Movie Review: The Hills Have Eyes (1977)
Synopsis
"The Hills Have Eyes," directed by George A. Romero and released in 1977, is a seminal piece of American horror cinema that delves into the horrors of an isolated landscape as well as the innate brutality that lurks within humanity. The film begins with the Carter family embarking on a road trip across the desolate Nevada desert. In search of a shortcut, they unwittingly enter the territory of a cannibalistic clan that resides in the remote hills. This gruesome family of mutants, the result of nuclear testing and societal neglect, poses a dire threat to the unsuspecting Carters.
The narrative focuses on them becoming prey for the savage inhabitants as they struggle for survival. Members of the Carter family are brutally picked off one by one, and the film escalates into a nerve-racking fight for survival against monstrous foes. Themes of isolation, the perils of civilisation’s veneer, and the primal instinct of humanity come to the fore in this chilling tale. The haunting imagery and violent set pieces serve to critique the fragility of familial bonds when pitted against savage instincts, raising the question: how far will one go to protect their kin?
Actors and Characters
- Susan Lanier as Brenda Carter
- John Steadman as Old Man
- Michael Berryman as Papa Jupiter
- Dee Wallace as Diane Carter
- Russ Grieve as Big Bob Carter
- Peter Locke as Doug
- Janus Blythe as Ruby
- Fred D. as The Hitchhiker**
Analysis
"The Hills Have Eyes" gained notoriety even at its inception for its unflinching portrayal of violence and the grotesque. The cinematography captures the starkness of the Southern Californian desert, effectively framing the isolation that engulfs the Carter family. The vast and unforgiving landscape mirrors the impending doom they face, creating a palpable atmosphere of dread. The juxtaposition of the desolate landscape against the horrors that unfold acts as a stark reminder of the threat that lurks beneath the surface of civilised life.
The performances in the film, particularly those of Susan Lanier as Brenda and Dee Wallace as Diane, add depth to the horror. Brenda emerges as a determined and resourceful character, showcasing hope amidst despair. Wallace’s portrayal of the terrified yet fiercely protective mother adds an emotional weight to the narrative. The contrasting dynamics of vulnerability and ferocity create a nuanced depiction of family ties.
Michael Berryman’s performance as Papa Jupiter is particularly noteworthy. His portrayal of the deformed, cannibalistic leader of the mutant clan brings a visceral terror to the screen. The film’s other antagonists are equally memorable, each serving as a chilling representation of the loss of humanity. The use of practical effects to render their grotesque appearances is haunting and provides a tangible sense of horror, echoing the film’s advocacy for authenticity in the portrayal of fear.
In addition to its pivotal characters, the film’s exploration of moral duality cannot be overlooked. As the Carters descend into horror, they are forced to confront their own instincts for survival, blurring the line between victim and monster. The film challenges the audience to reflect on how desperate circumstances can lead individuals to commit acts they would ordinarily deem unthinkable. It is within this moral ambiguity that the film finds its most profound commentary—a reflection on the darkness residing within humanity.
The sound design also plays a crucial role in amplifying the film’s overall tension. The eerie score composed by the late John Canaday effectively underscores moments of dread and desperation. The unsettling ambient noises of the desert, combined with the cries of the victims and roars of the mutants, create an aural landscape that immerses viewers in the film’s harsh reality. The absence of sound in certain moments enhances the terror, compelling the audience to hold their breath as they anticipate what lurks just outside the frame.
As the narrative unfolds, the stark social commentary about American culture during the 1970s emerges. Set against the backdrop of economic stagnation, societal decay, and trauma from the Vietnam War, the film conveys an inherent distrust of the American dream. The Carters, representative of the typical American family, navigate both physical and existential threats, revealing the fragility of their status and the lurking fears that arise when that social veneer is stripped away.
Moreover, the film deftly juxtaposes innocence with the brutal reality of survival, often invoking stark surrealism within its horror. The cinematography captures the raw beauty of the landscape while simultaneously contrasting it with the filth of the grotesque cannibal family. This dichotomy elevates "The Hills Have Eyes" beyond being merely a creature feature; it becomes an exploration of the human condition, questioning what one is willing to sacrifice for survival.
Despite its grim subject matter, "The Hills Have Eyes" is an impactful exploration of fear and survival, brilliantly realised by ensemble performances. Critics and audiences noted its shocking violence and unrelenting intensity, but over the years, it has also been hailed for its subtle commentary on societal issues. The film serves as a critique of not just the human experience but the construct of family, ultimately posing the unsettling question: What indeed defines a monster?
Conclusion
In conclusion, "The Hills Have Eyes" is a landmark film that stands resilient in the horror genre. Its innovative storytelling, grounded performances, and critical social commentary contribute to its status as a cultural touchstone that examines the darker facets of humanity. It is an unsettling yet compelling narrative that resonates with viewers in unforgettable ways. Without a doubt, it remains a pivotal piece in the canon of horror films that epitomises the crossroads of humanity and monstrosity in extreme circumstances. Given its groundbreaking depiction of horror and the lasting impact it has left on the genre, I would rate "The Hills Have Eyes" a solid 8.5 out of 10.
