Editorials
Celebrating 30 Years of Wes Craven’s ‘The Serpent and the Rainbow’
Looking back through Wes Craven’s filmography, the realization of just how ambitious he was as a director and artist hits hard. While his voice was always distinct, he consistently sought to try something new and different. From the grimy exploitation of The Last House on the Left to the self-referential teen horror classic Scream, Craven’s clear pulse on the ever-changing horror genre continues to make his loss immeasurable. Perhaps one of his most ambitious projects ever was The Serpent and the Rainbow, released 30 years ago in theaters on February 5, 1988.
The opening card describes the Serpent as voodoo symbolism for the Earth and the Rainbow as Heaven, which means everything living exists between the two. It’s an ironic parallel for the film as a whole; Wes Craven’s film exists in a strange in-between of horror and adventure. Released between directorial efforts Deadly Friend and Shocker, The Serpent and the Rainbow was far more serious in tone. Craven also didn’t intend for it to be a horror film at all. Based on the non-fiction book of the same name by Wade Davis, and adapted for screen by Richard Maxwell and Adam Rodman, Universal Pictures pressed for more horror based on Craven’s usual work. The result is a sort of a grim Indiana Jones-like adventure narrative set against the tense backdrop of deep political unrest with a lot of brilliant gruesome horror moments and imagery. The plot is simple; an archaeologist heads to Haiti to get to the bottom of rumors that there’s a drug used by Voodoo practitioners that turns people into zombies.
While the political unrest of Haiti played prominently in the story, it existed simultaneously during filming as well. While the cast and crew initially began filming there, the government let them know they couldn’t guarantee their safety during the shoot, and so they had to relocate to the Dominican Republic. Because they filmed on location, there’s a lot of authenticity in the film, especially where the extras are concerned. Much of the scenes featuring Voodoo practitioners are real; the behind the scenes featurette on Scream Factory’s fantastic special edition release reveals that the scene that features a woman eating broken glass was a legit practitioner in a trance.
The insane setting during filming and the realism of the Voodoo practitioners used on screen was further enhanced by the father and son FX duo Lance and Dave Anderson. The creepy ghost bride with the snake in her mouth, the decimation of protagonist Dennis Alan’s few allies, and the surrealistic nature of Alan’s nightmares were bolstered by fantastic practical effects crafted by the Andersons, with Craven taking a hands-on approach in their work for the film.
The Serpent and the Rainbow is the type of film made better by happenstance; Davis originally sold the rights to his book on the condition that Peter Weir helm the project and that it star Mel Gibson as hero Dennis Alan. When neither happened, the film shifted into something else entirely when Craven signed on. Dennis Alan likely became a much more endearing, likable character in the capable hands of then-newcomer Bill Pullman. Pullman turned out the type of committed performance that made Alan an intelligent fish-out-of-water that played well to the narrative, whereas it’s easy to imagine that Gibson would’ve turned the character into another ‘80s action hero.
Between the stunning locations, the commitment for realism in hiring actual Voodoo practitioners, the gorgeous work by cinematographer John Lindley, Craven’s desire to turn out a much more sophisticated film, the great effects work, and a stellar cast, The Serpent and the Rainbow is an underrated masterpiece that endures the test of time. As with most things that Craven worked on, studio interference that he add flourishes more on brand with his name, i.e. horror, meant a very different film than what he originally set out to do. Yet, he took those studio mandates and applied them in a way here that meant a much more refined film than what Universal likely expected from the director of Deadly Friend.
It’s bittersweet now to watch The Serpent and the Rainbow, whose entire premise hinges on a zombification drug and cheating death, and think of Craven. A true master of horror with a long roster of films that worked, regardless of style of tone, because of his absolute sincerity given to each and every one of them. Very few directors have many films in their roster that stands up to time well, and Craven is one of them. The Serpent and the Rainbow is still just as effective as it was 30 years ago, and here’s to 30 years more.
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.
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