Are you familiar with the mullet? It’s a distinctive hairstyle—peculiarly popular in continental Europe in the 1980s—in which the hair is cut short on the top and sides but left long at the back. Whatever the aesthetic gravity of the mullet, it comes with a philosophy. The philosophy of the mullet is this: “Business in the front, party in the back.” I’ll argue that the reverse holds true for the horror genre, didactically speaking. Horror fiction is sexy. Horror has zombies. It has ghosts and vampires. It has Hannibal Lecter and Jigsaw, Michael Myers and Jason Voorhees, Freddy Krueger and Leatherface. It has cannibal hillbillies and crazed college kids.
John Carpenter’s classic suspense film Halloween from 1978 launched the slasher subgenre into the mainstream. The low-budget horror picture introduced iconic Michael Myers as an almost otherworldly force of evil, stalking and killing babysitters in otherwise peaceful Haddonfield. It featured a bare-bones plot, a simple, haunting musical score composed by Carpenter himself, some truly nerve-wracking editing and cinematography
It’s dark and warm and chaotic. The people in my group are screaming and scrambling to get away from the maniac who’s lumbering toward us with a roaring, smoke-belching chainsaw.