Cult slasher “The sleeping camp“ (1983). How the American pioneers have a rest?Not that slashers initially showed to the world something bigger, than strong marasmus of the creators, but even within all-genre wretchedness “The sleeping camp“ of Robert Hiltzik manages to be extremely poor on fan a yum-yum.
I it is it seems unfair to i to reproach a cheap horror with what is it “blood and flesh“, however there is no wish to write off worthless taste and painful perception of reality for film conventions somehow. What does not prevent other heroic audience to test the threshold of tolerance, risking to razvidet what was seen never. Perhaps, exactly thanks to them “The sleeping camp“ also squeezeed out to itself the cult status though in what the cult consists, nobody plainly can explain.
Really some “Slaughter at school“ is not capable is also tenacious to grasp an essence of a cheap eksploteyshn? Or all cheese - pine forest is connected with the unexpected and shocking final which inspired other critics on epic spoilers? Or perhaps everything is much simpler: the viewer was simply tired of one-egg sequels “Fridays, 13 - E“ and turned a look on the same, only with nacreous buttons? Truth, as always, somewhere nearby.
After the first coming of the hockey player with a machete it became clear that the camp subject conceals in itself really inexhaustible resources. The summer, the sun and water plus the youth choking in hormones - than not an ideal formula for uncountable stories in which though there is no corpus delicti but is a lot of inventive and ruthless knifing. However and this, appear, faultless composition quickly tired because multiple clones of different degree of a parshivost mixed up in one odorous stream all of the known substance which grades only the most zealous admirers of a genre could understand. It is necessary to pay tribute to Hiltzik who found a way to be allocated on the general background. With the stroke of the pen it lowered the age qualification, having cleaned from a shot of lewd students - practicians, and having replaced them with virgin school students - theorists, deprived target audience of desired shots.
However, remembering that a slasher without sex - money for wind, this commercially important aspect did not remain unaddressed at all, only trouble, focus was shifted together with poles. Where until recently the cold blade pierced elastic women`s flesh, shot width is suddenly filled by an unbuttoned fly on baggy trousers of the cook - the pedophile, and instead of a flock frank pass - bikinis’ 83 on the screen flash exclusively male pumped-up torsos and buttocks. Latentno - homosexual motive designated himself not only translucent hints, but also quite concrete stage setting after which that “scandalous“ and “unpredictable“ ending looks stubborn ascertaining of the fact - to the maniac, as well as the foul dancer, eternally something disturbed.
Elementary lack of an invention turned the scenario of this abstruse trash into shameless plagiarism. Creators carefully strung on a plot of the Friday franchize elements of “Burning“, “Carrie“ and “Psycho“, having artificially stretched the scrappy blanket to the theatrical version really “Shakespearean“ dialogues and routine domestic squabbles from life of the American pioneers. Actors, by tradition, were recruited wholesale, and holes in a casting stopped up with relatives and enthusiasts from among sympathizers to the project. All this kabuki which is made up under professionals so diligently reincarnates that just right to change a muffled musical background for offscreen neighing.
As for “inventive and effective“ murders with which authors though somehow tried to cover scenario shame and shame, they acted by the principle “Johnny - make - me - installation“, leaving off-screen all the most tasty. Actually, in it and fancifulness of creation of Hiltzik: imitating Hitchcock, he at the same time also brings innovative grain in an old kind slasher, and drives in green melancholy, from time to time diluting to anything binding chatter of cardboard characters with results of laborious work of make-up artists in the form of the next mutilated corpse.
Even the Freudian motive of alienation and replacement of the personality which is “thinly“ twisted in a final twist does not save situation. Who could think, it appears, the murderer - the person with vulnerable mentality who was injured in the childhood from malicious egoism of adults. On this touching moment the person living in a boiler room in it is red - a green sweater ate the hat, and the well-known patient of a psikhdispanser by the name of Myers made a sepukka a kitchen knife.
Certainly, any of the above-stated arguments is capable to deprive “The sleeping camp“ of honestly earned dividends. At least because all of them - both Craven with Hooper, and Carpenter with Cunningham - remained there, in the eightieth, guaranteeing to the immortal opuses mimishny nostalgia on low budget horror films. And if it is worth allocating “the blue pilferer“ Hiltzik from the general gray mass of diligent handicraftsmen, then only for the reason that parasitizing on masterpieces of the more talented colleagues, he managed not only to enter the name in history of nowadays dead genre, but also to lay the foundation to one more long-playing franchize. Because all reproaches in its address steadily break against reeves of the most comprehensive argument: “Do not shoot at the pianist, he plays as is able“.