This week its time to present a campfire chiller all vengeful and bloody ready for Halloween. With the Abertoir Horror Festival on its way next month, complete with a notorious video nasties theme, it seemed appropriate to offer one of the first films that made it onto the UK’s banned list back in the 1980’s. Now while I’m all for recommending a certain iconic hockey-masked wearing, machete-wielding psycho that goes around slaying sexually-charged happy campers, The Burning is an interesting film in its own right. This is mainly because while the film pays homage to the sub-genre and shares its style and themes with the studio-slasher from the previous year, Friday the 13th (1980), it doesn’t wholly stick with expected conventions. However for its time of production The Burning still played it safe in terms of not diverting too far from conventionality. The early 80’s saw a out pour in popularity with the stalk’n slash teen movie and this was one of the earliest. Before Freddy Kruger there was Cropsy.
A summer camp prank goes horribly wrong when a group of young teen males band together to exact revenge on their mean caretaker Cropsy (Lou David). What begins as a harmless scare turns into terror as the boys accidentally cause a drunk Cropsy to burn alive after knocking over a lit, decomposed skull. After five years of hospital rehabilitation, Cropsy is unleashed back into society, hell bent on murdering groups of youths near the summer camp he endured his fateful accident. The hormone-driven adolescents have no idea what’s in store once Cropsy and his sharp shears returns to bump them all off.
The Burning materialized following well-known movie producer Harvey Weinstein’s desire to break into the film industry. Spotting the opportunity to capitalize on the success of low-budget horror films such as Halloween (1978) and The Texas Chainsaw Massacre (1974), Weinstein discovered a niche and then began to swap scary stories with his producing partner Michael Cohl. Recalling the legend of The Cropsy Maniac (the intended title) that he heard at a upstate New York summer camp as a child, Weinstein and Cohl had an idea on their hands. Upon the film’s release certain reviews (one found in J.A. Kerswell’s Teenage Wasteland (p.192) suggested that The Burning had attempted to replicate the success of Sean. S Cunnigham’s Friday the 13th which coincidentally was released a year prior. Weinstein has adamantly stated that he wrote his treatment for The Burning in 1979 and registered it in April 1980 a month before Friday the 13th was released. Tom Savini who was noted for his effective make up work on Friday the 13th opted to work on The Burning over the second part in the Friday franchise also released in 1981. His effects that transform Cropsy into a frightful monster are exceptional, providing a sense that he’s not quite human like the storytelling campers talk about within the film.
The Burning is a classic tale of a murderous maniac exacting revenge on those who wronged him, one that has been heard from a friend of a friend and so on. Cleverly The Burning doesn’t let on as to whether the events of the film are real or not. Are we the audience just part of a campfire tale? Delving into the anxieties modern society faced such as the rebellion of youth and the lack of adult authority, The Burning is one of many 80’s horror films that achieves the notion of paranoia. Much of the killings take place during daylight which frighteningly allows the threat (the killer) to step into our supposed safe every day lives.
There’s plenty of horror in store but also an interesting mix of teen movie/comedy tropes involving pre-marital sex ( a big no in slashers!) and elements of the coming-of-age film which lulls the viewer into a false sense of security as the The Burning really does slow-burn before getting to its bloodiest moments, allowing us to get acquainted with the young campers and their care-free attitudes that makes us forget horrible things are about to happen. There’s a sense of friendship at play as The Burning does something rare in comparison to the lot of slashers, it shortly does touch on the subject of remorse experienced by the remaining survivors following the discovery of the bodies of their dead friends on the abandoned raft; highlighting the severity of the ghastly events and their impact on the young.
Glazer is persistent for Sally’s affections.
Just like several films of its era, The Burning is a fable to suggest that if teenagers engage in sexual activity there will be dire consequences. However this is made complex throughout the narrative, the young female characters aren’t completely susceptible to the charms and occasionally forcefulness of their male peers, providing uncomfortable viewing. Interestingly, Cropsy’s first three on-screen victims are female (excluding the infamous raft scene). The first is a prostitute that Cropsy visits on his release from hospital, a sequence echoing the famous scene from Peeping Tom (1960), where we see the victim’s fear from Cropsy’s point-of-view. The second is Karen (Carolyn Houlihan) after she behaves like a cock-tease towards Eddy (Ned Eisenberg). She goes as far as skinny dipping with him but refuses to let him go the whole way, apprehensive due to his ladies-man persona, Karen worries that she’ll just be another “statistic” which hints as a metaphor to the fear of contracting a sexually-transmitted disease. Despite her decision to not have sex she still ends up dead, ironically a statistic in a teenage bloodbath. The frustrations of Eddy and Karen mirror those of the killer’s, all based in rejection, rejection from human contact.
Sally’s death scene. Sex = Death trope.
Cropsy’s third victim is Sally (Carrick Glenn). Sally plays hard to get against Glazer (Larry Joshua), who’s persistent and makes promises of a wonderful experience. On the outside Glazer is a brute and disrespectful to his peers but demonstrates signs of naivety and vulnerability. Sally eventually gives into him but the sex is far from the greatness she expected and is then the next to meet her demise. Even though the female characters are written a little more than one-dimensional with elements of headstrong personalities, they all fall into the the sex equals death category which wasn’t turned on its head until mid-90’s horror and beyond.
Todd, The Final Boy seeks out to defeat Cropsy.
Now where the film differs from its Halloween’s and Friday the 13th’s is by subverting the traditional dynamic of the inclusion of the final girl. The active character this time round who faces the killer head on is in fact male and one of the pranksters from the beginning of the movie, camp counsellor Todd (Brian Matthews). From a storytelling point of view this made sense with Todd confronting his mistakes in early adult-hood as he was partly responsible for Cropsy’s disfigurement. Interestingly he rescues another male character, Alfred (Brian Backer), the observant one that first sees a glimpse of Cropsy from the window early on while the others dismiss him. Together these characters embody the tropes associated with the final girl. The Burning remains one of the only films of the genre to feature a final boy instead with Todd representing the muscle and Alfred the mind. Together they combine the essential ingredients for a horror movie survivor while eliminating the boy saves girl or vice versa convention.
The identification with the killer in slasher cinema was fast becoming a sub-genre staple. Point-of-view shots from Cropsy are depicted early on within the film, the effect was created with the use of vaseline rubbed onto the camera lens to indicate distortion. In this case the teenagers describe him as a monster and use him as scary-story material but from an audience perspective there is a slight sense of empathy for our shear-swinging psycho. The Burning doesn’t establish enough as to what sort of brutal acts Cropsy conducted during his time as a caretaker and whether he warranted such an unpleasant fate at the hands of the kids who claimed his cruelty. Therefore there’s a complexity at play as to who’s side the audience should be on, or possibly we’re meant to see it from both angles. Unlike Michael and Jason, Cropsy does not disguise himself with a mask, however he embodies the tropes of the silent killer. His burned face was possibly an early inspiration for Freddy Krueger.
Strangely, the BBFC over here in the UK had let Friday the 13th off the hook and was released uncut in 1980. James Ferman, the censorship director at the time had deemed it too “far-fetched” to even be considered realistic. However by 1981 things had changed. 26 cuts to the gore effects were made to The Burning when it came out on September 23rd 1981 with a big, fat X certificate. The 26 seconds did reduce the impact of the film’s goriest scenes which depict close-ups of impalements courtesy of a sharp object. When home video was on the rise, Thorn-EMI allegedly put the the uncut version of the film by accident onto VHS. This was where the controversy began. When the film was seized under the Obscene Publications Act, Thorn-EMI tried their hardest to ensure the government that they had not purposely intended to release the film in its original state. They attempted a compromise where they would bring out a BBFC-approved version, however video-store owners and gore-hungry horror fans alike tried to keep their copies of the version that was meant to be seen making it one of the most infamous video nasties of the decade. Looking back now in 2014, it does go to show that when banning certain films, while letting others into the public domain unscathed that were thematically similar to each other that there was little knowledge about horror films when it came to censors, making them appear contradictory and ignorant but this is something that has been covered exceedingly well in both of Jake West’s Video Nasties documentaries, Moral Panic, Censorship and Videotape (2010) and Draconian Days (2014).
The Burning is one to watch this Halloween. While it didn’t hit the same chord as the Friday the 13th franchise or generate mindless sequels (thank God!), its a gem in its own right. While not the greatest horror film ever made, its by far not the worst, it includes some of Tom Savini’s best FX work and an insight into a different slasher perspective. Who could forget the iconic imagery of Cropsy holding up his shears ready to kill?! Its based on a real-life urban legend too! The Burning launched the careers of Holly Hunter, Jason Alexander and Fisher Stevens, all the best actors start out in horror (yes I’m referring to you Johnny Depp!). But best of all you can watch it completely and totally uncut!
Hayley Alice Roberts.
mshayleyr1989.wordpress.com 