Of all the films in the Retro Nightmares Cinema Series lineup, Sweet Sixteen likely wins the prize for most obscure. At the time of its original release, the golden era of slashers was waning, and most that were released in 1983 seemed to borrow from previous entries. It didn’t help that Sweet Sixteen was far more interested in the mystery surrounding its killer than reveling in gore. But it was a mystery that worked, and feels tonally and narratively like Sleepaway Camp, which was released only two months after. That’s because both feel more giallo-esque than traditional slasher, and had it not been for being upstaged by the shocking final shot in Sleepaway Camp, Sweet Sixteen might not have slipped through the cracks as it has.
The basic premise sees a new girl, Melissa (Aleisha Shirley), move to town just weeks before her 16th birthday. She’s a bit of a rebellious party girl, though, and any time she meets up with a boy in town, they wind up dead soon after. It’s up to the town sheriff, Dan Burke (Bo Hopkins), to get to the bottom of it before the body count gets any higher. It sounds like a straightforward slasher, not wholly unlike 1981’s Happy Birthday to Me, but it doesn’t play like one.
Though the central driving force of the narrative is centered around Melissa, she’s not the main character. It’s Dan and his two teen kids, Hank and Marci, that become the leads as they sleuth their way through murders and disappearances. Likely because they’re squeaky clean compared to Melissa, something that would land her an early death in any other slasher. Sweet Sixteen itself isn’t very squeaky clean; there’s a lot of dialogue and racism themes that wouldn’t fly at all by today’s P.C. standards.
Most of the racism stems from the subplot involving character Jason Longshadow (Don Shanks), and his family’s ostracization. There’s also mention of an Indian burial ground. Both contribute to the film’s giallo leanings; it’s a level of convolution usually reserved for Italian slashers. More than that, it’s the way director Jim Sotos and cinematographer James L. Carter (Leatherface: Texas Chainsaw Massacre III, The Hitcher) rely on POV shots every time the killer goes into a murderous frenzy. Another signature of the giallo. Above all, though, is the somewhat left field, unpredictable reveal of the killer’s identity that pushes this over into giallo territory.
It’s fitting that Sweet Sixteen and Sleepaway Camp were released in such close proximity to each other; they’re spiritual siblings in many ways (though they are unconnected, to be clear). Both feature POV shots, twist endings, and a murder mystery that takes precedence over most story logic, complete with wacky misdirects and characters. Both have twist endings, too. Though Sweet Sixteen doesn’t have quite as memorable of a final shot as it’s sibling, it’s still a worthy and unique entry in the slasher catalog. And that it’s paired with the even wackier horror comedy The Convent means one night of riotous bloodshed on October 11, 2018.
The Convent and Sweet Sixteen will both be playing as part of Retro Nightmares in theaters Nationwide Thursday, October 11th. Get tickets at www.retronightmares.com.