Il tunnel dell'orrore

Every time I'd see this film pop up on a streaming service I'd skip it because it has a low rating. I've seen some reviews say the first half is boring and has no direction, but I think that's what makes this movie great.

The first half of the film does a great job at making you feel the atmosphere of the carnival. You get to see how a night out with these characters is like, it felt very natural almost as if you're there hanging out with them. As the night goes on things begin to take a sinister turn and things just keep escalating from there on.

If you appreciate 80s horror I would highly recommend you watch this film and be your own judge. Sometimes the directors want to put you in the front seat with the characters and I think they did an awesome job. Just sit back and enjoy the night out at The Funhouse.

Fast-paced and atmospheric thriller set in and around the carnival midway. Two couples visiting the local traveling carnival decide to spend the night in The Funhouse and fool around as a lark. After witnessing a murder, they become the targets of a deformed maniac and his barker dad who are determined they will not leave to report it to the police. I read the Owen West (aka Dean Koontz) novelization back in the day, which was infinitely more padded with back story, abortion issues, religious fanaticism, and a rather Byzantine attempt to link the heroine and her younger brother to the killers before they ever set foot on the midway. Mercifully, the film abandons all of the excess baggage and strips the story done to the bare essentials. I enjoy Tobe Hooper's direction here much more so than that shown in the original Texas Chainsaw Massacre as it seems we are seeing a much more polished effort. He nicely establishes the atmosphere of the midway, which by turns is colorful and sordid. The central characters are nicely delineated (although due to the abandoning of the subplots from the novelization, Shawn Carson's younger brother seems like a fifth wheel rather than integral to the story) and well played by an appealing cast. They seem like credible and overwhelmed young people rather than fodder for the axing. Lead Elizabeth Berridge, in particular, has a nice girl next door quality and radiates a resourcefulness through her terror without ever seeming like either Superwoman or a victim. The make-up for the primary killer is particularly effective and novel. The film builds up a substantial head of steam before going for broke in a wild Grand Guignol climax. The score is also worth mentioning as it provides a very effective counterpoint to the action. Ironically, this film is rarely mentioned by horror fans, having been buried amid the morass of Friday the 13th clones that proliferated in this period, but it is definitely one that should be rediscovered.

A deformed killer is stalking a group of teens at a carnival because they saw him murder a prostitute. Heavens to Murgatroyd! Director Tobe Hooper, responsible for one of the greatest horror movies of all time (TCM) and at least partially responsible for another (Poltergeist), takes a stab (ha!) at the '80s slasher craze. On the surface it seems like just another "mental defective/weirdo/lunatic" goes on a killing spree movie. Those were hardly rare in the '80s. But it's put together well with stylish direction and ample amounts of suspense. The cast is decent with Elizabeth Berridge doing a fine job as the Final Girl. She also has a nice nude scene at the start of the movie, for all the breast enthusiasts out there. The main flaws with the movie are the pacing in the first hour and the overall familiarity of the material. Still, it's worth a look if you like '80s horror.

A much glossier and classier film than most of Tobe Hooper's films that came before it. You can tell this was the first time he was playing with big studio money and the film looks beautiful, but it does lack some of the grit and intensity of his early work. The special makeup effects for the lead monster are terrific.

Along with every other horror fan out there, I have been puzzling about Tobe Hooper. Texas Chainsaw features highly in my list of favorite films. At least two of his other films are really worthwhile, one of them right here. But, it all quickly unraveled for him and by the time he had moved on to Cannon in the mid-80's, he was pretty much over as a filmmaker. I think the crux of the problem is that he was not Hollywood material. He seems to have been a shy and almost asocial presence on his own sets, a kind of droopy, charmless guy, bullied off The Dark by the crass Kinski, sidestepped in Poltergeist by the more agile Spielberg, which can be viewed in Europe as the kind of quality that signifies an artist, but the Hollywood environment requires someone to direct the crowded set and costly , complicated production, and that means energetic decision-makers of some persuasive wit and strong character.

You see, he did not come up through the Hollywood system at all. He was a documentary cameraman in the 60's and you can see that in his best work. He did Chainsaw in a close circle of friends, away from Hollywood fanfare. It just didn't seem like he could muster the ego for necessary friction to see that vision through (the drug problems were probably ways to cope with that). His own fault was that he couldn't find it in him to cut out on his own.

At any rate, I consider Hooper our loss. The guy had a genuine vision and that vision is prized by me, even snippets of it like we have here.

Here's an easy riddle: the film is typical in the slasher vein about a group of teens stranded after-hours in a funhouse. Its singular call to fame now is that it was once part of that notorious list of Nasties. Now that list is dumb and arbitrary in a number of ways, but why this nearly bloodless film? Why not Friday the 13th?

But of course for the same reason that Texas Chainsaw got an R rating. The very fabric and walls of the thing are violence.

Oh, a lot of what's inside including the storyline and bad guys is silly or simply mediocre, and mainly put together from bankable horror elements, from jump-scares to ruby-red color filters, which is after all the gist of a funhouse: the horror house is fun because you anticipate the elements and staging, and look forward to this being controlled around you. The opening that slyly takes us from a re-enactment of famous scenes in Halloween and Psycho through a Frankenstein poster on the wall to Bride of Frankenstein playing on TV, is Hooper's way of commenting on the redressing of spare parts he's going to use.

That's fun and really a lot of the film is, but not genuine vision. Hooper's vision is something more powerful than either Carpenter or Argento, both effective in other respects, were doing on this level, and that is the place itself is causing evil. It was dumbed-down by Spielberg in Poltergeist - written by him but a Hooper-originated project - as an actual force in the walls, and all sorts of gizmos and movie effects were brought around to clarify. But it was something altogether different to a 'haunted house' effect in its original conception.

Chainsaw is the most pure in this regard. But, it's a recurring feature in Eaten Alive, Salem's Lot, Poltergeist, and this. Hooper explained it as a 'physical sensation' he was after. I think it's something more he achieved.

There is violent energy in the gears and walls of the world, and it's the turning of those gears much more than storybased character decisions that control and manifest the energy as a kind of semiconscious , animal evil in the narrative of the film.

You can observe that the 'Funhouse' extends and anticipates the actual physical place (opening scene - dog - shotgun guy). It's something mischievous in the air. In our film, all of it is centered on a imaginative kid on his way to the scary place. That kid is scared out of consciousness. Shots of the unconscious kid are intercut with shots of the terrified teenagers trapped inside the maze. And there is the enigmatic shot of the boy saying nothing about that to the parents.

This is brilliant. The boy pulled a prank and expects one back from his sister, the cosmic prank that shatters lives is the universe conspires to stage the real thing.

Nothing of this registers directly, because we are distracted by the much more ordinary monster in the narrative (initially Frankenstein).

The entire last 20 minutes are a zap of cinematic energy from these cosmic gears that create and destroy the monster that is the prank that throws the world helter skelter (the finale takes place in a staging area full of gears).

Why? Because the god of the machine is watching (as the old crone cackles about) and wants to be amused.

Make no mistake, this is the sister film to Texas Chainsaw.