Rosemary’s Killer 1981 Review

Rosemary’s Killer 1981

aka The Prowler aka The Graduation 

Directed by: Joseph Zito

Starring: Vicky Dawson, Farley Granger, Laurence Tierney

Review by Luisito Joaquín González

So here we have it, my favourite ever slasher movie. (I don’t include Halloween in that, because well – that’s everyone’s favourite). I found out about Rosemary’s Killer when I was at school and by the strangest possible means. My 763673673673673buddies and I used to have a sly cigarette in an old shed in the woods nearby to where I lived. We would always find ripped magazine pages covering the floor and as devious thirteen-year-olds, we would hope to uncover a few porno highlights amongst the mess. Anyway, one night I went there alone and as if by fate, lying in the corner was a horror fanzine in pretty good condition. I was already a huge fan of the genre and so I scurried home to study the pages in the comfort of my bedroom. There in loving colour, my eyes first met with the iconic image from one of the finest killings of the category, the swimming pool murder. You can see it to your immediate right and it is also the background of a SLASH above. I immediately began a hunt for a copy on VHS, which much like my search forThe Picture I found in Fangoria Graduation Day, would continue for much longer than I’d hoped.

Now without eBay and Amazon, my method for tracking down slashers was restricted to car boot sales around the London area. I found lots of titles during my travels, including Night Screams, Nightmare (Dutch uncut copy!) Ghostkeeper, Stormbringer,One by One, The Demon, Fatal Games and Psycho Puppet. However the one that I REALLY wanted remained elusive. It started to become an obsession, but after months of trying, I finally came to the disappointing conclusion that I would probably never see the darn thing. Then through a twist of fate, I found a video-search agency that came to my aid with an almost pristine copy. The price of £30 was daylight robbery, but for me it was mission accomplished and I probably would have paid £50

Avalon Bay is getting set for the first annual dance since a young couple were viciously murdered 35 years earlier. The youngsters of the community are eagerly anticipating the event and spend the day preparing and decorating the town hall. The junior Deputy is alone for the first time as the Sheriff has gone on his annual fishing trip and stress 983873873673levels are raised when it’s revealed that a wanted criminal that slashed two young females could be heading to the area. As darkness descends, it becomes apparent that there’s a maniac dressed in World War 2 army fatigues stalking the Bay. Can the Deputy muster the courage to stop him?

Rosemary’s Killer is not only one of the best examples of stalk and slash cinema from the golden era, but it’s also one of the most underrated. The movie ticks every box in terms of the relevant trappings and instead of just ticking them, in a few places it completely surpasses them. I like the World War 2 gimmick and I think that the killer’s disguise is an absolutely brilliant touch. His calling card of leaving a rose by his 87367387387298298298292victims is creepily effective and there’s a great moment towards the climax where he offers it almost romantically to the final girl before attempting to ram a pitch folk through her. In 2007, a low budget entry by the name of Rose of Death attempted to mimic that calling card, but failed to add the slash with panache necessary to pay tribute to Joseph Zito’s classic.

It’s his pacey direction that sustains such an awesome amount of suspense during the first half, which works, because even when not much happens, we are 6767656565kept fully aware that something could at any moment. Other parts of the film equally excel in their technicality with some beautiful photography and a focused score. I especially liked the staircase stalking sequence, which in true popcorn fashion, keeps everything tight by having the intended victim make all the wrong decisions.

Vicky Dawson makes for a classy final girl and she works well in partnership with Christopher Goutman. For relatively inexperienced performers, they carry the picture comfortably and they deliver only one or two weak moments. I thought Dawson was unfortunate not to have built a longer career in cinema, because much like Amy Steel in Friday the 13th 2, she offers a sweet and alluring naivety, but shows brave independence when left alone to face the prowler. Before the final credits rolled, my wife who was watching with me said, “tough girl” – my sentiments exactly. Farley Granger added class to the cast list, but it’s been confirmed that he had a horrible time on set and suffered some uncomfortable sweating during the make-up123456789 effects. Laurence Tierney’s on-board too, although I have no idea why, his character is barely used to much effect and was probably a waste of budget.

Tom Savini’s effects once again steal the show and there’s no denying that Killer is amongst the best of his work. We feel at times that what we are watching is almost too realistic and the swimming pool killing even includes an aftermath shot that’s uncomfortable in its authenticity. It happens as the victim’s lifeless body sinks to the tiles below and her legs begin to twitch as her nervous system comes to terms with the fact that the lights are going out for the last time. The best part of the sequence was actually a mistake from Savini, because at the same time as the gallons of blood seep from her wound, some bubbles also 87387367367appear under the water (from the pipe pumping the goo). Instead of re-shooting, the effects master recommended that Zito utilise the footage as is, because the bubbles look as if they were the last gasps of the dying teenager’s breath.

It’s been noted that the plot structure is similar to the same year’s My Bloody Valentine and the two would work superbly on a double-bill. Strangely enough, what one title lacks the other boasts in abundance and if you were to mix the two together you would have the perfect slasher film. Whilst MBV also has some great kill scenes (equally as gratuitous) and a good-fun factor that adds momentum to the plot, it lacks any decent suspense. Rosemary’s Killer on the other hand is nail-bitingly tense in places, but has some serious problems with its pace.  1234567

Now I picked my favourite slasher film when I was about fourteen years old and much like my love for the Arsenal (the closest team to where I lived), I must admit that it was a ‘teenager’s decision’. Adults have the ability to analyse; step back and view the bigger picture before making a choice. Young minds do everything spontaneously and I didn’t notice the faults back then in Rosemary’s Killer that I see now. As I said, it starts superbly and comes across almost like an anxiety marathon. My Mrs and I were watching it together in silence, knowing full well that there would 12345678be a shock at any moment (And I have seen this flick a lot of times). Then after about thirty minutes the rapidity dries up and the film can’t maintain the same thrust.

It’s not necessarily the fault of Joseph Zito, but the script wastes too much time building the mystery in locations that are drab and overtly dark. Some parts could have been much shorter or removed completely during post production to make the film slicker. I especially thought that the length of time used when the Deputy was contacting the Sheriff was ridiculous and ultimately 8737646738738738733ended up being a pointless diversion.

Despite those issues, this is still one of the best entries of the golden period. It does drag a bit in the development of the plot, but the excellent kill scenes and two fantastic leads more than make up for it.  Joseph Zito was widely tipped to be a future horror maestro after his work on this and Friday the 13th The Final Chapter (one of the better sequels of the series). When horror  began to lose its way towards the second half of the decade, he moved over to action-orientated flicks, which didn’t give him the same chances and his career unfortunately faded. 

I would say that Rosemary’s Killer, even under its superb two alias titles, is a perfect example of a solid horror director’s work. It’s also a time-capsule from the best year of the slasher genre thus far. I’ve seen it more times than I care to remember but still not once too many. Enjoy…

Slasher Trappings:

Killer Guise: √√√√√

Gore √√√√√

Final Girl √√√√√

RATING:a-slash-above-logo11a-slash-above-logo11a-slash-above-logo11a-slash-above-logo11a-slash-above-logo-211

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Posted on March 14, 2014, in Slasher, Top 30 Slashers and tagged , , , , , , . Bookmark the permalink. 24 Comments.

  1. One of the best by FX legend Tom Savini!

  2. One of my favorite slasher films.

  3. Easily my favourite slasher. There’s just something eerie about seeing a WWII GI uniform in such malevolent light and it has that downbeat soured decaying feel.. Plus the 1940s prologue is so beautifully done. It’s also a film that loses nothing in a full screen format. In someways.I actually prefer my old VHS copy to the DVD

  4. You put a guy in a GI and hand him a bayonet, a shotgun and a pitchfork, waddya get? The coolest looking kill and the most badass looking killer suit!

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