Editorials
Feasting on Fear: The Shared Horror of ‘IT’ and ‘A Nightmare on Elm Street’
New Line Cinema is known as “The House that Freddy Built” because the major success of A Nightmare on Elm Street was a huge boost for their studio and spawned a massive horror franchise that continued to bring financial success. The popularity of the series eventually waned, and New Line set their sights on other lucrative projects in the decades since but have returned in a massive way thanks to the Conjuring franchise. Yet, they seem to have really come full circle with It and It Chapter Two, two halves of a horror story centered around an otherworldly being that uses its victim’s fears as a meat tenderizer before feasting upon their flesh. A description that sounds a lot like fan favorite boogeyman Freddy Krueger, does it not?
Granted, It is an ancient alien creature that precedes civilization. It feasts on human flesh because fear floods the body with the chemical behind fear, therefore making it tasty. Freddy Krueger was a child molester and serial killer in life who returned as a vengeful spirit, drawing strength and power from fear as he slaughtered his victims in their dreams. Krueger is a collector of souls, not flesh. But both It and Krueger are near invincible in their element, and both prey on their victims fears as a means of weakening them.
Every single one of the Losers Club is confronted with their worst fears; guilt over the loss of a brother, parents destroyed in a fire, a repulsive Leper for a germaphobe, a gigantic Paul Bunyan statue, and so on. In A Nightmare on Elm Street, Krueger simply uses scare tactics to gain strength. It’s as the series progresses that he becomes more creative in his dreamscapes and uses fear in a similar way as It. In A Nightmare on Elm Street 3: Dream Warriors, he uses Taryn’s fear of relapse against her. In A Nightmare on Elm Street 5, he uses Greta’s model aspirations and body image anxieties against her by making her literally eat herself to death. By the next sequel, Freddy’s Dead, Krueger put tongue firmly in cheek by incorporating pop culture into his kills.
2017’s It updated the timeline from Stephen King’s source novel by setting it during the ‘80s. The exact decade from which Freddy Krueger emerged. While It, and its preferred shape of choice Pennywise, often tailored its appearance to align with its victim’s deepest fears, director Andy Muschietti didn’t want to get too meta with New Line’s involvement in the film. Meaning It never took on the appearance of Freddy Krueger – even if it was considered at one point in time. But that doesn’t mean visual references didn’t sneak in, in other ways.
There’s the easy to spot Easter eggs, like A Nightmare on Elm Street 5 appearing on the Derry theater marquee during the summer of 1989, or the movie posters. There are also the advanced level Easter eggs. Pointed out by eagle-eyed writer B.J. Colangelo, adult Richie Tozier (Bill Hader) is sporting a shirt that looks an awful lot like the shirt Jesse (Mark Patton) wore in A Nightmare on Elm Street 2: Freddy’s Revenge during that iconic dance scene. Considering Richie’s main arc in It Chapter Two, the similarity is likely not a coincidence.
New Line’s connection to Krueger as well as the time period may have made it easy to insert the Easter eggs, but It’s connection to A Nightmare on Elm Street runs deeper; the timeless nature of fear. Horror is designed to scare and frighten, and the two entities at the center of these movies are essentially fear personified. Evil beings that can manipulate perception and bend the rules of physics to create terror incarnate. Whatever you dream, It and Freddy Krueger can conjure it up in nightmarish form. There’s no limit to their creativity. And that makes for visually exciting horror films, as the Elm Street and It movies have proven decades apart.
Freddy built the house, and you could say Pennywise is doing him proud.
Horror was permanently changed in 1984 when Wes Craven’s A Nightmare on Elm Street unleashed Freddy Krueger on the world. This brutal boogeyman pushed horror to exciting new places, but so much of the character’s impact is the result of Robert Englund’s quintessential performance.
Englund has a long and storied career as a performer that’s covered far more than horror alone. However, there’s such a sublime, sinister synergy between Englund and this heightened genre that’s made him one of horror’s most revered names.
Englund is set to scare audiences again as a malevolent reimagining of Jiminy Cricket in Pinocchio Unstrung, but he’s also been responsible for many more macabre monsters.
The Cricket (Pinocchio Unstrung)
Winnie the Pooh: Blood and Honey has somehow spun a morbid experiment in public domain exploitation into its own cinematic universe, the Twisted Childhood Universe. There’s been increasing promise in the TCU’s various films, which has also led to a growing list of capable horror guest stars, such as Roger L. Jackson, Richard Brake, and now Robert Englund. Englund is by far the most impressive name to attach himself to one of these movies, and Pinocchio Unstrung certainly doesn’t squander the opportunity to have him on board as its terrifying take on Jiminy Cricket. Englund’s performance as “The Cricket” in Pinocchio Unstrung becomes a sinister subversion of the classic character who is meant to function as Pinocchio’s conscience and moral compass.
Englund’s Cricket is instead the ultimate instigator who perpetually pushes Pinocchio into greater violence that condemns humanity and its many misgivings, rather than idolizing all the “real boys” in the world. Pinocchio Unstrung is a love letter to practical effects and old-fashioned animatronics and puppetry. This means that Englund just provides the voice for Cricket, but it’s still a deeply sinister performance and one of the most unnerving characters to appear in the Twisted Childhood Universe. Once again, Englund is careful not to just repurpose his Freddy Krueger persona, and he instead develops an original voice that plays into past renditions of the character. There’s a palpable rage and disdain in Englund’s Cricket that turns him into a threatening loose cannon and makes the audience forget that he’s only a few inches tall.
The Phantom of the Opera (The Phantom of the Opera)
The Phantom of the Opera is a foundational horror story that’s still being explored over a century later. 1989’s cinematic adaptation of Gaston Leroux’s 1910 classic doesn’t always get the respect that it deserves, despite it containing one of Englund’s most nuanced horror performances. Directed by Dwight H. Little, who previously helmed the underrated Halloween 4, The Phantom of the Opera operates as a gorier take on Leroux’s source material that feels like a lost Hammer Film picture. The titular Phantom is the perfect role for Englund following A Nightmare on Elm Street, and his participation in the picture was initiated by Englund promising his agent that he’d do another horror project after Elm Street’s success.
Englund was excited to tackle an iconic character who had previously been portrayed by formative horror legends like Herbert Lom, Claude Rains, and Lon Chaney. Englund beautifully fits the mold and is sublime casting for this ‘80s take on the character. Englund taps into a powerful dichotomy between the Phantom’s brutal and tragically sympathetic nature. It’s a role that’s significantly deeper than Freddy Krueger and better explores Englund’s range as an actor, which helps get him away from cheesy one-liners. It also doesn’t hurt that Little concocts a uniquely twisted take on the Phantom’s disfigurement, which was achieved by sewing human skin onto Englund’s face. The modern-day sequences that bookend the film were meant to tie into a planned sequel, The Phantom of the Opera 2: Terror in Manhattan, which unfortunately never came to fruition.
Victor Creel (Stranger Things)
Love it or hate it, Stranger Things assembled some impressive guest stars that took advantage of their respective legacies as ‘80s genre legends, such as Linda Hamilton, Matthew Modine, Cary Elwes, and Robert Englund. Englund’s turn as Victor Creel in the streaming hit’s fourth season is one of the series’ best performances and a role that rises above the mediocrity around it. Victor Creel is an opportunity for Englund to actually subvert expectations and play against type. It’s brilliant casting that initially conditions the audience to be wary of Creel and view him as a frightening threat. This perception is reinforced when Creel is encountered in a psychiatric ward and horrifically blinded.
Creel’s disturbing eye-gouged appearance is revealed to actually be a symptom of his tragic life and the psychological torment he received from Vecna. Creel is hard to look at, but there’s nothing to fear about him. He’s led a sad life that’s filled with inescapable guilt. He’s more like one of Freddy Krueger’s victims than Freddy himself. Englund goes above and beyond as Victor Creel, and the emotional monologues that he delivers are among some of the actor’s best work and proof that Englund’s still got it.
Marquis de Sade (Night Terrors)
Tobe Hooper’s Night Terrors is a particularly forgettable ’90s horror film that faced a litany of production problems and changes that certainly didn’t do it any favors. The story is a mess, even for a Cannon Video production, but it provides the novelty of Englund pulling double duty as the cruel Marquis de Sade and his modern day descendant, Paul Chevalier. Night Terrors banked on the novelty of Hooper directing Englund as one of history’s greatest monsters, and his performance is easily the best thing about this movie.
There’s an unabashed glee to Englund’s work as the Marquis de Sade that’s reminiscent of Freddy Krueger’s twisted jubilation over his creative murders, yet it doesn’t just feel like a carbon copy of Englund’s iconic role. There’s an appreciated degree of restraint going on before the film goes off the rails and incorporates supernatural elements and abstract dream sequences. Chevalier and his modern cult worship the Marquis de Sade as a deity of torture and liberation. The nightmare sequences that involve the Marquis de Sade are the most chilling and make this figure look as frightening on the outside as he is on the inside. There’s enough to latch onto here, even if the film as a whole is a mess, and Englund doesn’t squander the opportunity to play two sides of the same creepy coin.
Scarecrow (Injustice 2)
Robert Englund is no stranger to voiceover work, and he’s voiced his share of macabre and memorable characters over the years. That being said, one of his most inspired roles is the work that he did in NetherRealm’s dark DC Comics-based fighter, Injustice 2, where he plays Jonathan Crane, better known as the Scarecrow. There’s a certain tongue-in-cheek brilliance to having Englund voicing the Batman rogue who is the self-appointed “Master of Fear.” There’s certainly a meta quality to Englund’s casting here, right down to how some of his dialogue explicitly references Freddy Krueger one-liners like “Welcome to your nightmare” and “Now I’m playing with power.”
Englund doesn’t just phone in this performance or replicate his work as Freddy. The actor cultivates a unique voice for Scarecrow that cuts to the core of this character in a menacing manner. Englund’s Scarecrow is raspy, erratic, and honestly one of the better takes on Dr. Crane. It makes one wonder what he’d be able to accomplish if he were playing the part in live-action. He takes a simple role and breathes fresh life into it. Curiously, it’s not his first time playing a Batman villain. He does comparably interesting work as The Riddler in The Batman and the more obscure sorcerer, Felix Faust, in Justice League.
Evil Bloodthirsty Brian (The Hughleys)
There’s a surprising relationship between horror icons and sitcoms, with Robert Englund being no stranger to adding a devious dose of terror to a farcical comedy. Englund shows up as a playful take on Lucifer in Married…with Children, but he also provides a genuinely chilling performance in the first season of The Hughleys. Season one’s “Storm O’ the Century” is centered around the Hughleys and Rogerses getting stranded at a seemingly haunted hotel during an intense blizzard.
“Storm O’ the Century” functions as a proper love letter to horror fans, with genre guest stars that include The Addams Family’s John Astin, The Shining’s Shelley Duvall, and Robert Englund as the comically-named Evil Bloodthirsty Brian. The episode certainly prioritizes its comedy, but it manages to also be legitimately creepy thanks to a locked-in performance by Englund. He’s used sparingly, but always to punctuate a particular scene and function as a jump scare. Evil Bloodthirsty Brian sports a ghastly scar and has a look that’s just frightening enough to be included on a ’90s sitcom. Anyone who is curious about Englund’s performance can check it out for free on Tubi.
You must be logged in to post a comment.