Editorials
A Waste of Good Suffering: The ‘Hellraiser’ Franchise [Part 1]
Hellraiser was a vividly original feature debut from a young British author who tired seeing his work translated [poorly] to the big screen by other filmmakers. Clive Barker’s novella The Hellbound Heart was the basis for what would go on to become one of the longest-running horror film franchises. The story of an enchanting puzzle box with the power to open a portal to hell and call upon demonic beings with the sole purpose of torment and titillation has spawned a total of nine sequels. The tenth film in the series, Hellraiser: Judgment, is just around the corner from release. Today, we’re going to chronicle the behind the scenes madness that brought us Kirsty Cotton, Pinhead, and the various Cenobites to don yards of black leather within each film. “Part 1” of this article will focus on the theatrical releases, the original 87′ film through to Hellraiser: Bloodline (1996).
Hellraiser (1987) – Sadomasochists from Beyond the Grave
IMDb Plot Synopsis: “An unfaithful wife encounters the zombie of her dead lover; the demonic cenobites are pursuing him after he escaped their sadomasochistic underworld.”
A small British production house snapped up the rights to adapt several of Barker’s stories. The first film, released under the titles of Transmutations and Underworld, was such a disaster that Barker felt the need to be more involved with the company’s follow-up. That led to him receiving sole screenwriting credit on Rawhead Rex. While that film certainly has its fans who view the final product as a cheesy monster on the loose throwback, Barker was none too impressed. It was this disappointment that directly inspired Barker to finally get behind the camera himself. The journey to bring The Hellbound Heart to life began.
A string of failed attempts to secure financing eventually landed the project a home with American genre outlet New World Pictures, the company founded by Roger Corman, “The King of the B’s.” They were granted a budget of just under a million dollars, a working title of Sadomasochists from Beyond the Grave (after all, Hellbound Heart sounded too much like a romance in the eyes of New World), and tasked with translating Barker’s text into a cinematic nightmare. Minor changes were made, such as the title; they ultimately landed with Hellraiser. It’s easy to imagine a world were Sadomasochists… might not have been given the time of day due to its sensational moniker, thus the franchise could’ve ended right then and there.
Other changes from the source material involved de-aging our heroine, Kirsty, and changing her from a close friend to Larry’s daughter. The obvious British locations were ignored and several characters’ English accents were overdubbed to help provide the illusion of Americana. Producers felt this would give the film a broader appeal. Ultimately, most of Clive’s original vision remained intact. One of the biggest compromises came down to the score. Barker commissioned the experimental electronic group Coil to compose for the film, only for New World to overrule the fledgling director. It was Christopher Young who ultimately tied it all together with his melancholy score. Hellraiser became quite the success, earning over $14 million dollars at the box office and was generally well reviewed by critics.
Critics Said:
“This is a movie without wit, style or reason, and the true horror is that actors were made to portray, and technicians to realize, its bankruptcy of imagination.” – Roger Ebert, Chicago Sun-Times
“A serious, intelligent and disturbing horror film.” – Nigel Floyd, Time Out
Cenobites Featured: Pinhead (Credited as “Lead Cenobite”, Butterball, Chatterer, Deep Throat (Credited as Female Cenobite)
Hellbound: Hellraiser II (1988) – Down the Rabbit Hole
IMDb Plot Synopsis: “Kirsty is brought to an institution after the death of her family, where the occult-obsessive head resurrects Julia and unleashes the Cenobites once again.”
It’s the 80’s and you’ve made a horror film that brought in 14 times its budget, what are you to do? Duh. You better get to work on a sequel. While Clive Barker would not be returning to direct this outing, he helped mold the story and was credited as Executive Producer. The directorial reigns fell to Tony Randel who acted as editor on the previous film. Randel was a New World regular who got his start by co-writing the new “American” scenes for Godzilla 1985 and stepping in (uncredited) to help direct the gonzo sci-fi mishmash that was Def-con 4.
The scope for this sequel was expanded greatly from the first film’s basic setup of “three people in a house.” Not content on just repeating the same premise over again, Hellbound: Hellraiser II sees Kirsty venturing into hell in order to save her father…so she thinks. The bloody cry for help that kicks off her second nightmarish adventure turns out to be a trick from good ol’ Uncle Frank, still hankering for that incestuous Kirsty-action he never got to play out before. There’s a moment in the infamous excised “Surgeon Scene” where Kirsty breaks down from the realization her father is gone for good. It’s a touching beat that gives some pathos to her character.
Beyond the emotional thrust of the tale there’s also the return of Julia in true femme-fatale form, a backstory for Pinhead, a mute girl who is really good at puzzles, and the evil Dr. Channard who’s obsessed with learning the secrets hell’s depths have to offer…he also winds up cracking wise like that other popular horror villain of the time. The truth of the matter is, Hellbound has a hell of a lot going on for one 93 minute runtime. And to think, Larry was originally supposed to be in the film too until actor Andrew Robinson declined to return! It’s this frenetic energy that has made it a favorite to many fans. From the ghastly, violent, and sexual images you can still feel Barker’s influence. From the newly found focus on Pinhead, you can feel the influence of the marketing team who realized they’d struck gold with the menacing guy with needles in his head.
The film showed only a modest decline in box office from the first film ($12 million down from $14 million). However, the epic scope also meant it cost more to make at $3 million. Though, the budget was originally to be much larger than even that. Ultimately, this was the last sequel to be made under the New World banner as well. From here on out, we’re in the Weinstein business… 🙁
Critics Said:
“Hellraiser II is a maggotty carnival of mayhem, mutation and dismemberment, awash in blood and recommended only for those who thrive on such junk.” – Variety
“Even if you discount the cliches, there are enough bizarre and shocking effects here to satisfy all but the most demanding genre fans.” – Richard Harrington, Washington Post
Cenobites Featured: Pinhead, Butterball, Chatterer, Deep Throat
Hellraiser III: Hell on Earth (1992) – CD Cenobite…Because the 90’s
IMDb Plot Synopsis: An investigative reporter must send the newly unbound Pinhead and his legions back to Hell.
After two fairly successful films in the franchise, most of the creative parties involved were eager to get a third film off the ground. Barker’s initial concept to focus more on Julia was harpooned by actress Clare Higgins’ refusal to return. Other ideas were kicked around for some time, including an Egyptian set entry. Ultimately, though, New World was on the brink of filing bankruptcy and Barker’s own production company was going under due to the financial failure of Nightbreed. So, Hellraiser III languished in proverbial development hell for several years.
Eventually, series screenwriter Peter Atkins along with Hellbound director Randell crafted a script that would go on to become Hellraiser III: Hell on Earth. Apparently not much changed from their initial draft to the finished film (plus or minus a few OG cenobites with a few more…modern ones – including Atkins himself as the Barbie Cenobite). Kirsty was no longer the focus, though she does make a mini-cameo on footage taken from the Channard Institute. Instead, we follow aspiring investigative reporter Joey and wounded goth chick Terri as they run afoul of a freed Pinhead, free to wreak havoc upon anyone whether they open the box or not!
While Randell was originally set to return, new production company Trans Atlantic replaced him with Anthony Hickox (Warlock 2: Armageddon, the Waxworks films). They were concerned that Randell’s vision was too bleak, ultimately ending with Joey making a Faustian deal with Pinhead to become his bride in exchange for her “star reporter” dreams coming true. While Hickox was known more for horror comedies at the time, he gave Barker his word he would take the material seriously. He brought in a relatively new crew, peppered with those he had worked with on previous shoots, including special effects artist Gary J. Tunnicliffe (remember that name for later). Once the film was completed, a deal was struck with Dimension Films to distribute and Barker was brought in during post to provide his two cents. Several of his suggestions, including an emphasis on more blood, were inserted into the final film (including the first ever use of CGI in a horror film). The film went on to gross a smidge more than Hellbound with $12.5 million.
Critics Said:
“[The themes] might be fascinating if a movie like Hellraiser III: Hell on Earth — great title! — were actually a kinky horror fantasy about the thin line separating pleasure and pain. Instead, it’s mostly about the prospect of getting your skin ripped by fish-hooks.” – Owen Gleiberman, Entertainment Weekly
“With its bravura camerawork, fetishistic Cenobite designs, nerve-jangling soundtrack, and literate Peter Atkins script, Anthony Hickox’s film is a worthy successor to Clive Barker’s flesh-ripping original.” – Nigel Floyd, Time Out
Cenobites Featured: Pinhead, Pistonhead, Dreamer, Barbie, CD, Camerhead
Hellraiser: Bloodlines (1996) – Tales from the Lament
IMDb Plot Synopsis: “In the 22nd century, a scientist attempts to right the wrong his ancestor created: the puzzle box that opens the gates of Hell and unleashes Pinhead and his Cenobite legions.”
The rights for the franchise were now firmly in the hands of Dimension Films and the Weinsteins, though, it still took Barker along with Atkins to get traction going on a new film. Barker was keen to start fresh and Atkins saw fit to tell the tale of the Lament Configuration’s creation. Their pitch was an anthology of sorts that would chronicle the creation of the box to the ultimate destruction of Pinhead. Dimension greenlit Hellraiser: Bloodline right away and Atkins set out to write the screenplay. The search for a director was a difficult one as the script was the most ambitious of the franchise despite being scaled back after the Weinsteins refused to cough up the cash needed to bring that vision to life. With a budget of only $4 million dollars and a script that spanned from period piece to futuristic Aliens-riff, it was bound to be a difficult shoot. Master of Horror Stuart Gordon was even approached, though, he turned the gig down.
It ultimately came to FX maven Kevin Yagher, whose impressive work under tight budgets and tighter schedules on Tales from the Crypt caught the eyes of producers. Photography began in 94′ and was said to be a nightmarish experience for those involved. Doug Bradley has been quoted as saying it was “the shoot from hell.” Large swaths of crew were fired after one week of shooting, people kept falling ill, sets were ruined to wayward sprinklers, and the cinematographer was replaced mid-shoot among other mishaps. Yagher’s initial cut ran 110 minutes, and Dimension was not pleased by what they saw. Namely, they took issue with Pinhead’s limited screen time…which was exactly as it was scripted. When producers called for extensive reshoots, Yagher did not return to direct, citing exhaustion.
Joe Chappelle (Halloween: The Curse of Michael Myers, Phantoms) stepped in to complete the additional photography which were said to be entirely new scenes. Once Yagher saw the final 85-minute cut, he felt he barely recognized as it as his own. Yagher had his name removed and took an “Alan Smithee” credit. There are bootleg versions of a “Workprint” floating around online which showcases more of the original footage, including Angelique actress Valentina Vargas’s actual voice. Her accent was deemed too difficult to understand by producers and overdubbed in the final cut. There’s also that important thing in filmmaking called “character motivation!” You actually get a better grasp of Pinhead and Angelique’s hostile relationship and what ultimately leads to her betraying him.
In the end, Bloodline is a fractured mess that has grown somewhat in popularity over the years. I mean, we never thought we’d see the day when Halloween 6: Producer’s Cut would get a cleaned-up, official release – maybe there’s still hope for Bloodline. The film grossed a meager $9 million dollars and saw the end to Pinhead’s theatrical aspirations (until the inevitable remake at least).
Critics Said:
“Except for the most undiscriminating gorehound, pic is a pointless mess.” – Daniel M. Kimmel, Variety
“[Director] ‘Alan Smithee’ is a wuss. This film isn’t half bad.” – Alex Sandell, Juicy Cerabellum
Cenobites Featured: Pinhead, Angelique, Chatterer Beast, Siamese Twins
Editorials
‘Leprechaun Returns’ – The Charm of the Franchise’s Legacy Sequel
The erratic Leprechaun franchise is not known for sticking with a single concept for too long. The namesake (originally played by Warwick Davis) has gone to L.A., Las Vegas, space, and the ‘hood (not once but twice). And after an eleven-year holiday since the Davis era ended, the character received a drastic makeover in a now-unmentionable reboot. The critical failure of said film would have implied it was time to pack away the green top hat and shillelagh, and say goodbye to the nefarious imp. Instead, the Leprechaun series tried its luck again.
The general consensus for the Leprechaun films was never positive, and the darker yet blander Leprechaun: Origins certainly did not sway opinions. Just because the 2014 installment took itself seriously did not mean viewers would. After all, creator Mark Jones conceived a gruesome horror-comedy back in the early nineties, and that format is what was expected of any future ventures. So as horror legacy sequels (“legacyquels”) became more common in the 2010s, Leprechaun Returns followed suit while also going back to what made the ‘93 film work. This eighth entry echoed Halloween (2018) by ignoring all the previous sequels as well as being a direct continuation of the original. Even ardent fans can surely understand the decision to wipe the slate clean, so to speak.
Leprechaun Returns “continued the [franchise’s] trend of not being consistent by deciding to be consistent.” The retconning of Steven Kostanski and Suzanne Keilly’s film was met with little to no pushback from the fandom, who had already become accustomed to seeing something new and different with every chapter. Only now the “new and different” was familiar. With the severe route of Origins a mere speck in the rearview mirror, director Kotanski implemented a “back to basics” approach that garnered better reception than Zach Lipovsky’s own undertaking. The one-two punch of preposterous humor and grisly horror was in full force again.
With Warwick Davis sitting this film out — his own choice — there was the foremost challenge of finding his replacement. Returns found Davis’ successor in Linden Porco, who admirably filled those blood-stained, buckled shoes. And what would a legacy sequel be without a returning character? Jennifer Aniston obviously did not reprise her final girl role of Tory Redding. So, the film did the next best thing and fetched another of Lubdan’s past victims: Ozzie, the likable oaf played by Mark Holton. Returns also created an extension of Tory’s character by giving her a teenage daughter, Lila (Taylor Spreitler).
It has been twenty-five years since the events of the ‘93 film. The incident is unknown to all but its survivors. Interested in her late mother’s history there in Devil’s Lake, North Dakota, Lila transferred to the local university and pledged a sorority — really the only one on campus — whose few members now reside in Tory Redding’s old home. The farmhouse-turned-sorority-house is still a work in progress; Lila’s fellow Alpha Epsilon sisters were in the midst of renovating the place when a ghost of the past found its way into the present.
The Psycho Goreman and The Void director’s penchant for visceral special effects is noted early on as the Leprechaun tears not only into the modern age, but also through poor Ozzie’s abdomen. The portal from 1993 to 2018 is soaked with blood and guts as the Leprechaun forces his way into the story. Davis’ iconic depiction of the wee antagonist is missed, however, Linden Porco is not simply keeping the seat warm in case his predecessor ever resumes the part. His enthusiastic performance is accentuated by a rotten-looking mug that adds to his innate menace.
The obligatory fodder is mostly young this time around. Apart from one luckless postman and Ozzie — the premature passing of the latter character removed the chance of caring about anyone in the film — the Leprechaun’s potential prey are all college aged. Lila is this story’s token trauma kid with caregiver baggage; her mother thought “monsters were always trying to get her.” Lila’s habit of mentioning Tory’s mental health problem does not make a good first impression with the resident mean girl and apparent alcoholic of the sorority, Meredith (Emily Reid). Then there are the nicer but no less cursorily written of the Alpha Epsilon gals: eco-conscious and ex-obsessive Katie (Pepi Sonuga), and uptight overachiever Rose (Sai Bennett). Rounding out the main cast are a pair of destined-to-die bros (Oliver Llewellyn Jenkins, Ben McGregor). Lila and her peers range from disposable to plain irritating, so rooting for any one of them is next to impossible. Even so, their overstated personalities make their inevitable fates more satisfying.
Where Returns excels is its death sequences. Unlike Jones’ film, this one is not afraid of killing off members of the main cast. Lila, admittedly, wears too much plot armor, yet with her mother’s spirit looming over her and the whole story — comedian Heather McDonald put her bang-on Aniston impersonation to good use as well as provided a surprisingly emotional moment in the film — her immunity can be overlooked. Still, the other characters’ brutal demises make up for Lila’s imperviousness. The Leprechaun’s killer set-pieces also happen to demonstrate the time period, seeing as he uses solar panels and a drone in several supporting characters’ executions. A premortem selfie and the antagonist’s snarky mention of global warming additionally add to this film’s particular timestamp.
Critics were quick to say Leprechaun Returns did not break new ground. Sure, there is no one jetting off to space, or the wacky notion of Lubdan becoming a record producer. This reset, however, is still quite charming and entertaining despite its lack of risk-taking. And with yet another reboot in the works, who knows where the most wicked Leprechaun ever to exist will end up next.
Horror contemplates in great detail how young people handle inordinate situations and all of life’s unexpected challenges. While the genre forces characters of every age to face their fears, it is especially interested in how youths might fare in life-or-death scenarios.
The column Young Blood is dedicated to horror stories for and about teenagers, as well as other young folks on the brink of terror.
You must be logged in to post a comment.