Film Review: Fright Night (1985)

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(source: tmdb.org)

In 1990s horror films began to get explicitly self-referential, with characters being explicitly portrayed as fans of the genre or at least familiar enough with unofficial “rules” from previous films to base their own actions on them and survive the ordeal. The trend generally started with Wes Craven’s Scream, but this “meta” approach could be seen in films that had appeared a decade earlier. Good example is Fright Night, 1985 horror comedy written and directed by Tom Holland.

Protagonist, played by Steve Ragsdale, is Charley Brewster, teenage high school student who lives in suburban home with his mother Judy (played by Dorothy Fielding). There are two things he loves – one is his girlfriend Amy Peterson (played by Amanda Bearse) with whom he tries to lose virginity, and the other are old horror films. The plot begins when two mysterious men – Jerry Dandridge (played by Chris Sarandon) and Billy Cole (played by Jonathan Stark) – move into the house next door. Various unusual details, like Dandridge never appearing during daylight and series of brutal murders in the neighbourhood, lead Charley to conclusion that his neighbour might be a vampire. Those suspicions are confirmed when one night Charley actually sees Dandridge biting one of the victims. Dandridge becomes quite aware of Charley’s attention and lets his neighbour know that he would silence him one way or another. Charley’s attempts to alert the police fail because he is not taken seriously. Same goes for Amy and his eccentric best friend “Evil” Ed Thompson (played by Stephen Geoffreys) who are actually concerned for Charley’s mental health. They devise an ingenious plan to cure Charley of his delusions by employing Peter Vincent (played by Roddy McDowall), washed up actor and former star of low budget horror films who has just been fired from the job of a hosting syndicated television horror show. Vincent’s task is to bring Charley to Dandrige’s home and prove that Dandridge is actually human. Vincent, however, accidentally discovers that Dandridge is indeed a real vampire, so he is now forced to gather courage and whatever skills he had in order to fight real life version of evil he had fought on the screen.

Tom Holland’s script represented an interesting, and mostly successful, attempt to make Gothic horror within commercial limitations of 1980s mainstream Hollywood. Holland does so by setting the plot in typical modern American suburb and using some elements of teen-oriented slasher films that used to dominate genre at the time. This, among other things, reflects in some nudity and cliches like prankster character becoming one of the victims. Holland was, however, much more influenced by horror films from the earlier era, namely 1960s B-films starring genre icons like Peter Cushing and Vincent Price. The character of on-screen vampire killer is named after those two and Price was originally intended to play him. Roddy McDowall, who came as a replacement, is actually perfect for the role. His relatively small stature works well in the film and allows him to alternate between enhanced theatricality and cowardice creating strong comic effect. Ragsdale, relatively unknown actor, is on the other hand, quite effective as his opposite, an average and ordinary teenager who happens to be the only character who plays it straight throughout the whole film. Fright Night was also great role for Chris Sarandon, actor who got rare opportunity to use his good looks to portray suave, seductive but ultimately malevolent character. Sarandon liked to improvise on set and in his portrayal Dandridge, although firmly within Dracula-inspired limitations of vampiric lore, became much more modern, “hip”, ironic and ready to taunt Charley at any opportunity. Another great role was provided by Stephen Geoffreys as Charley’s mischievous friend whose outlandish persona hides long-time frustrations of someone who was being picked for being “different”. With this character, just as with display of relationship between Dandridge and Billy Cole, Holland indulges in hinting homosexuality. Amanda Bearse starts film very bland, but all this changes when she gets under Dandridge’s sway and convincingly transforms from girl next door in vampiric femme fatale.

Holland as director not only puts his cast to good use, but also, for the most part, manages to keep the pace. The best part of the film is first half, when there is a lot of humour and excellent character exposition. Second part, where the focus in more on action and conventional horror, is less successful. Some of the scenes are overlong and, at times, Holland feels too obligated to feature make up effects that don’t look that effective after so many decades nor they are completely justified. Another thing that might put off modern audience is soundtrack, which features cheasiest elements of 1980s pop. Although it is considered one of the more underrated horror films of its time, its initial success at the box office was enough to spawn sequel Fright Night Part w in 1988, and the 2011 remake starring Anthon Yelchin (itself having a sequel in 2013). However, audience that likes horror films in its various forms, and especially when they are made with great affection for the genre, would probably be best entertained with this film.

RATING: 7/10 (++)