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Battle of the Birthdays: ‘Bloody Birthday’ Vs. ‘Happy Birthday to Me’

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Bloody Birthday Vs. Happy Birthday to Me

An interesting phenomenon that can occur in Hollywood is when two movies with roughly the same plot are released in the same year by different studios. These films, as I have recently learned, are called “twin movies.” Look at 1997 when Dante’s Peak and Volcano were released within three months of each other. Or in 1998 when Deep Impact and Armageddon were released within two months of each other (Deep Impact is the better movie by the way. I don’t care what anyone says.).

Anyway, I turned 27 a few weeks ago and rather than go out and party I decided to stay in and watch two birthday-themed horror movies. I’m a rebel, I know. Little did I know that Happy Birthday to Me and Bloody Birthday were released a mere two weeks apart from each other. Bloody Birthday was released on April 28, 1981 and Happy Birthday to Me was released on May 15, 1981. Those of you who are online super-sleuths know that the United States didn’t get to see Bloody Birthday until 1986, but that’s a technicality I’m willing to overlook in the interest of having a hook for this brief piece. My question to you is this: Which is the better film? Let’s begin.

If you want to skip reading the long article, I’ll spoil the verdict for you right now (highlight the text to see): Happy Birthday to Me is the better film. Bloody Birthday is a big ol’ turd. 

***SPOILERS FOR 35-Year-Old Films Below***

Happy Birthday to Me

Happy Birthday to Me is one of the more popular holiday-themed slashers to crawl out of the 80s, and it’s very clearly a ripoff of Friday the 13th, since it was released just over a year later. Interestingly enough, Freddy Vs. Jason would rip off this film in the subplot regarding main character Ginny fighting with her father over her dead mother. Just watch the first scene where they argue after Ginny comes home late and tell me it doesn’t bear a striking resemblance to the scene where Laurie (Monica Keena) argues with her father (Tom Butler). Sporting the catch tagline “Six of the most bizarre murders you will ever see,” Happy Birthday to Me had an interesting hook, though it does spoil the shish kebob death in its poster. As a matter of fact, it spoils three of those six “bizarre” deaths in the poster, though it gets the names mixed up since it’s Etienne who gets killed with his motorcycle and Steven who gets the shish kebob shoved through his head (maybe as a way to throw the audience off, but I refuse to give the marketing team that much credit).

Happy Birthday to Me

The score is a simple blend of piano tunes, that actually reminded me a lot of the main theme from Valentine. Well, I suppose I should say that the main theme from Valentine reminds me a lot of the main theme from Happy Birthday to Me, but you get what I’m saying. It’s sufficiently creepy though and definitely gets the point across.

That being said, at no point is Happy Birthday to Me particularly scary. That may just be because it hasn’t aged as well as something like Halloween has, but at no point does it ever truly terrify. What the film does do well, however, is provide a decent buildup. At an arguably too-long 110 minutes, Happy Birthday to Me spends a lot of time with its character development. Most of this time is devoted to Ginny, whom the film consistently wants us to believe is the killer, but more on that in a bit.

The plot is inventive yet simple: Ginny (Little House on the Prairie’s Melissa Sue Anderson, in a rather controversial bit of casting), is about to celebrate her 18th birthday, and she plans on inviting members of the Top Ten (of which there are less than ten members, so there’s that), an elite clique comprised of the richest and douchiest teenagers at her school. In the days leading up to her birthday, the members of the Top Ten begin getting murdered one by one. As the film progresses, Ginny begins having flashbacks to her previous birthday, where her mother drove them off a bridge after going on a bender when the Top Ten members chose to go to Ann’s (a member of the Top Ten) birthday party instead of Ginny’s.

One surprising (and maybe even commendable) aspect of Happy Birthday to Me is that there is absolutely no nudity of any kind in the film. Maybe it’s because of the casting of Anderson, but whether it was a conscious decision or not to have no sex scenes or nudity in the film, it raises its status in terms of maturity as a slasher film.

The deaths are actually very well done in Happy Birthday to Me. The opening kill is a throat slash, but the real treat in this kill is that the character does something that I always wish characters would do when they are being strangled: pretend to die mid-strangulation and then make a break for it when the killer’s guard is down. It’s something that should happen in more films, but I digress. You’ve got a character who gets his scarf thrown in the spoke of his motorcycle (in an homage to Isadora Duncan’s death). Another gets his neck crushed with weights in what is possibly the film’s most gruesome kill (seriously, the blood sprays everywhere). Then you’ve got a stabbing, the aforementioned shish kebob in the mouth and a supposed drowning that happens off screen.

All of the deaths are quite fun and appropriately gruesome and tons of fun, but I would like to go back to the off-screen death of Ann, whom Ginny finds drowned in the bathtub. It is the film’s major misstep, as Ann is revealed to be the killer. It’s understandable why the creators had thought this wouldn’t be an issue or raise a red flag as to the killer’s identity. After all, we had actually seen “Ginny” murder two people prior to her finding Ann’s body, which brings us to the ending of the film.

Happy Birthday to Me received a fairly negative reception upon its initial release in 1981, but it has since grown a rather large cult following among horror enthusiasts, and this is mostly because of it’s bonkers ending. The ending in its entirety is not available on YouTube, but here is what happens: After “Ginny” kills several people (in what the film tries to pass off as multiple fugue states), her father walks into the cottage that serves as her family’s guest quarters to find a table surrounded by the corpses of all of the deceased Top Ten members. “Ginny” is also at the table, and she proceeds to slit her father’s throat as he cries over what his “daughter” has become. Then, one of the corpses at the table sits up. It’s the real Ginny! After a brief scuffle, Ginny rips off “Ginny’s” face, which turns out to be an elaborate mask (straight out of Mission: Impossible) that Ann is wearing. You see, Ann is all pissy because her mother slept with Ginny’s father years ago and she is actually Ginny’s half sister. It tore her family apart and she blames Ginny for it (this makes no sense, by the way).

It’s all rather silly, but the sheer ridiculousness of it works in the films favor, as it almost makes you forget the moments that dragged before. It is definitely more memorable than the original ending, which had Ginny be possessed by the spirit of her vengeful mother. Is Happy Birthday to Me a good movie? Not particularly, but it is a lot of fun and it is highly entertaining, even at an overly long 110 minutes. The movie even “goes there” by having Ginny go insane in the film’s closing moments as a detective walks in to see Ginny standing over the corpses of all of her friends.

Bloody Birthday

Imagine my surprise to find out that Bloody Birthday isn’t actually a slasher film, but rather an evil child film (the kids are murderers, but I would still consider the film part of the evil child sub-genre over the slasher sub-genre). This was my first time viewing Bloody Birthday and I went in totally blind, but that didn’t necessarily make me enjoy the film. Although I probably could have just looked at the poster and been clued in by its tagline.

Bloody Birthday Poster

In a plot straight out of Village of the Damned (or its source novel The Midwich Cuckoos), three children (Debbie, Curtis and Steven) are born at the exact same time during a solar eclipse. Little do the town inhabitants know that Saturn was also blocked during the solar eclipse, and Saturn is the planet that controls the way a person treats other people. Since it was blocked, those three children were born murderous psychopaths with the inability to feel empathy for anyone else and they go on a murderous rampage for absolutely no reason (I swear I’m not making this up).

Aside: Village of the Damned isn’t the only thing Bloody Birthday rips off, as there are scenes and shots lifted directly from John Carpenter’s Halloween. I’m referring specifically to the scenes where Joyce and Beverly (80s darling Julie Brown) are walking to school. You may be able to get by with calling it an homage, but it legitimately looks like a direct copy of Carpenter’s classic. End of aside.

The rest of the movie shows all of the different ways the kids murder people (the first of which is Debbie’s father, who is also the sheriff), as every other character turns a blind eye to the proceedings. Towards the end of the film, lead character Joyce (Lori Lethin) and her younger brother Timmy begin to suspect the trio of deviants and attempt to let the rest of the town know, but their cries for help frustratingly fall on deaf ears.

Unlike Happy Birthday to MeBloody Birthday features a fair amount of nudity, from both the male and female sexes. It’s actually kind of respectable (ha ha) to see the film feature male nudity as much as they do female nudity. Of course, the bulk of the nude scenes go to Beverly, who is completely game for all of the gratuitous boob shots. None of this is really important to the quality of the film, it’s just an observation.

The kids do a lot of messed up shit, but it’s all rather childish (sorry). Every trick they pull has an easy way out of it and every single one of the teenagers and adults who fall prey to their shenanigans comes off as incredibly stupid for not being able to just kick the crap out of the little bastards. One perfect example of this is when Timmy and Curtis get in a car and chase after Joyce, who can apparently only run in straight lines, in a junkyard. They chase her so, so slowly. It’s absolutely hilarious and has to be seen to be believed, so here:

For being a horror film, there isn’t a lot of carnage that happens on screen. The film certainly lacks the creativity of Happy Birthday to Me. The deaths consist of bludgeonings with baseball bats, gunshot wounds, strangulation by jump rope, etc. The only memorable death of the bunch is Beverly’s death, in which Debbie shoots her in the eye with an arrow. Other than that it’s slim pickings for gorehounds.

Another point of contention many may have with the film is that the sociopathic children don’t even get a comeuppance. Sure, Steven and Curtis get arrested, but that bitch Debbie gets away scot-free! The final shot sets up a sequel (that would never come to fruition), so the viewer is left feeling unsatisfied. I’m not saying all films need a happy ending with closure, but in this case it would have been nice.

One could argue that Bloody Birthday isn’t trying to be a good film. That may certainly be the case. It may be going for more of a midnight movie vibe, but that doesn’t change the fact that it still isn’t very good that quite honestly comes off as pretty lazy filmmaking. It’s really not even that entertaining, as it inspires more frustration in the audience than interest. You’ll be so frustrated with the stupidity of every character over the age of 10 (no one ever suspects the children of being the culprits) that you won’t be able to enjoy the film.

Winner: Happy Birthday to Me

There wasn’t really a reason for me to write 2,500 words on this topic. It’s sort of a no-brainer. Happy Birthday to Me is definitely the better film. Don’t take my word for it though, watch them for yourself! If you’ve already seen them both, what are your thoughts on this debate? Let me know in the comments below or shoot me a Tweet!

A journalist for Bloody Disgusting since 2015, Trace writes film reviews and editorials, as well as co-hosts Bloody Disgusting's Horror Queers podcast, which looks at horror films through a queer lens. He has since become dedicated to amplifying queer voices in the horror community, while also injecting his own personal flair into film discourse. Trace lives in Austin, TX with his husband and their two dogs. Find him on Twitter @TracedThurman

Editorials

‘Immaculate’ – A Companion Watch Guide to the Religious Horror Movie and Its Cinematic Influences

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The Devils - Immaculate companion guide
Pictured: 'The Devils' 1971

The religious horror movie Immaculate, starring Sydney Sweeney and directed by Michael Mohan, wears its horror influences on its sleeves. NEON’s new horror movie is now available on Digital and PVOD, making it easier to catch up with the buzzy title. If you’ve already seen Immaculate, this companion watch guide highlights horror movies to pair with it.

Sweeney stars in Immaculate as Cecilia, a woman of devout faith who is offered a fulfilling new role at an illustrious Italian convent. Cecilia’s warm welcome to the picture-perfect Italian countryside gets derailed soon enough when she discovers she’s become pregnant and realizes the convent harbors disturbing secrets.

From Will Bates’ gothic score to the filming locations and even shot compositions, Immaculate owes a lot to its cinematic influences. Mohan pulls from more than just religious horror, though. While Immaculate pays tribute to the classics, the horror movie surprises for the way it leans so heavily into Italian horror and New French Extremity. Let’s dig into many of the film’s most prominent horror influences with a companion watch guide.

Warning: Immaculate spoilers ahead.


Rosemary’s Baby

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The mother of all pregnancy horror movies introduces Rosemary Woodhouse (Mia Farrow), an eager-to-please housewife who’s supportive of her husband, Guy, and thrilled he landed them a spot in the coveted Bramford apartment building. Guy proposes a romantic evening, which gives way to a hallucinogenic nightmare scenario that leaves Rosemary confused and pregnant. Rosemary’s suspicions and paranoia mount as she’s gaslit by everyone around her, all attempting to distract her from her deeply abnormal pregnancy. While Cecilia follows a similar emotional journey to Rosemary, from the confusion over her baby’s conception to being gaslit by those who claim to have her best interests in mind, Immaculate inverts the iconic final frame of Rosemary’s Baby to great effect.


The Exorcist

Dick Smith makeup The Exorcist

William Friedkin’s horror classic shook audiences to their core upon release in the ’70s, largely for its shocking imagery. A grim battle over faith is waged between demon Pazuzu and priests Damien Karras (Jason Miller) and Lankester Merrin (Max von Sydow). The battleground happens to be a 12-year-old, Regan MacNeil (Linda Blair), whose possessed form commits blasphemy often, including violently masturbating with a crucifix. Yet Friedkin captures the horrifying events with stunning cinematography; the emotional complexity and shot composition lend elegance to a film that counterbalances the horror. That balance between transgressive imagery and artful form permeates Immaculate as well.


Suspiria

Suspiria

Jessica Harper stars as Suzy Bannion, an American newcomer at a prestigious dance academy in Germany who uncovers a supernatural conspiracy amid a series of grisly murders. It’s a dance academy so disciplined in its art form that its students and faculty live their full time, spending nearly every waking hour there, including built-in meals and scheduled bedtimes. Like Suzy Bannion, Cecilia is a novitiate committed to learning her chosen trade, so much so that she travels to a foreign country to continue her training. Also, like Suzy, Cecilia quickly realizes the pristine façade of her new setting belies sinister secrets that mean her harm. 


What Have You Done to Solange?

What Have You Done to Solange

This 1972 Italian horror film follows a college professor who gets embroiled in a bizarre series of murders when his mistress, a student, witnesses one taking place. The professor starts his own investigation to discover what happened to the young woman, Solange. Sex, murder, and religion course through this Giallo’s veins, which features I Spit on Your Grave’s Camille Keaton as Solange. Immaculate director Michael Mohan revealed to The Wrap that he emulated director Massimo Dallamano’s techniques, particularly in a key scene that sees Cecilia alone in a crowded room of male superiors, all interrogating her on her immaculate status.


The Red Queen Kills Seven Times

The Red Queen Kills Seven Times

In this Giallo, two sisters inherit their family’s castle that’s also cursed. When a dark-haired, red-robed woman begins killing people around them, the sisters begin to wonder if the castle’s mysterious curse has resurfaced. Director Emilio Miraglia infuses his Giallo with vibrant style, with the titular Red Queen instantly eye-catching in design. While the killer’s design and use of red no doubt played an influential role in some of Immaculate’s nightmare imagery, its biggest inspiration in Mohan’s film is its score. Immaculate pays tribute to The Red Queen Kills Seven Times through specific music cues.


The Vanishing

The Vanishing

Rex’s life is irrevocably changed when the love of his life is abducted from a rest stop. Three years later, he begins receiving letters from his girlfriend’s abductor. Director George Sluizer infuses his simple premise with bone-chilling dread and psychological terror as the kidnapper toys with Red. It builds to a harrowing finale you won’t forget; and neither did Mohan, who cited The Vanishing as an influence on Immaculate. Likely for its surprise closing moments, but mostly for the way Sluizer filmed from inside a coffin. 


The Other Hell

The Other Hell

This nunsploitation film begins where Immaculate ends: in the catacombs of a convent that leads to an underground laboratory. The Other Hell sees a priest investigating the seemingly paranormal activity surrounding the convent as possessed nuns get violent toward others. But is this a case of the Devil or simply nuns run amok? Immaculate opts to ground its horrors in reality, where The Other Hell leans into the supernatural, but the surprise lab setting beneath the holy grounds evokes the same sense of blasphemous shock. 


Inside

Inside 2007

During Immaculate‘s freakout climax, Cecilia sets the underground lab on fire with Father Sal Tedeschi (Álvaro Morte) locked inside. He manages to escape, though badly burned, and chases Cecilia through the catacombs. When Father Tedeschi catches Cecilia, he attempts to cut her baby out of her womb, and the stark imagery instantly calls Alexandre Bustillo and Julien Maury’s seminal French horror movie to mind. Like Tedeschi, Inside’s La Femme (Béatrice Dalle) will stop at nothing to get the baby, badly burned and all. 


Burial Ground

Burial Ground creepy kid

At first glance, this Italian zombie movie bears little resemblance to Immaculate. The plot sees an eclectic group forced to band together against a wave of undead, offering no shortage of zombie gore and wild character quirks. What connects them is the setting; both employed the Villa Parisi as a filming location. The Villa Parisi happens to be a prominent filming spot for Italian horror; also pair the new horror movie with Mario Bava’s A Bay of Blood or Blood for Dracula for additional boundary-pushing horror titles shot at the Villa Parisi.


The Devils

The Devils 1971 religious horror

The Devils was always intended to be incendiary. Horror, at its most depraved and sadistic, tends to make casual viewers uncomfortable. Ken Russell’s 1971 epic takes it to a whole new squeamish level with its nightmarish visuals steeped in some historical accuracy. There are the horror classics, like The Exorcist, and there are definitive transgressive horror cult classics. The Devils falls squarely in the latter, and Russell’s fearlessness in exploring taboos and wielding unholy imagery inspired Mohan’s approach to the escalating horror in Immaculate

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