When it comes to watching/enjoying a film, I love a good slasher or monster movie as much as the next person (and probably a little bit more). When it comes to absorbing the material and being stimulated intellectually by its themes, nothing beats personal horror. My definition of personal horror is when the protagonist’s journey is one of self doubt, internal terror and an uncertain grip on reality. Creatures, supernatural forces and other things may play a part, but the core of the narrative is tied to the characters. Finding a good “personal horror” film isn’t always the easiest and there might be some disagreement as to whether or not a film falls into this definition, but here are a few that always come to mind.
This has been one of my favorite films for as long as I can remember. No matter how many times I see it, there’s always something new to discover. On the surface you have Jacob Singer, a NYC postal worker whose life is slowly unraveling. Plagued by flashbacks from his tour of duty in Vietnam, demonic visions and transitioning between periods of his life, his grip on sanity is tenuous at best. Digging a little deeper you find yourself pondering how we construct our own reality, the symbolic nature of the people in our lives and whether or not we’d recognize our descent into madness.
The layered nature of our existence is masterfully handled. Subtlety (in story and camerawork) combined with jarring imagery keeps you riveted as the narrative flows between themes. The ending to this movie will lead to many a heated debate, I can damn near guarantee. And that’s one of its best qualities. The entire experience can be interpreted in such varied fashions that it never ceases to be new or provocative.
The protagonist being the only one seeing multiple realities is one of my favorite themes. I strive to be able to write a narrative that encompasses the uncertainty, self doubt and madness prevalent in this film.
American scientists in Antarctica are surprised by a group of seemingly mad Norwegians chasing a dog while trying desperately to kill it. Their helicopter crashes, killing all inside, leaving no explanation for the pursuit. The Americans decide to bring the dog into their base and that’s when the fun starts. Easily dismissed as another creature feature, its the intensity of the characters and their situation that make this film a classic.
Isolation can do funny things to the human psyche which is why solitary confinement so effectively crushes an inmate’s willpower. Combine that with a violent unknown threat, add a dash of relentless paranoia and you have a pressure cooker just waiting to boil over. Imagine you can no longer trust your colleagues, hell you don’t even know if they’re human anymore. Being in a position where every action is second guessed, including your own, yet you could be the only thing preventing the annihilation of the human species.
Even the conclusion of the film leaves things uncertain further fueling the lingering sense of unease.
A home burglary gone wrong results in Leonard Shelby suffering a severe head trauma while his wife is raped then murdered. If that wasn’t bad enough, the injury prevents him from forming any new memories. Handicap notwithstanding, he attempts to track down his wife’s killer. Not what you would normally consider horror, but when you look closer, how can the protagonist’s situation be anything other than horrific?
You can no longer rely on the integrity of your own mind instead fabricating an elaborate system that is constantly on the verge of collapse. Always unsure of where you are and what you’re doing with a single fading goal propelling you forward. How he didn’t completely lose his sanity is remarkable. Even so, his downward spiral is inevitable. His cracks show throughout the film and you know it’s only a matter of time.
Losing your mind is one of my greatest fears. Being lost in one’s own mind would be a circle of hell for me.
A rescue crew investigates a spaceship that disappeared into a black hole 7 years ago and has now returned. Standard Sci-Fi fare at first glance, but in reality a vastly under rated horror. Dr. William Weir in particular (played by Sam Neill) has such an unnerving descent into madness. Plagued by the death of his wife, you can see him unraveling even before things get dicey.
Once the good doctor loses the plot, its great watching the Captain try to keep it together in the face of sheer insanity. What I love is that the encroaching madness is not a shared experience (at least not initially) instead creeping up on the characters as they explore the derelict ship. Little hints or flashes, unsettling them until the entire piece reaches it’s crescendo and all hell breaks loose. Sam Neill is especially good in these roles, having lots of experience with personal horror (In the Mouth of Madness, Possession [1981]).
The movie as a whole has a “gothic horror” feel, updated for modern audiences and catapulted into a futuristic setting. The beauty of these themes is that no matter what the time period, they’re universally felt. Being able to effectively use them without being heavy handed or over the top is a fine line few can navigate.
Honorable Mentions:
- 1408 – Theatrical Release NOT the Director’s Cut. The alternate ending is so bad it ruins an otherwise fantastic film. Its a testament to John Cusack’s acting ability that we can spend 100+ minutes basically wat
ching him lose his shit. - Lost Highway – Lynch’s films are saturated in personal horror, but his narratives can sometimes be a little difficult minimizing the audience for them.
- Mulholland Dr – See above.
- Eraserhead – Ditto.
In my next post on personal horror I will delve into the literary side of the coin. For something that’s difficult to pull off with 90 minutes of film, it’s even harder to do with the written word.
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Images courtesy of Wikipedia
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