Trigger Warning: Gore.
Even Hollywood comes up with some new ideas, now and again.
In an earlier post, I talked how physical deformity is often used as a clue towards explaining the relative evilness/untrustworthiness of a character. You couldn’t count the number of facial scars, eyepatchs, or claw hands if you tried.
By 1986, horror was just lousy with trope portrayals of killers, ensured by the massive success of Friday the 13th, Halloween, their sequels and imitators. Everywhere you looked, mass murderers were idealized as masked murders, monolithic, calculating reapers. The killers were not men, not people, they were death given form.
As effective as these killers were, and they undoubtedly, and deservedly did and do inspire terror, they cannot compare to Henry.
Jason and Michael Myers are wolves in wolves’ clothing; Henry is a wolf in sheep’s clothing.
That’s what, for me, makes Henry the scarier. The movie emphasizes the real over the ideal, leaving Henry to play cards and buy cigarettes. He has an unremarkable area of Chicago, no haunted lake or long-abandoned house for a home base.
The mundane surroundings is also visual rhetoric, the same selection of real vs. idealized. His average face, the could-be-a-million-places feeling of his backdrop produces the terror. Unlike Jason, Henry can be anyone. Anywhere. And that’s scary. That’s the real fear of Henry. His face is a mask, and you worry how many others like him are hiding behind masks. He knows it, and tells us, is too smart to use the same method more than once to avoid recognition for what he is.
In showing killers how they really look, rather than relying on idealized icons, Henry, Portrait of A Serial Killer provides chills by stripping away any of the audience’s ability to dissassociate the actions of the killer with the face of a regular Joe.