CELLULOID NIGHTMARES: STAGEFRIGHT (1987)

'Stagefright' is one of those rare films in the horror genre. Widely unseen and overshadowed by the likes of Fulci, Bava and Argento's oeuve, Michele Soavi's debut feature is one of the best slashers ever made. Soavi started his career as an actor in such Italian cult-classics as Lucio Fulci's 'Gates of Hell' trilogy and more notably as the Metropol leaflet guy in Lamberto Bava's 'Demons'. Soavi also went on to train under Dario Argento as an assistant director on 'Tenebrae', 'Phenomena' and 'Opera'. The most startling aspect of Stagefright is that while it might feel oddly familiar, it's refreshingly bold and unique. Although derivative at times, most notably in it's opening act, 'Stagefright' becomes unpredictable and wholly unique. 

A troupe of struggling stage actors are rehearsing for an interpretive dance show, about a mass murderer known as the Night Owl. We are introduced to the cast and crew, all seemingly there for different motivations. The show's leading lady Alicia is trying her best to mask a sprained ankle from her director. Given the small nature of the production, she is fully aware that she could get replaced at anytime. Like all the other actors on the show, they are not there for the artistic integrity of the piece, but there simply to pay the bills. Peter, the show's director wants to push more eroticism and shock value to entice punters. Ferrari, the show's producer however finds himself at odds with the director with the direction the show is heading. Amidst these creative disputes, wardrobe assistant Betty sneaks out of the rehearsal to get medical assistance for Alicia's ankle. The closest medical facility to the theatre happens to be a mental hospital which houses Irving Wallace. Wallace was a former actor who went insane and committed a killing spree. Following in the footsteps of Michael Myers,  Wallace escapes and heads back to the theatre to create his own form of entertainment. When Alicia arrives back, she is fired and replaced almost immediately. Betty also happens to be Wallace's first victim. This leads the director to lock everyone inside the theatre. This isn't merely to protect them but more a case to adjust the script to capitalise off of Betty's untimely demise. 

 

For a supposed throwaway slasher,  Soavi manages to inject a lot of depth into the script. There is a degree of truth to the events, even when things revel into grand guignol levels of splatter. What's really effective is the pacing of Stagefright. Although initially slow in it's set up, the film becomes almost relentless in it's second act. Compared to other slashers in the genre, Wallace has his victims contained. He doesn't toy with them, he knows they can't escape and works through them incredibly quickly. The choices of who dies and who survives are truly surprising, as are the variety of weapons used in the set pieces. Each kill feels unique. This is where the film is strongest. It never gets boring as you literally have no idea who or what is coming next. Wallace himself has donned the theater's owl costume. Not initially the obvious choice for an on-screen killer. In the hands of another filmmaker this could be comedic. Strangely enough the more Wallace is seen, the more uncomfortable the Night Owl seems. 

The violence in Stagefright is relentlessly brutal. I would go on record and say this film ranks up there as one of the most violent of the genre. I must confess, I am not a big fan of the slasher sub-genre. That's not to say I don't enjoy them. More times than not I often find that they are samey products. There is little to no invention and the pleasures of seeing a knife whielding maniac, hacking topless babes to bits becomes tiresome. In this film there is a breakneck pace, especially as it's set across one evening. Given the amount of time the first act offers, you surprisingly care for the characters. Soavi was able to build up sufficent tension throughout the tight, unusual lighting and camera angles. They are create a true sense of unpredictability and dread. Yes the film has some dodgy acting and terribly outdated 80's music, but this is an incredibly well made and enjoyable romp. It's also nice to see the final girl live alongside a black man, a BLACK MAN! If you are familiar with the genre, this is an oddity. 

Stagefright is an underrated gem. At the risk of sounding cliche; It's a cut above the rest.