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Horripilations Review of It’s Alive (1974)

Movie Review: It’s Alive (1974)

Synopsis

“It’s Alive,” directed by the iconic filmmaker Larry Cohen, is a horror film that ignites fear with a premise both bizarre and provocative. The story revolves around the birth of a monstrous creature resulting from a secret experiment in genetic engineering. The film centres on the character of Frank Davis (played by John Marley), a struggling scientist with ambitions of creating the next step in human evolution. Frank’s wife, Lenore (played by Sharon Farrell), is expecting a child, but the excitement of parenthood quickly transforms into a grim nightmare when their newborn child turns out to be a hideous, murderous creature.

In the wake of their child’s shocking birth, Frank and Lenore find themselves grappling with the consequences of their choices. As the creature escapes into the world, the film takes a chilling dive into themes of parental responsibility, societal fear of the unknown, and the moral implications of scientific hubris. With the police and media now involved, the film escalates into a race against time to find the creature before it wreaks havoc upon the city. The film is a unique blend of horror, societal commentary, and dark humour, examining the primal fear of parenthood compounded by the grotesque form of their offspring.

Cast of Characters

  • John Marley as Frank Davis
  • Sharon Farrell as Lenore Davis
  • Bo Hopkins as Lieutenant Perkins
  • Michael A. Miranda as the Doctor
  • Daniel Bienvenue as the Creature
  • James Dixon as the Police Sergeant
  • Mabel King as a Neighbour
  • Cynthia Bailey as the Nurse

Review

Larry Cohen’s “It’s Alive” emerged into a landscape of horror films that were often less concerned with their societal messages and more focused on sheer terror. What makes this film distinguishingly poignant in its narrative is how it tackles fear not just in the primal sense of a creature lurking in the shadows, but within the context of a family’s shattered hopes and dreams. Cohen uses a blend of realism and horror to explore the anxieties associated with parenthood—an act that is cherished yet fraught with nightmares.

John Marley’s portrayal of Frank Davis is multifaceted and tragically relatable. He embodies the character of a desperate father trying to come to terms with the unimaginable monstrosity that his child has become. Marley brings an emotional depth to the role, allowing audiences to witness the internal battle between love and terror. His performance is complemented by Sharon Farrell’s Lenore, whose character is torn between maternal instincts and the horrified realisation of the creature her child has morphed into. Farrell delivers a powerful performance that showcases her character’s evolving psyche as she navigates the collision between hope and horror.

The cinematography and direction are emblematic of the time, yet they carry a raw potency that heightens the film’s emotional stakes. Larry Cohen’s utilisation of practical effects to create the creature is a nod to the era’s filmmaking techniques, adding a layer of authenticity that resonates with those who appreciate classic horror aesthetics. The creature itself, though at times reminiscent of a classic monster, is an unpredictable representation of something more profound—the anxiety surrounding parenthood and the fear of alienation. The choice to keep the creature largely hidden in shadows and obscured by quick cuts enhances the suspense, making the moments it is revealed all the more shocking.

Cohen’s commentary on societal fears of the unknown is salient throughout the film. As the creature begins to perform its horrific acts, it is met with an engaged media response, reflecting the real-world tendency for sensationalism surrounding such extraordinary events. This layer of social commentary subtly enhances the horror narrative while prompting viewers to question their own perceptions of what could be deemed monstrous. This juxtaposition allows for a deeper exploration into the realms of morality and the ethical dilemmas posed by scientific advancements, which remain as relevant today as they were in the 1970s.

The pacing of “It’s Alive” contributes significantly to its effectiveness as a horror film. The tension gradually builds as the horrifying implications of Frank and Lenore’s choices become apparent, mirroring how parenthood often brings unexpected challenges. Cohen artfully maintains a balance between horror and dark humour, interspersing moments of levity amidst the dread, making the film not just a visceral experience but an engaging one.

One of the film’s most poignant questions emerges from its exploration of whether or not a parent can truly love what society deems to be monstrous. Throughout the narrative, Frank’s struggle illustrates the complexities of unconditional love—a theme that resonates beyond the confines of the film. The horror of the creature serves as a metaphor for the fears that accompany the significant transition into parenthood, acknowledging that with love comes the potential for pain and uncertainty. The abandonment of societal norms, and the grappling with the unknown leads to the creation of the ‘other,’ further prompting contemplation on the implications of tampering with nature and the unforeseen consequences that can ensue.

The film’s score, composed by Bernard Herman, adds to the eerie atmosphere, infusing a tension that complements the visual storytelling. The haunting melodies evoke an unsettling feeling, effectively encapsulating the film’s themes of anticipation, fear, and parental dread. Herman’s score is not merely a backdrop; it becomes an integral component of the horror experience, heightening the emotional impacts of pivotal scenes.

Cohen’s “It’s Alive” is undeniably a product of its time, and while it may not suit every viewer’s tastes, it is deserving of appreciation for its daring approach to the horror genre. The film relentlessly refuses to shy away from the complexities inherent in its narrative framework, effectively unsettling viewers while simultaneously posing pertinent questions about morality and humanity.

In conclusion, “It’s Alive” merges horror and social commentary, effectively stirring both emotional and visceral reactions. It operates not only as a haunting tale of a monstrous baby but further challenges societal norms surrounding parenthood and the fear of the unknown. Larry Cohen’s deft storytelling, complemented by strong performances and thought-provoking themes, ensures that “It’s Alive” delivers a memorable cinematic experience that lingers in the mind long after viewing.

Score: 8/10

The film remains a testament to the psychological depth that can be achieved within the horror genre, standing as a compelling commentary that invites further reflection on the nature of love and monstrosity.

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