By Sam Reveley
“Carrie” may once have been risqué and daring to put on the screen, but today it leaves an impression of tragedy and, oddly enough, humor.
Directed by Brian de Palma in 1976, “Carrie” was shown Feb. 19 at the Trustees Theater by SCAD’s Cinema Circle in honor of the Valentine’s season. It is a rather shaky adaptation of the original novel by Stephen King. This may explain some of the plot holes and unnecessary scenes such as the tuxedo shop sequence. However, the performances of individuals like Sissy Spacek as Carrie and Piper Laurie as the overbearing mother are certainly incredible. There is no denying this film will remain a classic of its generation.
Still, the classic “Carrie” is seen in a different light today than it was in the ’70s. When there is knife flying, blood drenching and tampon throwing all within the same film, it is not hard to imagine that it was originally viewed as rather shocking.
“Carrie” is a typical member of the horror genre that relies heavily on shock value for entertainment. These types of horror films are under constant pressure to show their audience something terrifying that has never been seen or even thought of before. As each new generation of moviegoers appears, showing something terrifying and new becomes increasingly difficult. Moreover, the older films that once unnerved their viewers now appear farcical.
For instance, after Carrie is tragically hit with the pig’s blood, her date (William Kent) mouthed the words “what the hell.” Sniggers of recognition were then heard scattered about the theater. When the antagonist Chris Hargensen (Nancy Allen) and her boyfriend (John Travolta) exploded in a fiery death when their car flips, the audience followed with a jeer of laughter and unanimous vocal recoil. When reacting to the orgasm-like convulsions of Carrie’s mother while being stabbed, the audience gasped in surprise and humor, not horror or repulsion. One cannot blame them either. It is quite a funny moment.
During the open discussion following the screening, one commented that the film was “over the top.” This observation certainly accounts for the satirical nature of “Carrie.” Characters beyond the protagonist fit so neatly into their role of overbearing mother, the mean girl or the helpful teacher that they become caricatures of their own place in the story. Thus enabling the audience to react with laughter as each character meets their untimely death in a variety of violent ways. The actions themselves are almost slapstick in nature.
Yet for all the shameless laughing at serious matters, an element of humanity is retained in Carrie’s darkest moment. When Carrie was pushed one step too far, at the height of the action when the Carrie’s potential for violence was put to the greatest limit, the theater was silent.
Today’s audience is clearly desensitized in comparison to their precursors of the ’70s. Violence that once shocked and horrified moviegoers now invokes comedy and satire. However, when confronted with a believable character, the chuckles and laughs turn into quiet empathy. It is this combination of humorous violence and a likable protagonist that attracted a fair-sized audience to the Trustees this past weekend. It is also what an audience comes to expect from “Carrie,” a film loved for its colorful characters, overdone presentation, and still endearing story.
