the people who killed JFK have any sort of interest in transcendent experiences for random people? Why would this secret society care so much about the integrity of this experience that they would elaborately murder Vilmer by crop duster and then appear to personally apologize to Jenny for it, thereby blowing their cover!? Maybe, again, if the film had set anything up then this might have come across as something other than baffling, but as it is it just comes out of nowhere. Oh and just to make things even more confusing, Kim Henkel has hinted that maybe Rothman isn’t really part of the Illuminati, maybe he’s just a cult leader… because that just helps make this movie better I suppose? I’m pretty sure that this whole Illuminati subplot is intended to be a Cabin in the Woods-style commentary on the relationship between horror sequels and the audience, saying that horror sequels have failed to provide audiences with a true, transcendent experience of horror. Rothman even comes out and straight-up apologizes to the audience, saying: “It’s been an abomination. You really must accept my sincerest apologies. It was supposed to be a spiritual experience. I can’t tell you how disappointed I am”. This might have been an interesting commentary if The Next Generation wasn’t a bad horror sequel in itself – being self-aware about being bad doesn’t excuse the fact that your film is still bad… if anything, it makes it more insulting that you didn’t just go and make a movie that wasn’t shit.

Hell, Texas Chainsaw Massacre: The Next Generation is not just a bad horror sequel, it’s a truly abysmal one. To put it in The Howling terms, it’s no New Moon Rising (where it literally could not possibly be worse), but it’s in the ballpark of Your Sister is a Werewolf and The Marsupials, where the decisions about the making of the film were all wrong and you end up with something bafflingly bad. Or, to compare it to other slasher films, this movie is worse than Jason Goes to Hell (the Friday the 13th where Jason turns into a body snatcher and, among other things, crawls up a dead woman’s vagina in order to be reborn from her). This movie is just so dumb, senseless and dull, and has the audacity to think that it’s making some sort of grand statement in the process. Just thinking back on this movie makes me more annoyed with its existence. This is the sort of film which reminds you that creative freedom isn’t always a good thing and, while I appreciate that Henkel had his own vision for the franchise, the end result was not worth the effort at all.

2/10

Be sure to tune in again soon as we look at the fifth entry in the franchise, The Texas Chainsaw Massacre remake!

Welcome back to The Texas Chainsaw Massacre retrospective! In today’s entry we’re going to be covering the third film in the franchise, 1990’s Leatherface: The Texas Chainsaw Massacre III! This is one of those rare movies where the trailer is more famous than the film itself, featuring an insane, Arthurian bestowing of the chainsaw to its titular villain. Any movie would have a hard time living up to a teaser that ridiculous, but could Leatherface beat sequel fatigue and the departure of Tobe Hooper? Read on to find out…

PRODUCTION

After The Texas Chainsaw Massacre 2, The Cannon Group had the rights to the franchise. However, by 1989 the company was on the verge of bankruptcy and in desperate need of cash. New Line Cinema bought the rights to The Texas Chainsaw Massacre from The Cannon Group and hoped to bring another major icon into their stable on par with Freddy Krueger. The film was written by David J. Schow, who had done uncredited writing for New Line on A Nightmare on Elm Street 5: The Dream Child. Schow decided to bring the franchise back in line with the original film, ditching the campy and comic elements that Hooper had brought to the fore in Chainsaw 2. The studio also sought to turn Leatherface into an icon in his own right, rather than focus too much on the Sawyer family, hence why the film puts the name “Leatherface” in the forefront for the first time.

After being turned down by Tom Savini and a young Peter Jackson, New Line approached Jeff Burr (who would later go on to direct several Puppetmaster sequels) to direct the film, as he had just come off of the relatively successful Stepfather II. Burr was very reverential of the original Chainsaw and as a result had some specific demands for the film if he was going to direct – he wanted to shoot in Texas on 16mm film like Tobe Hooper had and Gunnar Hansen had to come back as Leatherface. New Line Cinema thought that this was hilarious and immediately dropped Burr from the production, wanting someone who would kowtow to their own demands and hoped to secure a major actor to play Leatherface. Unfortunately for them, neither of these dreams came to pass and after their replacement director Jonathan Betuel dropped out, New Line convinced Burr to take over production again. However, by this time it would have been May or June of 1989 and New Line had set a firm release date of November 3, 1989, meaning that Burr was under an intensely fast five month deadline to complete the film. He also had to relinquish some of his demands, as sets had already been constructed in Southern California.

New Line didn’t get the big name actor they wanted for Leatherface and a deal could not be reached to get Gunnar Hansen to return. Instead, the role went to former wrestler R. A. Mihaloff. The film’s leading roles went to Kate Hodge (in her first film role) and William Butler (an actor now famous for getting killed in horror movies) as the hapless couple Michelle and Ryan. Horror legend Ken Foree, most famous for being the hero of George A. Romero’s Dawn of the Dead, was brought in to play the survivalist hero Benny. A young and virtually-unknown Viggo Mortensen was cast as the villainous Eddie “Tex” Sawyer, a casting decision which single-handedly made me interested in this film. Of the other villainous cast, Joe Unger was cast as Tink Sawyer and Tom Everett (in one of his first roles) as Alfredo Sawyer. Caroline Williams also appears very briefly in a cameo sequence, reprising her role as Stretch from the previous film.

Setbacks and creative clashes between Burr and New Line basically defined the production of Leatherface. Filming locations were destroyed by wildfires, crew members dropped out and sequences Burr had wanted to film, such as a scene where Leatherface would wield a chainsaw on horseback to play off of the Arthurian teaser trailer, were too expensive for the film’s minuscule budget. Test audiences also were not enthused about the film’s ending so New Line did reshoots and changed the ending without Jeff Burr’s knowledge, leading to a more definitively happier ending which doesn’t make a lot of sense. Then, when the film was submitted to the MPAA, the film was slapped with an X-rating (the last film which would receive this rating before the NC-17 rating was created), necessitating over five minutes of the film to be cut. All of these delays meant that the film was pushed out of its November 3rd released date and shunted to January of 1990, at the time considered the release window where movies went to die. All-told, the film ended up grossing less than $6 million and cooled any interest New Line had on turning Leatherface into a new icon for the company.

PLOT SYNOPSIS
The film’s opening crawl positions Leatherface as an alternate continuity to Chainsaw 2, where law enforcement raided the Sawyer house and apprehended Drayton, believing him to be the “Leatherface” Sally had referenced before she went crazy and died in a private health care facility in 1977. Drayton was executed for the family’s crimes, but Leatherface escaped. After an opening scene that features Leatherface killing a woman, the film follows a couple, Michelle and Ryan, driving through Texas. They pass a police checkpoint where investigators have discovered a mass grave of over forty murder victims before stopping at a gas station. Here they meet a hitchhiking cowboy named Tex and the station’s perverted proprietor, Alfredo. Tex gives Ryan directions to a nearby town that doesn’t appear on their map and then discovers that Alfredo has been spying on Michelle through a peephole in the women’s washroom. Alfredo and Tex get into an altercation which leads to Alfredo shooting him, while Michelle and Ryan flee towards the town Tex mentioned. However, night falls and the town is still nowhere in sight when the pair are pursued by a truck and attacked. Their car is damaged and they have to change the tire, which is just barely completed before they are attacked by Leatherface and flee. However, while fleeing they collide with another driver named Benny who is passing through the area. Benny tends to the couple and is initially skeptical of their claims about being hunted by crazy people, until he comes across a man named Tink who has found the scene of the accident. Benny grabs a rifle from his truck before Tink rams it and then Leatherface attacks. Leatherface nearly kills Benny before the sister of the woman he killed in the opening scene arrives to distract him before doubling back to help Benny. This woman, Sara, tells Benny that Leatherface and his family have been setting traps and luring passersby into the area to be killed, including Sara’s family. Benny then goes to try to help Ryan and Michelle, and Leatherface finds and kills Sara shortly thereafter.

With Sara dead, Leatherface then begins hunting Michelle and Ryan. While fleeing him, Ryan steps in a bear trap and Michelle is forced to escape without him. She comes across a house where she finds a little girl, who then stabs Michelle with a knife before Tex arrives and reveals that Michelle has escaped into the Sawyers’ lair. Tex ties up Michelle and then freaking nails her hands to a chair to make sure she doesn’t try to escape. The rest of the family begin to gather for dinner, including Tink, Leatherface, the elderly Mama Sawyer and Grandpa’s withered corpse. Ryan’s body is brought in and suspended with meat hooks before revealing that he’s still barely alive. Tink presents Leatherface with a golden chainsaw as a gift and then tells him that he still needs to finish the job and kill Benny to prevent any loose ends.

Meanwhile Alfredo, the family butt-monkey, is headed to a bog to dump the family’s latest victims’ remains. Benny sneaks up on him and knocks him out after unsuccessfully trying to get information. The little girl, revealed to be Leatherface’s daughter, kills Ryan with a hammer and then Leatherface prepares to kill Michelle as well. However, before he can, Benny finds the house and opens fire with his rifle, killing Mama, blowing Tink’s fingers and ear off and double-tapping Grandpa for good measure. In the chaos, Michelle tears her hands out of the nails and escapes. Leatherface pursues her into the woods while Benny and Tex fight. Benny kills Tex by lighting him on fire and then hurries to help Michelle. They fight Leatherface in the bog, with Benny being seriously injured before Michelle bashes Leatherface with a rock.

The next morning, Michelle manages to reach the road and is surprised when Alfredo’s truck pulls in front of her. However, Benny is driving it and offers to help her, but then Alfredo shows up and knocks him out. Michelle grabs Alfredo’s shotgun and then shoots him in the chest. Michelle and Benny then finally escape, driving away as Leatherface watches and revs his chainsaw.

REVIEW
It should perhaps be unsurprising that Leatherface ditches the comedic elements of Chainsaw 2 and brings the franchise back to its horror roots. It might have even overcompensated in some ways because this film is just grim and nasty at times. The film opens with Leatherface making a new mask from a fresh kill and we actually get to see him slicing the removed face up and stitching it together. There’s also the scene of Michelle getting her hands nailed to a chair which is just brutal to watch. The film seems like it was intended to be even gorier before the MPAA forced cuts, because there are a lot of potentially gory scenes which the film cuts away from at the last second (such as Ryan’s head getting bludgeoned). However, that doesn’t take away from the other nasty elements of the film which are less explicit. Alfredo is a disgusting pervert with juvenile, rapey vibes and I wished he would just die whenever he was on screen. Oh and then there’s the scene where Mama Sawyer tells Michelle that she cut her own genitals out years ago, that she also castrated Grandpa Sawyer and that Leatherface loves to rape and mutilate genitals as well… this just comes out of nowhere and is way beyond the sort of nastiness that we’ve already come to expect with this character. Like, wasn’t Leatherface established as a butcher who loves killing indiscriminately? Hell, the whole cannibalism aspect doesn’t even get touched upon. I wouldn’t be surprised if they’re trying to work in more elements of Ed Gein into the character, but the way that it just comes out of nowhere in the last half of the film and goes against the character as he has been established is questionable (although it gives new meaning to the idea of objectifying people as “meat” in this franchise).

Another element worth noting is that most of Leatherface‘s story just doesn’t make any sense when you apply scrutiny to it. This wasn’t really an issue with the other two films – the first was very simple and realistic, whereas the second’s comedic and campy tone paves over some of the stranger aspects one could point out. However, Leatherface is just fundamentally flawed. For example, we find out during this film that the Sawyers are luring passing motorists into ambushes, which is a pretty cool idea and makes this film feel akin to something from The Hills Have Eyes. However, rather than intimidate locals into sending people their way, they instead set up an elaborate and pointlessly convoluted scheme. Basically, Tex tries to hitchhike with people who attend the gas station and take them back to his house. If that doesn’t work, he tells them about a shortcut to town and then gets Alfredo to pretend to shoot him to cause the motorists to flee to town and run into the Sawyers’ trap. Hey… why not just shoot any motorists at the gas station? Is that not less convoluted and less likely to go wrong? Why did they even need to hunt people down? I don’t think it’s for the fun of it all either, because later they complain about how there are still loose ends out there, but they went and created those loose ends in the first place with their stupid plan. Also, what about the body dumping? I thought the Sawyers ate their victims, but we see Alfredo dumping dismembered corpses into the bog and the bodies found by the police are also intact. So… what are the Sawyers even doing in this film? Are they just draining blood to feed to Grandpa and making skin masks every once in a while now?

There are also parts of the film which straight-up needed to be cut because they don’t add anything, such as a pair of investigators we’re introduced to early in the film who are digging up bodies and then never show up again. What was the point of introducing them? Or what about the reporter in the same scene who inflates the body-count and then can’t pronounce the state of decomposition? It’s meant to be a dig at news media, but the film never bothers to do so again, so what was the purpose of this? What about the earring worn by an armadillo, a dead coyote and Tink? This doesn’t seem to have any other purpose than to reveal that they’re linked, but this link goes unexplained and makes no sense in the film. Oh and I’d be remiss if I didn’t mention Sara as well. She acts as a deus ex machina to save Benny’s ass from Leatherface, acts as an exposition dump to explain what is going on and then is immediately killed by Leatherface despite the implication that she’s a tough survivor to have lasted a whole week on the run. She’s a totally unnecessary character and if the production hadn’t been so rushed she would have been either fleshed out significantly or cut entirely. You’re telling me that she’s been lost in the woods and can’t get away for over a week now, but Michelle manages to get back to the road in a single night? Suuuuure.

As for the actual script, I’ve got to say that I really did not like Michelle and Ryan. They spend the first half of the movie bickering with each other and Ryan especially comes across as a dick. Michelle does get more enjoyable in the second half of the film when she starts fighting back against the Sawyers, but neither character is particularly fleshed out. It also doesn’t help that a lot of the dialogue in this film is really clunky, and Michelle and Ryan get saddled with a number of stinkers. For example, when Michelle is driving in the dark and they can hear a vehicle somewhere, Ryan and Michelle argue about where it’s coming from… until the truck turns its lights on behind them, Michelle comments on this and then Ryan yells “It’s coming from behind us!” The line just makes you want to go “No shit, dude!” There’s also a line where Ryan claims that there are a bunch of guys after them with guns, but only a minute later they’re saying that there are two people after them. Sara also has a pretty dumb line where she tells Benny he had the wrong idea bringing a gun to a chainsaw fight… um what? He later uses that gun to disarm Leatherface and take out half of his family in one volley, I’m pretty sure he’s fine.

Benny’s arrival helps breathe new life into the film, thanks largely to Ken Foree’s capable performance. Benny is just way more interesting to watch since, as a survivalist, he actually knows what he’s doing and is prepared for this kind of scenario. He even gets into multiple fights with the villains throughout the film and is constantly rescuing the less-capable characters selflessly. Ken Foree is great in this film, but I have to say that the best performance goes to Viggo Mortensen as Tex, hands-down. He’s no Chop Top, but Viggo works a fair bit of depth into the character. By Sawyer standards, he’s mostly sane and has a very charming veneer. However, when that veneer drops he reveals that he’s on the edge of breaking, such as when Tink calls him by his real name “Eddie” and Tex almost cuts his hand off before asking him politely to call him “Tex”. Unfortunately, the other Sawyers aren’t nearly as compelling. I’ll get to Leatherface in a moment, but while all of the Sawyers in this film have their quirks, no one really gets all that much material to work with. Tink is the tech guy for the family and seems to be fairly sane. Mama is the matriarch and has had a tracheotomy. Leatherface’s daughter is a little psycho (and the child actor playing her is not great at delivering dialogue). Oh and Alfredo is a one-dimensional piece of shit who talks to himself, threatens to rape people and is implied to have engaged in necrophilia. Lovely.

As for Leatherface, he’s once again a very different character. One rather cool addition to the character is that he wears a metal leg brace after the injury he sustained at the end of the first movie. This actually allows Michelle and Ryan to hear him approaching when he first arrives, which could have been a cool, Jaws-like way to build suspense. Unfortunately, it only really shows up in this first scene, but it was a potentially smart way to make the character even scarier. Also, Leatherface no longer seems like he’s severely mentally deficient, or at least nowhere near the same level of dangerously stupid as he was previously. For example, in this film he now knows how to drive and is teaching himself how to spell, although he seems to only be able to view humans as “food” in a humorously unsubtle scene. His biggest issue seems to be that he’s incapable of speech, but he actually fights back against his family now. In one scene, Tink throws Leatherface’s Walkman in the oven as a lesson, but Leatherface fights back and forces Tink to reach into the flames to retrieve it, which is a far cry from when Drayton Sawyer was beating him for killing people back in the first film. This ties into Leatherface being just generally far more physically imposing in this film. At one point he tears the trunk of Michelle’s car off with his bare hands and the golden chainsaw he receives near the end of the film is ridiculously massive (apparently weighing around 80lbs). Between being made less cripplingly stupid and getting ‘roided up, Leatherface feels a lot more like Jason Voorhees in this film, which I can’t help but feel was New Line Cinema’s vision for the franchise. However, it also makes the character feel more generic. Also, once again I’m not a fan of his mask. It doesn’t look rubbery like it did in Chainsaw 2, but it instead looks like it’s made of mud and is just plain ugly (in a bad way).

Another thing that really grates me about this film is that has some really heavy-handed references to the first film, especially in the first act, to the point where it almost feels like a remake at times. Off the bat, we’ve got a couple driving through Texas and listening to grisly news reports about a mass grave and then camera flashes illuminating corpses when we see this mass grave. Then when they reach the gas station, Alfredo takes Michelle’s picture and asks her to pay him for it and Tex tells us that Alfredo lost his job when the old slaughterhouse shut down. And, of course, there’s yet another dinner scene, this time complete with a body hanging from meathooks. Look, the dinner scene was truly iconic and horrifying, but do we need to rip it off in every subsequent Chainsaw film?

Man, I’ve really been ragging on Leatherface throughout this retrospective, but it really isn’t as bad as I’m making it sound. Taking cues from The Hills Have Eyes and having the villains lure victims into their territory (complete with booby-traps) is actually ingenious and, while the justification isn’t really there in the script, it helps give this film its own identity in the franchise. Having the villains actively hunting people now is actually a pretty smart way to advance the franchise formula, if only a little. Also, Jeff Burr’s direction is quite good especially considering the film’s low budget and the fact that at least half of the film is shot at night. This could make things very hard to see, but Burr lights the scenes very well without it seeming unnatural. Also, while the film is nowhere near as tense or suspenseful as the original, it does have some pretty horrifying and nasty sequences, as I have mentioned, which make for a gruelling atmosphere at times. And, as dumb as the script is sometimes, there’s also some great payoffs, such as when Benny uses Sara’s lighter that he acquired from her earlier to light Tex on fire, or when Michelle flees into a bog and the audience realizes that it’s the bog Alfredo was dumping corpses into earlier. It would be unfortunate if I did not mention some of the cool sequences as well, most notably Leatherface and Benny’s fight, where Benny disarms him and then Leatherface pulls out this mini-saw Tink made him, which he uses to cut Benny’s leg and get the upper hand!

What can I say about Leatherface: The Texas Chainsaw Massacre III? It’s a competently-made film which is just brought down by some unfortunate elements, most importantly its frustratingly annoying leads and the shaky plot. Oh, and the studio interference certainly didn’t help, because I’m certain that that led to the movie feeling like a generic slasher sequel (most notably in its rather stupid reshot ending and that there isn’t really any sort of social commentary to the film). That said, compared to its contemporaries, this film is miles ahead of such films as Jason Takes Manhattan or The Revenge of Michael Meyers, not to mention New Line running A Nightmare on Elm Street into the ground with The Dream Child and Freddy’s Dead. I have to say that it’s nowhere near as messy as Chainsaw 2, but it also less distinctive and the characters are far less interesting. All-in-all it’s a slasher sequel – a fairly decent one, but a slasher sequel none the less.

4/10

Be sure to tune in again soon as we look at the fourth film in the franchise, Texas Chainsaw Massacre: The Next Generation!

Welcome back to The Texas Chainsaw Massacre retrospective! In this entry we’re going to be looking at the first sequel in the franchise, the aptly-titled The Texas Chainsaw Massacre 2! Like I mentioned in the previous entry, the my first introduction to this franchise was in a classic movie theatre showing the original film and its first sequel back-to-back. This film has amassed a very dedicated cult following, but does it hold a candle to the original film? Read on to find out…

PRODUCTION
Due to the very shady financing of the original Chainsaw, Tobe Hooper, the cast and the crew ended up seeing very little in return despite the film’s financial success. However, it went on to inspire other films and only four years after the release of The Texas Chain Saw Massacre, John Carpenter’s Halloween was released and kicked off the slasher craze of the 1980s. At this time, horror was becoming defined by gory exploitation films with high body counts, most readily exemplified by the Friday the 13th franchise, as well as the Halloween films, A Nightmare on Elm Street, Sleepaway Camp, Silent Night, Deadly Night, sequels to Psycho and countless one-off slashers hoping to become the next big thing. Perhaps inextricably linked to this increase in the popularity of slashers was the simultaneous rise in conservatism throughout the 80s, defined by the Reagan era. This was an age of moral panics and slasher films often became targets due to this (and as a result, many slasher films actually had their violence toned down significantly due to censorship, making them appear much tamer than films even 10 years later).

In the mid-80s and fresh off of the success of Poltergeist, Tobe Hooper signed a three-picture contract with Cannon films, a production company famous for creating a number of iconic, low-budget genre films during the 80s, such as Death Wish, Delta Force, Missing in Action, Masters of the Universe and, when they were on the verge of implosion, Superman IV: The Quest for Peace. As part of the three picture deal, Hooper had agreed to make a sequel to The Texas Chain Saw Massacre in exchange for high budgets and creative freedom on his projects for Cannon. However, his first two pictures, Lifeforce and Invaders from Mars, were financially unsuccessful and so the pressure was on for Hooper to deliver with Chainsaw 2. So desperate was Cannon for a hit that before the film had even been written they went ahead and set a release date and booked screens, leaving Hooper barely eight months to complete the film. Hooper approached celebrated screenwriter L.M. Kit Carson (fresh off of such films as Breathless and Paris, Texas). Despite the time crunch and the stigma associated with writing a slasher sequel which would “[wipe] your name right off the Serious Screenwriters’ Map”, Carson agreed to write the script as he had found Hooper’s original film enthralling and felt that the director was capable of tapping into madness unlike any other filmmaker.

According to Carson, “The first thing I told Tobe was, ‘You’re going to have to find the right victims […] One of the things the first movie had going for it was that people were really sick of hippies and enjoyed seeing a Volkswagen full of ’em squashed. So, I went home to Dallas and went to the Galleria, which is a yuppie feeding ground. I saw all these yuppies buying piles of things, seven sweaters at a time. I called Tobe up and said, ‘I’ve found the victims.'” Despite various sneering references in the screenplay to yuppies, the film only ended up featuring one scene with them being killed. However, there are deleted scenes which reveal that there were supposed to be several other scenes of Leatherface and Chop Top harvesting yuppies which were ultimately cut from the film, which leaves the whole idea of poking fun at yuppies largely absent from the film after the first ten minutes are over. According to Caroline Williams, this was due to differences between Cannon and Hooper – Hooper wanted to make a satirical black comedy, but Cannon wanted a more straightforward slasher film and took Hooper’s vision away from him before release.

The only returning cast member from the original Chainsaw was Jim Siedow as Drayton Sawyer. Gunnar Hansen was apparently approached to reprise his role as Leatherface, but turned it down (likely due to pay concerns) and the role went to Bill Johnson instead in his first (and arguably only) major role. The film’s publicist didn’t think that there was any sense in securing the original actors anyway, since none of them had achieved major stardom. Of the new cast, the female lead went to Caroline Williams as radio host Vanita “Stretch” Brock in her first leading role. The film also features Dennis freaking Hopper as Lefty Enright. He was already a big star by the time Chainsaw 2 came out and would only become even more notable as Blue Velvet would be released that exact same year! Also worth noting is Bill Moseley as Chop Top in his first major film role. Moseley, who would later go on to become a horror icon, received the role for having created a parody film called The Texas Chainsaw Manicure which Tobe Hooper loved. The other notable cast member was Lou Perryman as L.G., who had been a film crew member for the original Chainsaw and who would tragically be killed by a real-life axe murderer in his home in 2009. Oh, and I would be remiss if I did not mention that the legendary Tom Savini (of Dawn and Day of the Dead and Friday the 13th fame) was brought on to do the special makeup effects in this film!

Much like the original, Chainsaw 2 released to significant controversy, earning an X rating from the MPAA for its violence and was instead released unrated. At the time of release, it was banned in Germany, Singapore, the UK and Australia and would remain so for 20-30 years in these countries! However, its controversial impact was certainly not as widespread as the original’s was.

PLOT SYNOPSIS
Like its predecessor, Chainsaw 2 starts with an opening voice-over which tells the audience that Sally escaped and told authorities about the Sawyer family, but no evidence of the crimes could be found and authorities denied that there ever was a Texas chainsaw massacre (thereby contradicting the whole conceit of the previous film being based on true crimes). The film then follows a pair of dumb teenagers who have come to town to party and cause ruckus as they drive erratically, fire a freaking magnum at street signs and phone into the local all-request station to harass the radio host, Stretch. During their joyride they run a truck off of the road. Later in the evening, the pair call Stretch to harass her again when the truck they encountered earlier pursues them and a chainsaw-wielding maniac hacks them and their car to pieces. Stretch and her co-worker L.G. hear everything on the phone and Stretch decides to keep the tape because she believes that some sort of crime had just occurred.

The next morning, the scene of the car crash is investigated by Lieutenant “Lefty” Enright before the police can arrive. Lefty is Sally and Franklin’s uncle and has been investigating chainsaw-killer deaths around the state, trying to find the perpetrators. He convinces the police to put out a bulletin in the newspaper for any evidence of what happened to cause this accident. Stretch sees this bulletin and takes her recording of the incident to Lefty, offering to play it on the radio to flush the perpetrators out. Lefty is inexplicably skeptical and sends her away, but after purchasing some chainsaws he tracks her down and agrees to help.

That night, Stretch plays the recording of the incident, which upsets several locals. At closing time, Stretch encounters an eccentric, sinister-looking man who asks for a tour of the radio station and says that he liked the tape she played that night. Leatherface suddenly bursts out and attacks, causing Stretch to run and lock herself safely away while the other man, Leatherface’s brother Chop Top, looks for the recording of the killings. L.G. returns to the radio station and is brutally bludgeoned by Chop Top as Leatherface breaks into Stretch’s hiding place. However, instead of killing her, Leatherface finds himself aroused by her and decides to spare her. He lies to Chop Top about killing Stretch and then the pair escape with L.G.’s body. Stretch pursues the pair to an abandoned amusement park until Lefty arrives on the scene. However, Stretch falls down a shaft and ends up in the Sawyers’ meat locker. Meanwhile, Lefty enters the amusement park and starts becoming extremely erratic as he chainsaws the support beams down, hoping to collapse the entire building on top of the Sawyers.

Leatherface finds Stretch while he is skinning L.G.’s body. Not wanting her to be discovered and killed by the rest of his family, he tries to hide her under a mask made from L.G.’s face and then ties her up. However, L.G. is somehow still alive and he cuts Stretch free before finally succumbing to his wounds. She sneaks out and tries to get past the Sawyer family, but is spotted and chased. When they finally catch up to her, Drayton tells Leatherface to kill her, but he refuses and Drayton tells him that he’s going to have to decide between sex and family. When Leatherface still refuses, he gets angry and Chop Top knocks her out.

Stretch awakens in another dinner scene and is brought before Grandpa, who once again tries to bash her head in. However, before he can finish her off, Lefty arrives and chainsaws Drayton in the ass and then gets into a FREAKING CHAINSAW DUEL with Leatherface! Stretch flees and is pursued by Chop Top. Meanwhile, Lefty impales Leatherface with a chainsaw, but the pair continue to fight before a dying Drayton blows everyone up with a grenade. Only Stretch and Chop Top escape, fleeing to the top of the amusement part where Stretch finds grandma’s body with a chainsaw. She steals the chainsaw and then slashes Chop Top open with it, sending him tumbling to the ground before she screams and dances in victory.

REVIEW
If you can’t tell from that plot summary, The Texas Chainsaw Massacre 2 is a wildly different film than its predecessor. Whereas the original Chainsaw is gruelling and realistic, Chainsaw 2 is campy and over-the-top, aiming to be more of a horror comedy. You can probably imagine the whiplash I experienced going into these two films for the first time, back-to-back and completely unaware of what they were like! Perhaps Tobe Hooper was aiming for some of that true madness that L.M. Kit Carson was alluding to, but this film has some moments of utter batshit lunacy, frighteningly akin to the sort of stuff you might come across in Howling II (which was released only one year earlier… the 80s were a weird time for cinema). Some of this comes from the film striking a campy tone. This gets expressed in various ways throughout the film, but one method is through the portrayal of the amusement park setting, which makes me think of the goofiness of Mr. Freeze’s lair in Batman & Robin. The characters also feel more like “characters” than real people this time around as well. Even returning faces such as Drayton Sawyer have taken a mustache-twirling direction with his oversized van and gleeful cheering about his famous chilli recipe.

Scenery-chewing absolutely abounds in this film and while Jim Siedow tries his best, the most amazingly campy performances in this film go to Bill Moseley and Dennis Hopper without question. Bill Moseley’s Chop Top is a revelation, especially considering that this was his first major role. From his first moment on screen he is enthralling to watch, gleefully eccentric and dangerously unhinged. Even his character ticks of scratching his exposed metal plate with a hot wire and eating bits of his necrotic skin is fascinating, and he actually manages to get across the character’s Vietnam veteran background without having to hammer the audience with exposition. Chop Top is by far the best aspect of this film and effectively demonstrates that having a family of serial killers is a fantastic asset for the Chainsaw franchise to capitalize on.

Meanwhile, Dennis Hopper’s Lefty Enright is just baffling to witness. On his introduction, he comes across like the hero of the film, a Dirty Harry-style hero who’s going to come into town and stop the chainsaw killers. However, it soon becomes apparent that he’s about as deranged as the people he’s hunting and he even uses Stretch and L.G. as bait to lure the Sawyers out of hiding. We don’t really get a sense of just how much of a nut he is though until he gets to the amusement park and then starts screaming like a crazy person, quoting made-up scripture (“I am the Lord of the Harvest…”) and repeatedly yelling “BRING IT ALL DOWN!!! MAY THE LORD HAVE MERCY ON OUR SOULS!!!” like a madman. It’s hilarious and I’m sure that Dennis Hopper is the one who is making it all so gloriously over-the-top, because it makes absolutely no sense in the context of the film for this character to be so bonkers. He even gets into a dual-wielding chainsaw duel with Leatherface and wins, which might be the most badass concept ever put to film (until 10 years later when Kurt Russel would surf a tidal wave through downtown Los Angeles onto the back of Steve Buscemi’s car to punch him in the face). That’s right, this is a character who believes that the only way to beat chainsaw-wielding maniacs is by being even more of a maniac with even more chainsaws.

With all the scenery chewing going on, it’s easy to lose Caroline Williams’ lead performance was Stretch in the shuffle, but I have to give her credit for being a great in this film. She gets put through the freaking wringer throughout Chainsaw 2, getting harassed by the yuppies, getting used as bait by Lefty, getting chased around by murderous maniacs and having to deal with deeply uncomfortable rape vibes from Leatherface throughout the whole ordeal. Unlike Sally in the previous film, she actually gets a chance to fight back on occasion and uses her own cunning to pacify Leatherface enough to stay alive (despite the aforementioned rapey vibes). In my opinion, she’s definitely the best final girl in the whole franchise.

As for Leatherface, his performance is… different. He doesn’t come across quite as dangerously stupid as he was in the first film and his mental deficiencies feel more like a gimmick than central to the character. I also don’t really like how the whole “sexual awakening” subplot was handled because it turns the character into something of a joke and is just deeply uncomfortable to witness. When Leatherface breaks into Stretch’s hiding place, he gets aroused while waving his chainsaw around and soaking Stretch in beer. Stretch seems to understand what’s going on and keeps egging him on, saying “You’re really good, aren’t you?” He then sticks his chainsaw between her legs and makes what can only be described as an o-face before he revs his chainsaw orgasmically and destroys the room in ecstasy… I mean, holy shit, it’s the sort of scene that I can barely believe exists, but there it is. It also makes Leatherface’s chainsaw gimmick retroactively icky, since it explicitly makes the chainsaw a penis metaphor, an association which I would argue isn’t particularly appropriate for this character since he has never really been about masculine aggression or sexualized violence (in fact, gender ambiguity was very much an element of the character that the previous film established). Having to spend the bulk of his scenes getting outshone by Chop Top is bad enough, but I just don’t find Leatherface nearly as compelling in this film. The only character moment he got that I really liked was when he finds Stretch in the meat locker and tries to hide her under a mask made from L.G.’s face skin, showing a bit more of the character’s twisted but identifiable logic, as he believes that this mask will keep her safe like it does for himself. Oh and speaking of skin masks, I am not a huge fan of his mask in this film, it looks much more rubbery than the previous film and more like a scary mask prop.

I’d also be remiss if I neglected to mention Tom Savini’s contributions to this film. While I feel like it’s some of his lesser work (in part perhaps because his best makeup effects were apparently left on the cutting room floor), there are some pretty gnarly scenes in this film, such as a yuppie getting his head chainsawed in half and Leatherface getting impaled by a chainsaw during his duel with Lefty. By far the most impressive effect in the film though is L.G.’s partially-skinned and face-less corpse standing up and helping Stretch while she’s wearing his face. It’s incredibly gruesome seeing the exposed muscle and bones and the makeup effects make far and away the most horrifying moment in the film.

How about this film’s themes? The original film had some surprisingly interesting themes beneath its simple exterior; could its sequel channel a similar spirit to comment on society in the 80s? Well… that is hard to say definitively. Defenders of the film, such as Joey Click at Fansided, like to point out that it “is a response to ’80s consumerism and the rise of yuppie culture. A perfect companion to John Carpenter’s They Live, The Texas Chainsaw Massacre 2 is a film steep in ideas of the almighty dollar becoming king […] From the opening, where the Sawyers literally kill two spoiled yuppies, the film is full of examples of pushing back against a culture emerging from Reaganomics. The Sawyers are feeding victims to people, so it’s almost literal.” Tobe Hooper and L.M. Kit Carson’s discussions about what the film reveal that it was conceived to support these ideas. However, I feel like there was something lost in translation. I didn’t grow up in the 80s so maybe I’m missing some of the context, but the film we got doesn’t feel like the biting satire that its defenders claim it is. As it is, we’ve got two yuppies getting gleefully murdered and then an hour and twenty minutes of a radio host getting terrorized by maniacs. Drayton makes a couple barbs once again about how small businessmen are getting screwed by Reagan’s politics, but again, when the film is about a regular, small town radio host getting terrorized it’s hard to say that this serves much thematic point. I don’t think you can justifiably call a film a satire of 80s consumer culture when only the opening scene makes any real substantial reference to it. If the deleted scenes of Leatherface and Chop Top killing yuppies had made their way into the film then it might have achieved that vision, but the film that was released does not. For what it’s worth though, Joey Click also claims that the original Chainsaw had no themes or commentary though, so take their opinion as you will.

The Texas Chainsaw Massacre 2 is a bit of a mess of a film. It’s all over the place and it definitely feels like the seven month production schedule seriously compromised the final product, not to mention the indications that Cannon screwed with Hooper’s vision for the sequel. However, I can appreciate its attempts to do something different and it is certainly never boring. There are also some fantastic individual elements, especially Bill Moseley’s standout, iconic performance. Hell, there are also some very memorable lines in this film, from the iconic “the saw is family”, to Dennis Hopper screaming “I am the Lord of the Harvest…”, “May God have mercy on us all!!!” and “BRING IT ALL DOWN!!!” It’s not the sort of sequel that I would have liked to see from the original creators, but I have warmed to it slightly more after understanding what it is that they were going for. It really is a bonkers film though, so I can only give it so much credit.

4.5/10

Be sure to tune in soon as we take a look at the third entry in the franchise, Leatherface: The Texas Chainsaw Massacre III!

Happy 2019 and what better way to start a new year than with a new retrospectives series? Consider it my gift to you! This time we’re dipping back into the horror well with one of the most iconic and storied slasher franchises, The Texas Chainsaw Massacre. Of course, that means that we’re going to start at the beginning today, with 1974’s landmark original, The Texas Chain Saw Massacre (it’s worth noting that the original is the only film in the franchise which makes “chain saw” two separate words). I first saw this film during a late-night double feature at the Mayfair Theatre in Ottawa – they were showing the first two Chainsaw films back-to-back and it was possibly the coolest way to experience these films in their intended setting. Does the original still hold up 45 years later? Read on to find out…

PRODUCTION
The Texas Chain Saw Massacre was one of the first films by horror director Tobe Hooper, who would also go on to direct Poltergeist and the Salem’s Lot miniseries. Tobe Hooper came up with the concept for The Texas Chain Saw Massacre early in the 1970s. He was already working on a horror concept and was inspired by contemporary events at the time, such as Watergate and Vietnam, and by increasingly sensationalized and violent news coverage. He was also inspired by the crimes of serial killer Ed Gein. According to Hooper, the titular chainsaw was inspired by a trip to the store where he wished that he could hack his way through the busy crowds.

The script was co-written by Tobe Hooper and Kim Henkel, who would form the backbone for the series going forward. Most of the actors involved were unknowns or knew Hooper personally. Most notable were Marilyn Burns as Sally Hardesty, Gunnar Hansen as Leatherface, Jim Siedow as Drayton Sawyer and Paul Partain as Franklin Hardesty – for all of them, Chain Saw was one of, if not their first, film roles.

The film’s budget was incredibly tight which caused numerous issues for the production. For one thing, most of the cast and crew were promised shares of the potential profits for the film. However, the value of these profits was really only a fraction of what was promised, since it was based on the profits of the production company, rather than the film itself. Furthermore, due to the desire to cut down on equipment rental costs, the filming schedule was extremely punishing on the cast and crew, filming every day for a month, up to 16 hours per day in hot and humid weather up to 43°C! Even worse, costumes couldn’t be washed due to continuity reasons (stains couldn’t disappear) and because they straight-up could not afford to replace lost costumes. This all contributed to some very dangerous conditions for the actors, all of whom acquired some level of injury during filming. Most notably, the extreme conditions caused Gunnar Hansen to have a mental breakdown and believe that he actually had to murder Marilyn Burns, leading to a scene in the film where he actually cuts her finger with a knife, drawing real blood. The scene were Kirk’s body is carved up with a chainsaw was also incredibly dangerous as it involved a real chainsaw being operated within inches of William Vail’s face, meaning that if he moved he would have actually been killed. All-in-all, the extremely limited budget made for a difficult shoot for the cast and crew, but it also led to some very notable elements of the film, such as its unconventional soundtrack and grainy, grimy aesthetic. It also led to Tobe Hooper aiming for a more commercially-viable PG rating, keeping most of the explicit gore off-screen. Naturally, the film was far too horrifying for this to ever happen, but the lack of explicit gore actually enhances the horror as it is largely left up to the viewers’ imagination to fill in the blanks.

The film was released with the intentionally misleading claim that it was based on a true story, a factor which was believed to have contributed to the film’s commercial success. The film also proved incredibly controversial for years, a fact which may also have contributed to its success. In addition to audiences walking out of cinemas in disgust, in Ottawa police advised theaters that they would face morality charges if they screened the film, the British film censors banned the film for years (in part because the word “chainsaw” was banned from movie titles), Australian censors banned the film for a decade, and was also banned in Brazil, Chile, Finland, France, Iceland, Ireland, Norway, Singapore, Sweden and West Germany. Despite this, the film grossed over $30 million on a budget of around $130,000, making it one of the most profitable independent films at the time. It also helped to kick off the slasher genre, being one of the most successful slashers since Psycho and ushering in the success of Halloween a few years later.

PLOT SYNOPSIS
The Texas Chain Saw Massacre follows a group of young adults who travel to rural Texas to investigate the grave of Sally and Franklin Hardesty’s grandfather. There have been reports of grave robbing at his cemetery so they want to make sure his grave has not been disturbed. Joining them is Sally’s boyfriend Jerry and their friends Pam and Kirk. On the way back they go to visit the Hardesty’s old home and pick up a hitchhiker along the way. The hitchhiker acts very strangely, cutting himself with a knife and then slashing Franklin’s arm with a straight razor when he refuses to pay for a picture the hitchhiker had taken. Naturally, they kick him out of the van and then continue on their way to the house, searching for gas for the van on the way (the only gas station they encounter has no gas available).

Kirk and Pam try to go swimming but stumble across another house nearby and decide to see if there’s any gas available there. When they enter the house, they are both picked off by a masked maniac named Leatherface, who bludgeons Kirk to death and then hangs Pam on a meat hook before carving Kirk’s body up with a chainsaw. When Kirk and Pam are late getting back, Jerry decides to check on them and also stumbles across the house, where he finds Pam locked in the freezer before Leatherface also bludgeons him to death. With night setting on, Sally and Franklin are both becoming very worried about their friends and set off to find them, but are found by Leatherface, who kills Franklin and chases Sally around the countryside until she makes her way back to the gas station. However, the seemingly-nice proprietor kidnaps her and then takes her back to Leatherface’s house, revealing that he, the hitchhiker and Leatherface are all brothers in a serial killing family. They psychologically torture Sally over dinner and then try to kill her for their next meal, but Sally manages to escape and flags a passing transport truck. The truck accidentally runs over the hitchhiker and the driver injures Leatherface before Sally gets into another passing truck and flees.

REVIEW
As you can probably tell from the plot summary, The Texas Chain Saw Massacre is a pretty simple, straightforward film from a narrative standpoint. Rather than making this film feel generic or mediocre, this simplicity actually helps to sell the film’s assertion that this is a “true story”. It’s not like this is a mid-80s slasher film where the villain is hunting his long-lost family and killing in over-the-top ways, it’s just about a bunch of regular people who stumble across a horrifying family when they venture to the fringes of society. So many elements of the film help sell this aspect, from the grainy, grimey aesthetic (which would be emulated in future films such as All the Boys Love Mandy Lane), to the documentary-like filming style, to the unknown actors and their naturalistic performances. Even the film’s violence helps to sell the realism of the film. This certainly isn’t like a modern slasher which aims for creative and spectacular kills to help it stand out. Most of the kills here are sudden and brutal – Kirk and Jerry are both bludgeoned to death in a very quick and efficient manner, Kirk’s body and Franklin are chopped up by Leatherface off-screen and the Hitchhiker’s death by transport truck is also very sudden and not particularly gory. The disturbing imagery (mutilated corpses, stolen parts from robbed graves, etc) are also ripped straight from serial killer cases, most prominently Ed Gein. The film’s realistic feel is a major contributor to its success and why it is so disturbing. In fact, the ending doesn’t really make a lot of sense without this aspect – what purpose does the image of Leatherface flailing with his chainsaw in the sunset convey to the audience other than “the villain is still out there”? It’s so much more effective than the cheap jump scares that other horror movies think that they have to work in at the very end.

In addition to drawing on realism for horror, The Texas Chain Saw Massacre has plenty of other ways to scare or unsettle its audience. The primal horror of getting chased by a masked maniac in the dark is obvious, but some of the most disturbing parts of this film are much more unconventional and interesting. My favourite technique is how Tobe Hooper will use extreme close-ups to disorient the audience and reveal bits and pieces of disturbing imagery, while cutting in between increasingly more terrified reaction shots of the characters. This is done on a couple different occasions. In the first, Pam falls in the Sawyer family living room and tries to take in the room, giving the audience snippets of bones and drawing the scene out as the audience pieces the scene together just like Pam, before revealing that the couch is adorned with human remains. The infamous dinner scene at the end of the film is also made all the more unsettling by the extreme close-ups of Marilyn Burns’ eyes, which project a look of abject terror which sells the scene and ratchets the intensity to stratospheric levels. A similar technique is also used in the opening scene where unearthed corpses are revealed in only momentary flashes from a camera. The audience’s imagination helps to fill in a lot of the blanks in all of these cases, a technique which The Texas Chain Saw Massacre leverages masterfully. Perhaps my favourite instance of this is in the opening credits, which play over a distorted, blood-red and black screen which is almost like a Rorschach test. This is made all the more unsettling by a voice over of news stories about death and violence, making these credits almost an image of madness, most of which is merely implied by the film and which is filled out in the audience’s minds.

I also want to give some attention to the acting in this film, because the performers are all universally great. Among the main cast, Marilyn Burns (Sally), Paul Danziger (Jerry), William Vail (Kirk) and Teri McMinn (Pam) all put in very convincing and naturalistic performances, but I want to give a special shout-out to Paul Partain’s wheelchair-bound Franklin. His performance is also quite natural, but he gets much more to work with and really makes for a more interesting character than the rest of the principle cast. I really disliked this character the first time I watched the film – he’s always pushing the other characters’ buttons, getting himself into trouble and whining about his woes. However, on further viewings I have really gotten a soft spot for Franklin, because he really is getting screwed over constantly. For one thing, the other characters mostly see him as a burden who got brought on this trip with them, evidenced by how as soon as they reach the family house they abandon him to have fun by themselves. This is also evidenced by how Franklin asks Sally if she didn’t want him to come with them and she deflects, saying that she’s just tired, denoting that she obviously did not want him to come. In addition, he just constantly gets shit upon by the world – the very first time we see him, he has to go to the bathroom beside the road and gets knocked into a ditch by a passing truck. Then he gets his arm slashed open by a random hitchhiker’s straight razor. Then he gets left out while all of his friends have fun. Then he loses his pocket knife. Then when all of their friends start disappearing, he begins to panic at the thought of losing Sally too and just pitifully sticks with her even though he can’t keep up on the uneven terrain. Oh, and then he gets chainsawed to death by a masked maniac to boot. I just feel so sorry for the poor guy, he’s just having an awful day and everyone else is treating him like crap.

The villains are also all very interesting characters. The idea of having a family of serial killers is pretty unique and is an often-forgotten element of the Chainsaw movies which helps set it apart from the other slasher franchises. The first member of the family we meet, Edwin Neal’s unnamed hitchhiker (given the name Nubbins Sawyer in subsequent films), is very compelling. He has a speech impediment and clearly has some sort of mental health issue, but is also just gleefully sadistic. His introduction is tense because he’s so clearly unhinged and fascinated by violence. He also clearly has his own internal logic which makes sense to him but to the audience is completely unpredictable, making any sort of interaction all the more tense. This is demonstrated in a couple different interactions, such as when he takes Franklin’s knife and then cuts himself with it to see how sharp it is. It is also shown when Franklin refuses to pay the hitchhiker for a photo, which insults him and leads him to attack Franklin. In the hitchhiker’s mind, he did Franklin a courtesy and the refusal is like spitting in his face for a job that he did.

There’s also the gas station proprietor (given the name Drayton Sawyer in subsequent films), who is played to perfection by Jim Siedow. He’s almost like an evil Mr. Rogers in this film – he’s the nice guy of his family, the only one who is clearly sane. However, he’s unmistakably evil: he abuses people for no other reason than to assert his dominance (seen when he prods Sally while tied up and when he beats up his siblings, making up excuses for doing so), oversees the violence in the family and then secretly sells human remains at his gas station as barbecued meat (oh, and ere’s some second-viewing horror for you: Franklin ate some of that meat). He also really hates getting his hands dirty, as evidenced by his line about how he can’t stand killing, so he leaves that to Nubbins and Leatherface. He’s just a really great, colourful and memorable character; I’d argue that he gives the best performance in the whole film.

Before we get to Leatherface, I also want to mention Grandpa Sawyer. He has a very minor role in the film, but the family’s patriarch is almost corpse-like. In fact, during the chainsaw pursuit, Sally comes across Grandpa in the attic along with Grandma’s decaying corpse and I thought he was just another corpse in the Sawyer house on my first viewing. Then when they drag Grandpa down for dinner later I thought they were just lugging a corpse around, so imagine my surprise when it turned out that he was actually still holding on to life! It was a “WTF!?” moment for me for sure and just another element of what makes that dinner scene so unsettling. Are we meant to believe that this is actually happening, or has Sally gone truly insane?

Then there’s the most enduring aspect of this film, the main attraction himself, Gunnar Hansen’s Leatherface. He’s such an interesting character and unlike most slasher villains. For one thing, he is obviously very mentally handicapped in this film (Gunnar Hansen attended a special needs school to study the students in preparation for the role) and is incapable of speech. In spite of this, he is arguably the most dangerous and sadistic member of the family. At one point, Drayton berates Nubbins for leaving his brother alone, implying that when left to his own devices Leatherface will just murder people indiscriminately. Like Nubbins, he has an identifiable but twisted logic in the film – from his perspective, people just keep invading his property and he’s defending it. He’s even visually shaken after killing Jerry, freaking out and looking out the windows to see if there are any other trespassers because he can’t understand what’s going on. However, he also clearly relishes in killing as he has a look of pure bliss as he carves people up. He even has some rudimentary, animalistic cunning, such as when he lures in Kirk and Jerry to their deaths by making pig noises. His mask is also a crucial aspect of the character. There are apparently three different masks worn in the film, each representing a different aspect of Leatherface. The most obvious are the iconic “killing” mask, which he wears to kill Kirk, Pam and Jerry. It has a really simple but great look in this film, like it’s very worn out and made in a very rough manner. It also shows off his eyes and mouth enough to allow Gunnar Hansen to be quite expressive. It might work best for me because it isn’t really designed to be a “scary flesh mask”, it just gets to be scary on its own merits (also, holy shit, I saw a face transplant article on CBC a while ago and they have pictures from the procedure… you could straight-up make a face mask like Leatherface’s in real life). He also wears two masks which are meant to make him look like a woman, which are possibly even more unsettling than the killing mask. He wears these during the dinner scene and they are meant to convey that Leatherface is trying to be “domestic” rather than a butcher at that time.

Despite being very simple on the surface, there’s a lot that you can say about The Texas Chain Saw Massacre which makes it far more than just a really well-made slasher film. The most obvious theme to me is the divide between urban and rural, or society and savagery. Sally and her friends represent “civilized” urban society and when they venture into rural Texas it’s like a strange, unknown world to them. It feels like an American gothic story to me, where all of the evils of society are hidden just beneath the veneer of normalcy. Everyone in rural Texas is portrayed a being at least somewhat eccentric, from the straight-up psychopaths in the Sawyer family, to the drunken and crazy locals just hanging out at the graveyard. The land itself is even run down, from the shut-down slaughterhouse, to the quaint gas station, to the old homesteads that the group witnesses. The Sawyer family’s savagery seems like more of an extension of the reality that they live in, rather than some aberration unique to them. In their world, you have to do what you can to survive, including hunting to eat. I wonder if this is perhaps why Tobe Hooper decided to make Franklin a paraplegic to further show the divide between these two worlds. In the civilized world, Franklin can get by well enough, but as soon as he enters the rural parts of Texas he is getting attacked by the elements and the locals. Even his old family home can’t accommodate him in his state and he is ultimately killed by Leatherface because he’s unable to flee on the rough terrain. On a similar note, Kirk and Jerry are the men of the group and would traditionally be seen as the “protectors”, but the fact that they are overpowered almost instantly by Leatherface shows the might that he has in his own environment. Considering that the film has an early reference to cattle being killed with a hammer at the slaughter house in the “good ol’ days”, the fact that both of the men are killed this way clearly is meant to equate them with cattle in the Sawyers’ eyes.

And speaking of the slaughterhouse, that leads into another theme of the film which resonates with me regarding how capitalism is ruining the lives of rural people. Nubbins mentions that his grandfather and Leatherface used to work at the slaughterhouse and were legendarily good at killing cattle efficiently with a hammer blow. However, when bolt guns were introduced into the business it made the process even more efficient and presumably caused Leatherface’s job to be redundant. You could even argue that Grandpa’s living corpse is symbolic of the family’s refusal to let go of their past despite capitalism making their living obsolete. You can also see this economic depression in the fact that the Hardesty homestead has been abandoned and left unsold; no one wants the property anymore. Drayton also mentions when kidnapping Sally that he had to go back into the gas station and turn the lights off, because the price of wasted electricity is so expensive that it could put him out of business. You can connect the dots pretty easily for how a family on hard times with a talent for killing cattle would turn to murdering and eating people, all because economic opportunity has been drained from the community. You could also argue that this is why Nubbins takes Franklin’s refusal to pay for a photograph as such an insult. He believes that he did a favour for Franklin and gets screwed over for his work. This might even mirror the circumstances of Leatherface losing his job after years of loyal service, so Nubbins might be even more enraged by the snubbing as a result.

The other theme which I find particularly interesting is the concept of family. The traditional family dynamic is twisted in fascinating ways in The Texas Chain Saw Massacre. I’ve already mentioned how it’s unique that the film features a family of psychopaths, but it goes much deeper than that. The Sawyers have a traditional southern family, with grandpa as the patriarch and grandma having died some time ago. However, since he’s comatose and unable to lead the family, Drayton has had to take over as the head of the family, handing out abusive-levels of discipline to his brothers when they misbehave. Leatherface’s place is also quite interesting in this family – since the matriarch of the family has died, he wears masks with makeup on them to fill the void in the family. The family dynamic is most clearly felt during the dinner scene, which is clearly meant to be a nightmare version of the idea of “southern hospitality“, only now with human remains strewn everywhere, a family of psychopaths and the attempted murder of the guest. However, as twisted as the Sawyers’ notion of family is, it’s juxtaposed against the family dynamic of Sally and Franklin. Sally doesn’t get along with Franklin very well, in fact she seems to find him to be a burden that she is forced to bear. The only time they have any sort of familial moment is when Franklin asks if she wishes he didn’t come with them, but she clearly lies when she says that she’s just tired. In comparison to the Sawyers, the Hardesty family is more fractured and broken, even if it is more “conventional”.

As you can probably tell, The Texas Chain Saw Massacre is far more than just an average slasher film. I don’t tend to like slasher films very much, but I really do love this one – it’s incredibly well made (especially considering the low budget which gets used as an asset rather than a hindrance), deceptively fascinating and deeply unsettling. Its status as a horror classic is undisputed and I would definitely put it up there as one of my favourite horror movies of all time.

8.5/10

Be sure to tune in soon as we move onto the next entry in the series, The Texas Chainsaw Massacre 2!