When it had reached its apex, it was accompanied with a single, ominous piano chord. The following morning, pulling to the side of a desolate road in the middle of nowhere, Henry exited his vehicle and waited for cars to pass before he opened the trunk.
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In a wink to the audience, another music cue foretold Becky’s fate, as “Loving you was my mistake” sprang from the radio before the pair reached their roadside motel. The audible screams of victims blended with Henry’s angry commands to “shup up!” underneath ghastly visuals painted a picture that turned blood cold, as viewers were burdened with whatever terror played before their mind’s eye thanks to the macabre melody dancing through their heads.Īll which set up McNaughton’s final stroke of genius.Īfter Henry returned to the apartment to find Otis raping his sister, and the ensuing scuffle that resulted in Otis’ death, Henry’s instinct took over and he dismembered his friend’s body in the bathtub before hitting the road with Becky. Again, the issues of budget and time factored into McNaughton’s decision-making, yes, but ultimately the road followed was that which would make the greatest impact, and that avenue was paved by sound editor Cory Coken and post-production sound mixer Ric Coken.
#HENRY PORTRAIT OF A SERIAL KILLER IMAGES SERIES#
The horrors left in Henry’s wake were revealed through a series of pan shots, offering a peek behind a veneer that should never come into focus. Jones and Robert McNaugton that matched Rooker’s icy glare, begging the question, what truly resided beneath the surface. Portrait of a Serial Killer’s main theme is composed of the simplistic yet powerful piano chords of Ken Hale, Steven A. However, McNaughton wanted to truly explore the inner workings of Henry’s (Michael Rooker) mind, as well as his relationship with Otis (Tom Towles) and Becky (Tracy Arnold), which meant that on-screen violence would have to be dispersed carefully, but to offer a true glimpse at the danger housed within the protagonist, the film would need to be littered with other misdeeds.Īnd that is where the power of suggestion entered the equation, in part through the utilization of brilliant music cues strewn throughout by film editor Elena Maganini. Make no mistake, the reasons for suggestion in this case were partially due to budgetary and time constraints.
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And not for overt violence, although like Hooper, it had its fair share, but rather for what wasn’t seen. Though it made its way around film festivals for years, the Motion Picture Association of America’s inability, or unwillingness to give it a straight R-rating delayed its limited theatrical release for 4 years.Īs legendary film critic Roger Ebert noted, however, “This film deserves to be seen,” and over the course of more than three decades, it has become essential viewing for horror aficionados everywhere. The concept isn’t exclusive to TCM, but certainly applies to John McNaughton’s tense tale of a week in the life of a sociopath, 1986’s Henry: Portrait of a Serial Killer. The long-lasting effect of Hooper’s direction was borne from the simple presentation of a scenario, the resulting (and very personal) nightmares were conjured entirely within the headspace of whomever laid eyes on it. It’s better to be suggestive and to allow the viewer to fill in the blanks with their minds.” The Texas Chainsaw Massacre (1974) is not one of the finest horror experiences ever put to film because of on-screen slaughter, but rather the suggestion of bloodshed.
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Tobe Hooper once said “I don’t believe in using too much graphic violence, although I’ve done it.