Film Review: Hellraiser (1987)

Film Review: Hellraiser (1987) | Ecency

(source: tmdb.org)

After Jason Voorhes and Freddy Kruger, next great icon brought by 1980s horror cinema was Pinhead. Like with Jason Voorhes, his first screen appearance was brief and he wasn’t even properly named, being only part of the group of semi-humanoid creatures. His presence was, however, iconic enough to significantly contribute to the success of Hellraiser, 1987 British film written and directed by Clive Barker, known as one of the most inventive horror titles of its time.

The film is based on Barker’s 1986 novella The Hellbound Heart. It begins when Frank Cotton (played by Sean Chapman), man in perpetual search for exotic pleasures, buys strange puzzle box that is said to bring person who solve it to new dimension of pleasure. When Frank solves the puzzle, it turns out that he summoned Cenobites, strange half-human creatures led by Pinhead (played by Doug Bradley) who tear him apart and bring his soul to dimension that is indistinguishable from Hell. Many years later, with Frank missing, his brother Larry (played by Andrew Robinson) arrives to his home with the wife Julia (played by Clare Higgins). Unbeknownst to Larry, Julia had passionate affair with Frank on her wedding day. When Larry gets slightly injured while moving the bed, drops of his blood fall on the floor and start the magical reaction that would result in Frank being resurrected, although as grotesquely formed living corpse (played by Oliver Smith). Despite his hideous form Frank manages to convince Julia of his identity and asks her to help him return to human form. In order to do so, he needs blood sacrifice, which should be provided by single men lured in house by Julia with a promise of sex. Frank gradually takes human form, but his plans are endangered by Kristy (played by Ashley Laurence), Larry’s daughter from previous marriage who accidentally takes possession of puzzle box and summons Cenobites, determined to bring Frank back to Hell.

Like other films to start long lasting horror franchises, Hellraiser was made with low budget. What made it stand out was Cliver Barker’s imagination and ability to go where other horror film makers didn’t dare to do. The most obvious aspect is redefining connection between sex and violence, so prevalent in 1980s slasher films where masked killers preyed on sex-crazed teenagers, in a way that blurred the line between the two. Barker, partially inspired by his own experiences in S/M clubs, created the world in which pleasure and pain became one and got further amplified with supernatural forces beyond human comprehension and morality. This also allowed him to make the film more disturbing with the emphasis on body horror and graphic scenes of violence that would bring extra publicity through censorship controversies. Yet, Barker managed to wrap this concepts into the format of conventional horror story, even taking classic gothic elements of a cursed dilapidated house and love triangle.

Major motivation for Barker to direct this film was his displeasure with previous adaptations of his work. By his own admission, he lacked the basic film making skills and had to learn on the set. Thankfully, by having most of the plot in single house, Hellraiser allowed Barker to use his rich experience in theatre. This reflected to the cast, made mostly by unknowns. The most recognisable name is Andrew Robinson, until that time best known as the psychopathic villain in Dirty Harry. Here he plays the character that is completely opposite – an ordinary, quiet, well-meaning father and husband that even get sick at the sight of blood; only due to somewhat predictable twist near the end Robinson gets opportunity to play the villain again. Much more impressive is Clare Higgins in the role of Julia, a character of woman which is both vulnerable and manipulative. Higgins, until that time known mostly as a stage actress, is brilliant while portraying a woman who is a victim, but who shares enough of Frank’s desires for “forbidden fruit” to become his assistant in a way that makes her formidable femme fatale. Ashley Laurence is easily overshadowed by those two performances, although she does decent job as Final Girl in the last segments of the film. Doug Bradley, who would later become Pinhead, is much more memorable in brief but terrifying appearance as quiet and intelligent leader of demonic monsters.

Hellraiser is well-acted and, at least for the most part, well-directed, but there are some structural issues that would prevent it from becoming great film. The relationship between Kristy and her family isn’t properly explained and scenes with her character, including those with the friend played by Robert Hines, at times look like they belong to another film. Concept of Cenobites wasn’t properly fleshed out, leaving, perhaps, too much to viewers’ imagination which isn’t as rich as Barker’s (Sequels would try to do that with variable degree of success). Another problem, which makes this film very dated, are the special effects in the end, which Barker later explained with budget being too low. Another problem is vagueness of the location. Film was originally set in Barker’s native England, but the producers insisted on being set in USA, resulting in some unconvincing dubbing by certain characters. Yet, even with those flaws, Hellraiser represents a good start for horror film series.

RATING: 6/10 (++)