Fast Film Reviews

Poor Carrie White! She’s a sad, withdrawn high school teen. An outcast, she has no friends. Even the girl‘s religiously fanatical mother is abusive toward her, constantly scolding her for her “sins.” But Carrie is a special 16 year old girl. One day after a particularly traumatic event in the girl’s locker room, she becomes aware of telekinetic abilities. The ability seems to have been brought on by her maturing into womanhood. These recurring episodes will become more intense as the drama develops.

Carrie is highlighted by several memorable performances. Sissy Spacek is quite impressive as the shy, introverted teen. So much so that the narrative actually plays better as a coming-of-age story over the horror movie it is most often labeled as. She gives Carrie a genuine yearning for acceptance that is at times heartbreaking. Piper Laure is her overtly religious mother. It’s an incredibly over the top spectacle that seizes attention. It verges on camp. Viewed as a characterization of a Christian fundamentalist, she is ridiculously excessive. However taken as a portrait of a woman with severe mental problems, it’s more believable. She, like Sissy Spacek, was recognized with an Academy Award nomination. Not nominated but noteworthy is Betty Buckley as Miss Collins, the girl’s gym teacher. Displaying an understated approach, she provides much needed sympathy to Carrie’s suffering. Amy Irving, William Katt, John Travolta, Nancy Allen and P.J. Soles are all rather compelling in early film roles as her peers.

Carrie is a classic that makes any legitimate list of the best horror films ever made. It’s a regular staple of Halloween viewing. While there are definitely sinister elements, what surprises is how introspective our tale really is. As a chronicle of a girl’s maturation, it’s surprisingly effective thanks to Sissy Spacek’s moving depiction of the bullied teen. Director Brian De Palma dresses up a seemingly simple account with cinematic style. Pino Donaggio’s symphonic score is atmospheric and highly evocative. A frequent collaborator, the Italian composer is to Brian De Palma what Bernard Herrmann is to Alfred Hitchcock, even recalling that American legend in his work. Deep focus and split screen are used to strengthen the visual impact. Twice, slow motion is employed to draw a scene out. The gimmick might annoy some, but I found it to be remarkably potent in highlighting tension, especially in the horrific climax. I’ll admit the “everything goes BOOM” is a horror cliché, but it still is endlessly entertaining.