JК
Danse Macabre :: Кинг Стивен
Страница: 155 из 359Another mother leads her son through the crowd and up to the mess (which is obviously a watermelon with the seeds removed), points to it, and says, to the effect, "That's what will happen to you if you're bad!" It's a sick joke, like the one about the truckload of dead babies-or the one about the babes in the woods, which we call "Hansel and Gretel.” The mythic horror movie, like the sick joke, has a dirty job to do. It deliberately appeals to all that is worst in us. It is morbidity unchained, our most base instincts let free, our nastiest fantasies realized . . . and it all happens, fittingly enough, in the dark. For these reasons, good liberals often shy away from horror films. For myself, I like to see the most aggressive of them- Dawn of the Dead , for instance-as lifting a trapdoor in the civilized forebrain and throwing a basket of raw meat to the hungry alligators swimming around in that subterranean river beneath.
Why bother? Because it keeps them from getting out, man. It keeps them down there and me up here. It was Lennon and McCartney who said that all you need is love, and I would agree with that. As long as you keep the gators fed.
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And now this word from the poet Kenneth Patchen. It comes from his small, clever book But Even So Come now, my child, if we were planning to harm you, do you think we'd be lurking here beside the path in the very dar- kest part of the forest?
This is the mood which the best films of mythic "fairy-tale horror" summon up in us, and it also suggests that, below the level of simple aggression and simple morbidity, there is a final level where the horror movie does its most powerful work. And that is well for us, because without more, the human imagination would be a poor, degraded thing, in need of no more in the way of horror than such things as Last House on the Left and Friday the 13th . The horror movie is planning to harm us, all right, and that is exactly why it is lurking here in the very darkest part of the forest. At this most basic level, the horror film isn't fooling around: it wants to get you. Once it has reduced you to a level of childlike expectation and point of view, it will begin playing one or more of a very few simple harmonic melodies-the greatest limitation (and therefore the greatest challenge) of the horror form is its very strictness. The things that really scare people on a gut level can be reduced like fractions to an irreducible handful. And when that has finally happened, analyses such as those I've given in the foregoing pages become impossible . . . and even if analysis were possible, it would be irrelevant. One can point out effect, and that must be the end of the matter. To try and go any further is as useless as trying to divide a prime number by two and come out even.
Why bother? Because it keeps them from getting out, man. It keeps them down there and me up here. It was Lennon and McCartney who said that all you need is love, and I would agree with that. As long as you keep the gators fed.
9
And now this word from the poet Kenneth Patchen. It comes from his small, clever book But Even So Come now, my child, if we were planning to harm you, do you think we'd be lurking here beside the path in the very dar- kest part of the forest?
This is the mood which the best films of mythic "fairy-tale horror" summon up in us, and it also suggests that, below the level of simple aggression and simple morbidity, there is a final level where the horror movie does its most powerful work. And that is well for us, because without more, the human imagination would be a poor, degraded thing, in need of no more in the way of horror than such things as Last House on the Left and Friday the 13th . The horror movie is planning to harm us, all right, and that is exactly why it is lurking here in the very darkest part of the forest. At this most basic level, the horror film isn't fooling around: it wants to get you. Once it has reduced you to a level of childlike expectation and point of view, it will begin playing one or more of a very few simple harmonic melodies-the greatest limitation (and therefore the greatest challenge) of the horror form is its very strictness. The things that really scare people on a gut level can be reduced like fractions to an irreducible handful. And when that has finally happened, analyses such as those I've given in the foregoing pages become impossible . . . and even if analysis were possible, it would be irrelevant. One can point out effect, and that must be the end of the matter. To try and go any further is as useless as trying to divide a prime number by two and come out even.