The Field Guide to Evil is a crowd-funded horror anthology, and in my recent viewing at the Nightlight we went with some other horror fans who had decidedly mixed opinions about it.
- Being crowd-funded made some of the choices make sense, and it’s sort of hard to imagine a horror film these days that doesn’t use green screens or other types of digital effects. The old-fashioned types of trick camera work and stunts that they used were really cool and an homage of sorts to the films of the 60s and 70s that didn’t have access to digital camera effects.
- Each focused on a folklorish approach, but they treated all kinds of texts as ones worthy of producing folklore, including texts that are more recent. In particular, I liked one that the rest of the group found hoky – a story about big-headed children in the forests of California, children who are actually the product of a mad scientist (as we find out). The mix of genres felt like a particularly useful way to look at the ways that we create folklore.
- I think my favorite was one of the first ones, featuring a tinker who went from village to village and who was told by an evil spirit that if he ate the heart of corpses he would be all-powerful. He ends up in a jail cell, but the vignette finishes with him listening to the sound of troops marching off to war, as the emperor has obviously taken on the powers by doing the crimes that he has committed.
Us, directed by Jordan Peele, has already generated a ton of theory-mongering, which makes sense since Peele’s last film (Get Out) generated a bunch of its own. Those theories show a willingness to engage with the film’s content as well as simply enjoy a good scare, and they’re backed by the box office revenue the film generated in its first weekend – $70 million, according to Variety. My thoughts on the film are below the trailer:
- The idea of an entire underworld of doppelgangers evokes what I think is one of the ultimate fears of most of us living in a corporatist world – the ease with which we can be replaced.
- Few of the scenes in this film are made scary by effects. There are no greyed out screens or stop-motion photography (unless it’s done as an homage, of which more later). The fact that the film relies on its story to carry the fear is pretty cool.
- I lost track of the number of films that Peele references, but some of the clearest are the slasher movies, especially A Nightmare on Elm Street. Building on the filmic codes established in early films often saves director’s work, but this film doesn’t use the expectations generated by those common references as shortcuts – instead, it interrogates them.
- As an example, the killers in Us use scissors as their weapons of choice. The choice of killing implement in horror is iconic – it’s not the Texas Chainsaw Massacre for nothing, after all, and Freddie Kreuger’s knife hands still make me shudder.
- Peele though I think is using the scissors not just as icons – they carry weight, both narratively and visually. The gold color, the variety of purposes, the idea of matching pieces of metal joined by a bolt, implying duality and connection – that’s more than the average horror weapon.
- Using the idiocy of the Hands Across America is a beautiful metaphor for ridiculous corporate gestures made by an economic system that is about to run head over heels into extreme income inequality.
- The arguments about race are far more muted in this – My guess is that class is his focus. Still, it’s not a surprise that the black family surprises, and that mom has them immediately head to Mexico, a la Sarah Conner. And of course the assumption that this doppelganger phenomenon is not happening in Mexico is probably true – Mexico has its own problems, but this tethering-to-our-shadow is uniquely American.