Henry (Michael Rooker), a character based on serial killer Henry Lee Lucas, hooks up with his prison friend Otis (Tom Towles) and his sister Becky (Tracy Arnold). Henry teaches Otis how to be a bloodthirsty killer, but things go awry when Otis fails to have Henry's level of control and turns his sights on to his own sister.
Director John McNaughton was a delivery man for executive producers Malik B. Ali and Waleed B. Ali of Maljack Productions, who then had him make some low-budget Chicago-themed documentaries before offering him $110,000 and a 16mm camera to make a horror film (without offering any ideas or limitations).
The story was brought to McNaughton by his friend Gus, who had a videotape of "20/20". McNaughton never heard of Henry before, and was not even familiar with the term "serial killer", but felt this had great potential. He had always loved horror films, especially Roger Corman's work with AIP, and he teamed up with Richard Fire of the Organic Theater (the home base of Stuart Gordon), where they found Tracy Arnold and Tom Towles. Towles, of course, would go on to work with McNaughton many more times.
Along with the cast, McNaughton brought in composer Robert McNaughton (no relation), who does a fine job adding to the creep factor, and the use of samples (such as screams) was quite innovative for its day. We also get some great street scenes, showing Milwaukee Avenue in Chicago (near where director McNaughton lived). One home shot at was at the corner of North and Wood in the Wicker Park neighborhood.
This film is absolutely amazing. Opening with still frame scenes of death, including a murdered hooker who is the most disturbing corpse I have seen since I watched "Four Rooms" (and this precedes that film by a decade). The first scene opens with the unknown victim "Orange Socks", posed just as in the police photograph, only adding to the authenticity.
The camera used was of lesser quality than a normal theatrical movie camera, giving a more realistic or "snuff" feel. I can watch heads explode and all sorts of simulated violence without flinching, but this really put me in a zone of discomfort. With a repeated viewing, this feeling decreases, but the grit of "Henry" is timeless.
Likewise, there is a later scene where a murder is being filmed on a home video recorder. The actors go to such extremes with the violence that it looks completely plausible -- I would be surprised if the victims were not actually injured in the process. This realism is something not often found in horror, and really makes this film stand out as a groundbreaking piece of work.
Michael Rooker, still a novice actor at this point, is amazing. He comes across as somehow dumb yet clever, unable to read but able to get what he needs. This fits the redneck killer profile of his character, and is so convincing you woud think Rooker himself was a little bit dumb or slow if you had not seen him in other roles ("Mallrats", "Days of Thunder").
The use of largely unknown actors, and not very attractive ones at that, again added to the realism. Hollywood would try to make the killers ugly but do so by using beautiful people (I think "Monster" proved this). "Henry" presented us with exactly what we were promised without all the glossy shine. At a screening of "Henry" in Chicago in August 2008 at Portage Theater, director John McNaughton made an appearance but refused to answer questions about the picture. This is a shame, McNaughton. Not only is this the film that made you a name, but it is legitimately a great picture and possibly your best work. Please don't alienate your fans or deny yourself this great achievement.
If you are looking for lots of sex and blood, you are probably looking for "Murder Set Pieces" (which is like this, but different at the same time -- less realism). If you want pure in-your-face brutality, this is more your style. I give it a complete recommendation, and consider it a "must see" for all horror fans of all ages (well, those old enough to handle the intensity, that is).
One last interesting note: after some distribution issues, this film was part of the reason for the MPAA's creation of NC-17 along with Pedro Almodovar's "Tie Me Up, Tie Me Down". So, along with being a great film, it also has historical value.
Director John McNaughton was a delivery man for executive producers Malik B. Ali and Waleed B. Ali of Maljack Productions, who then had him make some low-budget Chicago-themed documentaries before offering him $110,000 and a 16mm camera to make a horror film (without offering any ideas or limitations).
The story was brought to McNaughton by his friend Gus, who had a videotape of "20/20". McNaughton never heard of Henry before, and was not even familiar with the term "serial killer", but felt this had great potential. He had always loved horror films, especially Roger Corman's work with AIP, and he teamed up with Richard Fire of the Organic Theater (the home base of Stuart Gordon), where they found Tracy Arnold and Tom Towles. Towles, of course, would go on to work with McNaughton many more times.
Along with the cast, McNaughton brought in composer Robert McNaughton (no relation), who does a fine job adding to the creep factor, and the use of samples (such as screams) was quite innovative for its day. We also get some great street scenes, showing Milwaukee Avenue in Chicago (near where director McNaughton lived). One home shot at was at the corner of North and Wood in the Wicker Park neighborhood.
This film is absolutely amazing. Opening with still frame scenes of death, including a murdered hooker who is the most disturbing corpse I have seen since I watched "Four Rooms" (and this precedes that film by a decade). The first scene opens with the unknown victim "Orange Socks", posed just as in the police photograph, only adding to the authenticity.
The camera used was of lesser quality than a normal theatrical movie camera, giving a more realistic or "snuff" feel. I can watch heads explode and all sorts of simulated violence without flinching, but this really put me in a zone of discomfort. With a repeated viewing, this feeling decreases, but the grit of "Henry" is timeless.
Likewise, there is a later scene where a murder is being filmed on a home video recorder. The actors go to such extremes with the violence that it looks completely plausible -- I would be surprised if the victims were not actually injured in the process. This realism is something not often found in horror, and really makes this film stand out as a groundbreaking piece of work.
Michael Rooker, still a novice actor at this point, is amazing. He comes across as somehow dumb yet clever, unable to read but able to get what he needs. This fits the redneck killer profile of his character, and is so convincing you woud think Rooker himself was a little bit dumb or slow if you had not seen him in other roles ("Mallrats", "Days of Thunder").
The use of largely unknown actors, and not very attractive ones at that, again added to the realism. Hollywood would try to make the killers ugly but do so by using beautiful people (I think "Monster" proved this). "Henry" presented us with exactly what we were promised without all the glossy shine. At a screening of "Henry" in Chicago in August 2008 at Portage Theater, director John McNaughton made an appearance but refused to answer questions about the picture. This is a shame, McNaughton. Not only is this the film that made you a name, but it is legitimately a great picture and possibly your best work. Please don't alienate your fans or deny yourself this great achievement.
If you are looking for lots of sex and blood, you are probably looking for "Murder Set Pieces" (which is like this, but different at the same time -- less realism). If you want pure in-your-face brutality, this is more your style. I give it a complete recommendation, and consider it a "must see" for all horror fans of all ages (well, those old enough to handle the intensity, that is).
One last interesting note: after some distribution issues, this film was part of the reason for the MPAA's creation of NC-17 along with Pedro Almodovar's "Tie Me Up, Tie Me Down". So, along with being a great film, it also has historical value.