Halloween

When we think of Michael Myers, we think of The Shape - standing, staring, white mask and blue overalls. We think of the music, and the relentless pursuit. We think of the iconography of the killer and his permeation into horror and cinema. What we generally don't think of is the human, and that makes sense: John Carpenter has often described him as being 'almost supernatural' and 'a force of nature.' In Halloween itself, released in 1978, Michael Myers' psychiatrist, Dr. Sam Loomis, describes Myers as being "pure and simply evil." He is evil personified, and that is it. But maybe Loomis was a bit hasty to say that, or maybe Michael is pure evil, but that doesn't mean he's not still a human being with a personality. The Michael Myers that we see in the original Halloween has flesh and blood and hair. In anticipation of David Gordon Green's Halloween in a few weeks, I'm rewatching the franchise, but this time I'm tackling it in a different direction. I watched at least the first film as if it were a complete stand-alone. No sequels. No reboots. No unnecessary lore and explanations - I isolated the original film as a singular piece - albeit one that will be getting a sequel in a few weeks, and what I found was surprising. Let's just get one thing out of the way straight away: Michael Myers isn't Laurie Strode's brother. This was, of course, a twist invented by the alcohol-infused mind of Carpenter and Hill for the 1981 sequel and has no relevance here. I'm talking specifically about Michael Myers as he's presented in Halloween and Halloween only. So we open with the POV shot of Myers killing his sister Judith. He walks outside and his mask is removed by his parents - he's near catatonic, and seems shocked at what he's done. Bullshit to all those who say he had a blank expression - that is not the fucking look of an expressionless kid. It might not be much, and his shock doesn't imply he's less evil, it just shows that this is probably his first exposure to anything of the magnitude of murder. Skip to years later, and Michael is 21. Let's outline the moments we spend with Michael, as well as his actions and the way he holds himself. Loomis and a nurse are going to Smiths Grove to pick him up and take him to be tried as an adult. As they approach the sanitarium, they notice many wandering inmates in the darkened fields. As Loomis gets out to investigate, Myers leaps onto the car from behind like an animal. He's swift and quick, and is already playful in his actions. He makes noise on top of the car to startle the nurse, then smashes the side window and tries to grab her. He jumps down, throws her out the car and hops in. He drives away. Now he embarks on his 100 mile plus road trip to Haddonfield. On the way, he stops at a garage, kills a guy there, and steals his overalls. He arrives in Haddonfield, breaks into a shop and steals a mask. He returns to his old home, eats a dog, and sees Laurie walk up to the door. He decides to start following her, so he hops in the car and does so. He follows little Tommy, Laurie, and Laurie's friends. He stands on the streets and in gardens and intentionally exposes himself, then hides. He's letting them know that he's around. In my head, Myers was always robotic, with surgeon-like stillness, but he really isn't like that. He holds onto the trees as he hides behind them and leers out from the side. He stumbles and knocks a plant over when watching a girl in her house and backs away quickly as it made noise - or was this intentional? Either way, he's not anywhere near as robotic in his mannerisms as I remembered. His stalking is deliberate and unsubtle. He doesn't give a shit if people notice him, as long as the ones he's targeting do. He's really getting off on this. Eventually, he decides to actually start killing them. He sees Annie naked, as she spills butter on herself. He watches her this entire time - these scenes constantly have Myers presence, because he's constantly there. At this point, he's staying within a tiny radius: just two houses. He's got everything else out the way now His sister's gravestone was successfully retrieved earlier and he's already popped that into the house ready to decorate his house-of-horrors. The killing begins. He's stalked for at least twelve hours, and by now he understands the people he's watching and he's figured out their interpersonal relationships. For a man who does twelve hours of stalking, his kills are pretty quick. A strangulation, a cut throat and a stabbing. It seems this isn't the ultimate goal for him, it's just the final piece in a long chain of excitements. When he killed Judith as a kid, he watched her first. It's probably likely that, for hours, days or weeks before the scene that opens Halloween, he was watching Judith not with eyes of a younger brother, but eyes of a killer. He kills Annie and then takes her corpse upstairs where he positions her on the bed. He waits again, this time for someone else to arrive. Lynda and her boyfriend rock up soon after, so it's time to start killing. Michael has paid the least attention to these two in terms of stalking, so he gets to business quite a bit quicker. He lets them have sex - yes, this is a matter of him allowing them to, because he was there the entire time. Then, the guy, Bob, goes downstairs to retrieve some beers. There, Michael makes a noise and then hides in a closet, waiting for Bob to investigate. He jumped into a closet and shut the door behind him and waiting, peering through a gap in the door. His trap worked. He lunges out the closet and pierces Bob's chest, nailing him to the wall with the knife. Bob dies, and Myers does what is now considered one of his trademarks: his head tilt. He probably had a similar experience after killing Annie, but it cuts pretty soon after that one so we don't get to see it. Nick Castle - the actor portraying Myers - was told by Carpenter to act like a kid who had pinned a butterfly to a board: it's almost as if there is an element of curiosity here. And that's where we get to an interesting point: Myers has been catatonic and lifeless since the killing of his sister 15 years ago. Not a word spoken. We imagine Myers sat in his room, all day, every day, staring. Staring at the walls. He grew. He went through puberty. He grew into a man. All whilst in this state. It's not unreasonable to surmise from this that he's probably, on some level, in a state of arrested development. What could there be to develop him? He was, presumably, a normal child, in a normal household on a normal street in a normal school, before he murdered Judith. Whatever was brewing inside of him took over when he killed Judith, and he froze in that moment - he'd have to. He spent all of his time thinking about that kill, because if not, why would he instantly start trying to memorialise, to relive? Why bring his sister's gravestone to his new house of mayhem if he didn't have some affinity to it? Michael Myers is still that six year old boy, and he's still got that curiosity. Whatever it is that drives Michael to kill, it's in the same state as it was when he was six: he likely killed Judith out of curiosity, and here he is again. He's amazed that he just pinned someone to a wall! Wow, no longer does he only have one kill to fantasise about, but he's wracking up more and more. He then follows this firey curiosity with another infamous Myers moment - he takes a bedsheet, cuts out two holes, puts it over his head, puts his recent victim's glasses over it and heads upstairs. He opens the door of the bedroom and stands there, then after a moment, edges himself closer. After a while, he strangles her and she dies. But let's think about this: after killing Bob, he cuts holes out of a bedsheet and wears it like a ghost. What does this say about Michael Myers? He roamed around the kitchen searching for scissors, cut out eyeholes, put the bedsheet on over the mask he's already wearing and puts the glasses on top of that. He put in effort. He's not a mindless killing machine. He has ideas and he executes those ideas. Is this his sense of humour? Is this just a method of getting closer to his victim without her knowing, so she's easier to attack? Some people say it's that, but Michael Myers simply wouldn't care about that. She was in bed, naked, a few feet from him. If he opened the door as himself or as the bedsheet, it wouldn't matter. He's just curious, and weird. He wanted to watch her for a while. By doing this, he can see her not just in a state of fear, but in an unalarmed, happy state. He didn't know what she'd do, but he was curious and excited to see it. His decision to do this also shows his creative flair - even if he is celebrating an ode to Judith's original kill 15 years ago, he's doing different things. Lynda was in a bedroom, naked and post-sex with her boyfriend. The environmental factors were almost the same as Judith's original kill. If Michael was simply trying to recreate the kill as an obsession to the original kill, he wouldn't be adding new elements. Hes building on the old memories, he's improving himself, pushing himself. So he starts piling the bodies in different ways: hanging upside-down in a closet, shoved onto a shelf and laid on the bed below his sister's gravestone. He either steals a pumpkin or he cares one himself, either way, he places it amongst the shrine to his sister. Now he waits for his next victim. Laurie comes, but this time she manages to fight back. There are two schools of thought now: was Laurie his final girl, or was she meant to be another victim? Was his plan supposed to end with Laurie, or was she simply going to be another body? Based on what we see, he wanted to fill that room, and likely the house, with bodies. Clearly, he had planned what he was going to do for a long time. In his head, as he sat at Smiths Grove, he thought specifically: I'm going to take Judith's gravestone and surround it with more bodies. Either that, or this is all just on a whim, but I don't buy that. He escaped for a reason, on the anniversary of her death. He knew what he was going to do all along. I don't think Laurie was all that important to Michael's plan. If he had successfully killed her too, he'd have continued to just find more and more bodies until he couldn't anymore, setting the house he was in as a giant mousetrap for the people of Haddonfield to fall into. But he couldn't because Laurie kept attacking him and he kept falling. Now let's look at Michael's invincibility and supposed supernatural abilities. She stabs him in the neck with a sewing needle and he falls to the ground. It takes a while for him to get back up, but a wound like that likely wouldn't kill straight away. Sure, it would incapacitate, but we've learnt that Michael can be very "inhumanly patient" when he wants to be, what with his time at Smiths Grove as an example. He gets up and continues - does he feel pain here? Did it affect him at all? The fact he was down for a while implies, at least to me, that Laurie did manage to strike a fatal blow with that needle, otherwise Myers would get up straight away. Either that, or he didn't feel it, and simply allowed her to get away a bit to continue the chase. We've already established how much Michael enjoys the chase and the stalk, so of course he's going to give her that edge again. Then she stabs him in the eye with a coathanger and then in the chest with his own kitchen knife. Fatal blow. He falls. She gets the kids out of the house, and then he... gets up again. What was he experiencing? What was he thinking? He does think, because he isn't an empty vessel, so what was he thinking? Was he confused that he wasn't dying, or was his single desire to kill so overwhelming that he was able to override everything and continue? Either way, he goes for one last attack, where she unmasks him. Here, we see that his eye is messed up. So his body does respond normally to physical stimuli - his eye was stabbed so the eyelid curls up. He bleeds. He's definitely human. Then he's shot six times, falls out of the window and gets up again. This is the moment that a normal human being couldn't survive, so how did he? He must've been baffled! But anyway, through all this, we have to imagine the same scenes playing out not with the globally-recognised Michael Myers horror icon, but with the man behind the mask. He's a weird 21 year old guy who killed his sister when he was six and now he's back. He does weird shit. He's curious about kills and amused at the ways he does them. He stalks and watches. He used his sister's gravestone in his new rituals. He's just a young guy who really fucking likes killing. I don't want to explain why - it wasn't druids, but it might be that he's a pure incarnation of evil. But even if he is, he isn't just a shape. He clearly has a personality, and enjoys the way he stalks, and understands humans and how to get under their skin. If we imagine the same film but without the mask, it's a different picture. He's just a complete fucking weirdo, and somehow, his pure desire to kill grew so overwhelming that it broke reality and transcended life and death, and allowed him to become something more - his giver of death allowed him to escape it himself. This is Michael Myers. Haddonfield weirdo. In the sequels, Michael is portrayed increasingly differently. Halloween came out in 1978 and started the slasher boom. Friday the 13th came out in 1980 and cemented the slasher into the horror landscape. Throughout the 1980s, slashers exploded, and as the decade continued, the slashers grew increasingly absurd: from a simple, not-too-physically imposing villain like Michael Myers in Halloween to the huge, hulking killers of the later Jason Voorhees incarnations, the slasher villain quickly devolved into unstoppable killing machines. This also happened to Michael Myers. There are nine more films in the Halloween franchise after the first one, and in each one, Michael becomes more and more powerful. Even in Halloween II, Michael's character is different: less dexterous, less cunning and more single-mindedly violent. Remember when Michael walked through a glass door like it was nothing in Halloween II? By Halloween 4, Michael has no creativity left. His kills are basic kills, creatively dull and in a tide of slashers that it was trying to compete with. He didn't stalk or watch people, he just walked towards them and tried to kill them. He would throw his knife towards them, and they'd dodge, and he'd have to recalibrate himself in order to re-attack. He was like a single-minded attacking robot. Halloween 4 felt less focused on developing the character of Michael Myers as it did taking his character traits and reshaping them into the mould of the slasher villain as it stood in 1988. Every sequel since has only done more to further this. With this in mind, we've had eight Halloween entries with this version of Michael Myers. That means we've only ever had one film - the original - that portrays Michael in the ways I've outlined. It's no wonder the cultural conversation is so heavily skewed towards discussions like "Myers is pure evil" and "Myers is an unstoppable force of nature" and none of the discussion is about his fiendishly childlike creepiness. It's even easy to take everything that the sequels did to Michael and project it onto the original, because he does do things in the original that are outlandish. He lifts a man with one hand and pins him to a wall with a knife. He appears and disappears very quickly. He gets shot and stabbed and survives. What separates these feats from his later feats is that they're presented within a more grounded realism - they feel tangible because they're subtle and quiet. Michael, in the sequels, smashed through doors and walls to destroy, destroy, destroy. An attack dog. Vicious. Michael in the original is quiet and unassuming and spends most of his time waiting around, waiting for the right moments to scare. Now, I don't want to denounce the concept of evil here. I don't want to portray the concept of evil as being bound to the supernatural - it's often described Myers is the incarnate of pure evil and therefore he is a force of nature and unstoppable/unkillable - not human. There are many cases in real life of men who are truly evil - or at least commit heinous acts in the same vein Myers does - and this is the real world, where there is no supernatural. His ability to withstand stabbings and gunshots is not related to that, and is, to me, the ambiguity and amalgamation of the character of Michael Myers: all of Michael's personality traits are the perfect bedding for pure evil in a supernatural sense, but this doesn't negate Michael from being a human being who has lived 21 years and has his own personality, thoughts and internal lexicon. There is a precise logic and rhythm to Michael, and that's precisely because of the way he's portrayed: hes curious, playful, intelligent, agile, sadistic and childlike. He's inventive and creative and driven. He's Michael fucking Myers!