[Editorial] Sally Hardesty in The Texas Chainsaw Massacre (1974)
It’s not wholly obvious in the first thirty minutes of Tobe Hooper’s The Texas Chainsaw Massacre just who our final girl will be, with no specific attention given to the character of Sally Hardesty. However, early signs of resilience such as her willingness to look at the photograph proffered by the unhinged Hitchhiker who is welcomed into their van (Pam, notably, cannot look at the picture) shows that she has more courage than most. Furthermore, Sally demonstrates an alertness that her companions seem to lack; it is she who spots the blood-stained mark on the van, a forewarning that they should have heeded.
Although the pair do not always get along, Sally remains committed to her brother, the irritating but memorable Franklin despite not being aware that when she agrees to take him with her in search of her beau Jerry, she is unknowingly wheeling him to a violent, agonizing death. One by one, Sally’s friends are beaten, hung and chopped up by a bewildered but monstrous Leatherface, leaving her alone to navigate her own hot, dusty Texan nightmare.
For Sally, that which follows is the beginning of what is arguably the most agonizing and unrelenting experience in horror film history. Having witnessed her brother sawn in half before her very eyes by a chainsaw wielding monster, she shrieks with primal terror and bounds off in an attempt to escape into the darkness. Running for her life, we watch as the chainsaw comes within inches of her and the guttural screams continue, almost seeming to propel her onwards as though fuelling her ahead of Leatherface. Despite gaining distance, Sally runs right into what would normally be considered a safe space, but unfortunately this time the family home represents a place of danger, dysfunction and ultimately, death. As her manic cries sound out around the Sawyer house and she comes face-to-face with yet more terrifying sights, she leaps out of a first-floor window before crashing back to the outside world to flee from her tormentor once more.
Refusing to give in to the sound and speed of Leatherface and his chainsaw, she happens upon a gas station and falls to her feet once safely inside. In one of horror's cruellest twists, Sally is not as safe as she (or we) might think and at the point of sheer exhaustion, just when she looks as though she is about to break, she is beaten with a brush and placed into an oversized sack. Here, still, with little energy remaining, she attempts bravely to fight back.
Returning to the house where her friends’ deceased bodies are being kept, Sally has further trauma ahead as she is removed from the sack and comes eye to eye with the Hitchhiker from the opening scene. Horror upon horror follows as Grandpa is brought to the dinner table where the family have gathered in delight from tormenting the helpless Sally. Tied down to a chair, Sally’s finger is cut and she is forced to put this inside Grandpa’s mouth; her eyes soon widen to the point of almost bursting. Knocked unconscious, Sally comes up from a haze and back into the most hellish room on earth, opening her eyes only to relive the horror all over again. With a plate of food in front of her that could quite frankly be the chopped and diced parts of her former friends, Sally is encircled with a sound bath of noise, hysteria and grotesque behaviour of the deranged family.
A bucket is promptly placed in front of her, one that might have been used to drain the blood of her friend Pam (a chilling thought). With her head over the vessel, Leatherface guides a frail Grandpa into bludgeoning her with a hammer. Here, Sally’s alertness comes back into play as she manages to use a moment of confusion amongst the family to implement her escape. Breaking free, she emerges from the darkness of the room to the blinding whiteness of outside in another scene of rebirth. Soaked through with blood, she is pursued by the Hitchhiker who is soon joined by Leatherface. Reaching a road ahead, she continues, broken and exhausted - her strength and determination pushing her onwards.
A passing truck stops to assist a blood-drenched Sally while Leatherface writhes on the ground after cutting into his leg with the chainsaw. As the truck driver escapes, Sally is left once more alone with Leatherface, but fortunately, she manages to flag down another vehicle which she stumbles shakily into the back of, barely managing to make it, but pushing on for dear life. Driven off into the dawn, laughing with triumph, relief and hysteria, Sally will no doubt never be the same again but she is, despite all the odds, still breathing. Let’s hear it for Sally: a woman who is willing to fight against all the odds to ensure her escape and survival!
When people think of horror films, slashers are often the first thing that comes to mind. The sub-genres also spawned a wealth of horror icons: Freddy, Jason, Michael, Chucky - characters so recognisable we’re on first name terms with them. In many ways the slasher distills the genre down to some of its fundamental parts - fear, violence and murder.
Throughout September we were looking at slasher films, and therefore we decided to cover a slasher film that could be considered as an underrated gem in the horror genre. And the perfect film for this was Franck Khalfoun’s 2012 remake of MANIAC.
In the late seventies and early eighties, one man was considered the curator of all things gore in America. During the lovingly named splatter decade, Tom Savini worked on masterpieces of blood and viscera like Dawn of the Dead (1978), a film which gained the attention of hopeful director William Lustig, a man only known for making pornography before his step into horror.
Looking for some different slasher film recommendations? Then look no fruther as Ariel Powers-Schaub has 13 non-typical slasher horror films for you to watch.
Even though they are not to my personal liking, there is no denying that slasher films have been an important basis for the horror genre, and helped to build the foundations for other sub-genres throughout the years.
But some of the most terrifying horrors are those that take place entirely under the skin, where the mind is the location of the fear. Psychological horror has the power to unsettle by calling into question the basis of the self - one's own brain.
On Saturday, 17th June 2023, I sat down with two friends to watch The Human Centipede (First Sequence) (2009) and The Human Centipede 2 (Full Sequence) (2012). I was nervous to be grossed out (I can’t really handle the idea of eating shit) but excited to cross these two films off my list.
Many of the most effective horror films involve blurring the lines between waking life and a nightmare. When women in horror are emotionally and psychologically manipulated – whether by other people or more malicious supernatural forces – viewers are pulled into their inner worlds, often left with a chilling unease and the question of where reality ends and the horror begins.
Body horror is one of the fundamental pillars of the horror genre and crops up in some form or another in a huge variety of works. There's straightforward gore - the inherent horror of seeing the body mutilated, and also more nuanced fears.
In the sweaty summer of 1989, emerging like a monochrome migraine from the encroaching shadow of Japan’s economic crash, Shin’ya Tsukamoto’s Tetsuo: The Iron Man shocked and disgusted the (very few) audiences originally in attendance.
Whether it's the havoc wreaked on the human body during pregnancy, emotional turmoil producing tiny murderous humans or simply a body turning on its owner, body horror films tend to be shocking. But while they're full of grotesque imagery, they're also full of thoughtful premises and commentary, especially when it comes to women, trauma, and power.
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