Horror Movies Against War
Image by Kevin Woblick.
I am a lifelong antiwar activist and a diehard horror movie buff. A lot of people seem to find those two facts to be a contradiction, and I guess on the surface I can comprehend their confusion. Showing up to a Free Gaza rally in a Blood Feast t-shirt does seem to send some mixed messages. However, at their finest, horror films must be understood as unflinching investigations into what terrifies society most and nothing should be more terrifying to society than war.
This is why some of the most influential movies of the genre, some of the movies that form the very foundation of what every day Americans think of when they think scary movies, are actually the byproduct of the Anti-Vietnam War Movement.
Vietnam was a real-life horror movie, the first modern war that America lost badly played out on live television too quickly to be censored for public consumption. The empire was stripped bare every evening at six for the hideous, brutish thing that it was, and this spectacle irreversibly altered the DNA of American culture on a very fundamental level. In many ways, it temporarily radicalized pop culture as we knew it and horror movies were far from an exception.
One of the least understood consequences of this cultural Vietnam syndrome was the invention of the modern-day slasher film. The first and debatably most influential picture of that grotesque oeuvre was the 1974 grindhouse classic, The Texas Chain Saw Massacre.
Most of the oft repeated tropes were in place; five teenagers stranded in the middle of nowhere being stalked by a psychopath in a mask. But anyone who has actually seen this film can tell you that there is something unsettlingly different about its delivery. The entire thing feels raw and almost intimate in its depiction of young tourists at the mercy of a hostile and alien environment. The sticks and weeds of the unforgiving Texas scrublands seem to conspire with the killers and there is a pervasive feeling that we shouldn’t be watching this even as we can’t look away.
That’s because director Tobe Hooper shot the film specifically to look like the war footage that kept him up at night. This is also what convinced the young director to cast the monsters of this movie as a perverted portrait of the average American family, literally clamoring for blood at the supper table from their deranged young son, armed to the teeth with a power tool and concealing himself beneath the flesh of his own victims.
But The Texas Chain Saw Massacre wasn’t the first bloodbath with roots that reach from the My Lai Massacre to Elm Street. One of horror cinema’s most influential auteurs and the man behind Freddy Krueger, Wes Craven, got his start shooting shocking and grotesquely misunderstood exploitation films that attempted to make sense of the horrors of Vietnam much the way that Tobe Hooper’s Texas Chain Saw Massacre did.
Craven’s 1972 directorial debut, The Last House on the Left, was also deeply influenced by the horrors on the evening news with a story loosely based on Ingmar Bergman’s Virgin Spring. A pair of teenage girls are kidnapped and brutalized by a gang of fugitive psychopaths who then unwittingly seek shelter in the nearby house of one of their slain victims’ parents. When the parents discover the crime and the criminals in their midst, they prove themselves to be every bit as capable of savagery in the service of revenge.
There are two messages to be learned by this ugly story. The first is that a society defined by violence has no right to be shocked when that violence shows up unannounced on their doorsteps. In the early seventies, Wes Craven was baffled by a nation that had found itself in the midst of a gruesome crimewave but didn’t seem capable of making the connection that perhaps this was merely a reflection of the violence that their own government was committing on a daily basis in the jungles of Indochina.
The second uneasy lesson from this deeply uneasy picture is that anyone can become the monster in their own horror movie once they begin defending violence as a means justified by its ends.
Craven explored this theme further in his 1977 follow up to Last House on the Left, The Hills Have Eyes. This time a normal suburban family find themselves stranded in the barren Nevada desert where they are preyed upon by savage mutants. But once again, this films power comes in the form of two revelations which come far too late. The first revelation being that the mutants these milquetoast Nixonites encounter are in fact the desperate and deranged byproduct of nuclear testing committed by their own nation’s military.
The second is that these upstanding Americans find themselves as capable of the same kind of savagery when they too are tormented by forces that defy their comprehension. By the final scene the lines between the good guys and the bad guys become so severely blurred that the film can only end in still shots that fade to red.
Sadly, like much of the American counterculture of that era, the slasher film found itself a victim of commercial assimilation and so did Tobe Hooper and Wes Craven for that matter. But the greatest contribution that the antiwar movement made to horror cinema has to be the zombie movie and this subgenre continues to serve as a pliable tool for social criticism on a shoestring budget. We have the late, great George Romero to thank for this.
While this Rust Belt cult icon made scores of terrifying pictures over the decades, he is most notorious for the original trilogy of his Living Dead series. The truly fascinating thing about these movies is that they are all monster movies in which the actual monsters serve largely as a faceless backdrop for the evils of average human beings who find themselves embattled, isolated, and surrounded by an unstoppable force.
This template was set by 1968’s Night of the Living Dead, in which seven strangers hold up in a vacant farmhouse when they find themselves inexplicably surrounded by man-eating corpses who have risen from their graves to lurk and feast. But it doesn’t take long for those strangers to find greater conflict between each other than their shared enemy.
This scenario was inspired not only by the Vietnam War but by the fact that in the midst of this holocaust, America found itself hopelessly at war with itself with the violence that erupted across the country after the failures of the Civil Rights Movement. It is particularly telling that the closest thing to a hero that this movie has is a Black man named Ben (brilliantly played by Duane Johnson) who manages to survive the onslaught of the living dead only to be shot dead by the posse of heavily armed white men allegedly there to rescue him.
Romero expands upon this theme with the sequels, 1978’s Dawn of the Dead and 1985’s Day of the Dead, each with a new batch of stranded survivalists attempting to make sense of an increasingly senseless apocalyptic American landscape.
In Dawn of the Dead, the unlucky survivors manage to isolate themselves in the luxury of an abandoned shopping mall only to find themselves crippled and despondent by depression, agoraphobia, and nihilism. Day of the Dead shows a spark of hope in the fact that the undead appear to be evolving into something more human only to have the movie’s hardened warriors double down on their forever war on these creatures that has come to define their existence.
All of these gore fests are really movies about empire, about the horrible things that society can consign itself too in an endless state of constant warfare. The war always comes home, even in a bunker designed to survive nuclear winter, and the zombies always come home to roost. As Nietzsche famously observed, those who fight monsters frequently find themselves reflecting that which they fight.
Many movies have continued to mine this unique post-apocalyptic scenario for gruesome lessons about the banality and inhumanity of western consumer culture today. The best, in my opinion, are Danny Boyle’s 2002 masterpiece 28 Days Later and it’s 2007 sequel by Juan Carlos Fresnadillo, 28 Weeks Later. Both of these movies involve everyday people attempting to survive an apocalyptic, rage-inducing virus by putting their faith and safety into the hands of modern-day standing armies only to find these soldiers to be far more likely to kill the innocent in a crisis than to save them.
This is the horrific world that we now find ourselves in and it’s not just a movie anymore. The western world has found itself held captive by a military industrial behemoth that creates monsters simply to justify its own increasingly nihilistic existence. Francois Truffaut once said that “every film about war ends up being pro-war.” My response is that Francois should have spent less time at Hollywood matinees and more time at the grungy grindhouses of Times Square.
Working class directors slumming it in exploitation cinema new all too well that the only accurate way to capture the horrors of modern warfare is with a monster movie.
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