It’s a dark fairy tale by way of your quintessential camp slasher. The film builds up quite the potent atmosphere without much to work with thanks to the admirable work by cinematographer James Lemmo. The hapless victims may as well be on, well, Mars for how isolated they feel. A mild wind is ever-present, giving the woods an even more unsettling feel. The darkness swallows the woods surrounding the cabins and is constantly aglow with eerie, steely blue moonlight. Shot on location in Southampton, Long Island, Madman takes place exclusively at night. More horror movies need scary campfire storytime. I’m sorry, but I’m a sucker for this stuff. The film opens with the story of Madman Marz told to a group of camp counselors and staff around a crackling fire in the dead of night. But always right behind them is Madman, a film that’s home to everything appealing about slashers wrapped up into one simple package.
When I think of the “slasher movie,” a few obvious titles pop into my head. The iconography and language of the slasher film has been referenced, parodied, and mocked for decades sometimes lovingly by fellow genre fans, sometimes quite the opposite.
Well, some of that is true – but that’s why we love them. Slasher films have a reputation among critics and the wider public as low rent, trashy, exploitative, and artless.
And dare I say, what has made the fanbase so fond of it over the years. It’s the sheer simplicity of Madman that keeps me coming back to it. So while The Burning got to keep Cropsey, Madman gifted us with Madman Marz – a backwoods brute with a frizzed out mane of white hair and his own set of facial scars. Believe it or not, Madman was conceived as a Cropsey film and the production had to tweak itself when they caught wind that another Cropsey-based horror film had just beaten them to the production punch. This other, other camp-set slasher of ‘81 actually shares some fun history with The Burning. One other slasher film from that year has managed to make a modest name for itself in the intervening years – Joe Giannone’s Madman. And beloved one-off slasher classics such as My Bloody Valentine, The Prowler, and The Burning all took their turns staining the silver screen red in ‘81. It turns out Jason Voorhees wasn’t dead at the bottom of Crystal Lake and he picked up right where his mom left off in Friday the 13th Part 2. Michael Myers got into the franchise game with Halloween II.
Andy muschietti art movie#
That childhood fear has clearly stuck with him all these years, haunting his early horror work and resulting in the creation of two truly terrifying movie monsters.Ĭheck out some of Modigliani’s actual paintings below.ġ981 was a banner year for slasher cinema. Just as IT takes the form of whatever scares any given child, it sounds like Modigliani’s paintings have haunted Andy Muschietti ever since he first laid eyes on them as a child.
It was so deformed that as a child, you don’t see that as an artist’s style. His vision of humans were with elongated necks, crooked faces and empty eyes most of the time. “ He often does these portraits with elongated characters. He continued, describing the late Modigliani’s work… And the thought of meeting an incarnation of the woman in it would drive me crazy.” “ In my house, there was a print of a Modigliani painting that I found terrifying. “ It’s a literal translation of a very personal childhood fear,” Muschietti told the site, narrating the scene where Judith first appears.
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