By YASMINA KETITA
Starring Andrew Stevens, Mary Page Keller and David Ramsey
Directed by Richard Friedman
Written by Mark Frost, Daniel F. Bacaner and Richard Friedman
Manson International
As you all know, I’m a devoted fan of the ‘80s horror VHS rental era. Shelves never ran out of tapes because of an abundance of filmmakers with that same admiration and distributors who saw easy money in the genre. Today, most of these movies are available on Tubi, making these films accessible for those who may not collect physical media. There’s one film that’s long been part of my VHS collection that never made it to the leading schlocky B-movie streamer: Richard Friedman’s SCARED STIFF. Arrow released it on Blu-ray in 2019, but I feel it’s my duty to keep this movie rotating in film dialogues because it has earned its place on my shelf for the practical effects and for encompassing that ‘80s horror sleepover movie mood. My impressions of Friedman’s work in ‘80s horror is a combination of wide-ranging emotions. He directed and co-wrote a film that is loved among my peers that I personally detest: 1988’s Doom Asylum. I respect the artistry of the gore effects, but when it screened at VHS Fest 7, I was irate and couldn’t wait for it to end so my beloved Winterbeast could begin. A common flaw of low-budget 1980s horror filmmaking, novice directors often realized in post-production that their films were too short and had to come up with creative ideas to expand them to feature length. David A. Prior added slow-motion effects for Sledgehammer (1983). Tom Chaney filmed broadcast news scenes for Frostbiter (1988). However, Doom Asylum lazily added clips of Tod Slaughter movies from the 1930s, presumably under public domain. On the other hand, Friedman directed what I consider one of the best Tales from the Darkside episodes: “Answer Me” (S1.E15). He effectively directs Jean Marsh’s solo performance in the episode. That incredible performance leaves the audience deeply engaged, which is not easily achieved with only one actor on screen.
Friedman also directed the choice cult film Phantom of the Mall: Eric’s Revenge (1989) and episodes in two of my favorite TV shows: Friday the 13th: The Series (1989-1990) and Baywatch Nights (1995-97).
I am a fan of SCARED STIFF, but have one beef with it: the way it ends. The film opens in Charlesburg in the year 1856. The main antagonist is a piece of human excrement named George Masterson (David Ramsey). During an odious depiction of the selling of enslaved people, He is warned by a diseased-looking servant about a group conducting a voodoo ritual in his home’s attic to place a curse on him. As they are shot down, their leader hands George’s wife, Elizabeth (Nicole Fortier), an amulet of a mask, and with his dying breath, tells her it’s for protection. Cut to the 1980s, where we’re introduced to Kate Christopher (Mary Page Keller), a successful vocalist, and her psychiatrist-turned-lover, David Young (Andrew Stevens). The couple plans to move into the Masterson mansion with Kate’s young son, Jason (Josh Segal).
Kate experienced a traumatic event, which led her to seek David’s care. over a year before, and she is still being medicated. Once they begin moving in, Kate has nightmares about George. Soon, they discover an attic hidden behind a dilapidated wall in Jason’s closet. Kate and David investigate further and find a diary, sheet music and a broken piece of the mask amulet. David reads the diary and learns that the music was written by George for his wife Elizabeth, who was hiding slaves in the attic. Later, Kate plays the music on the piano – and somehow, it conjures George’s spirit.
David begins showing traits of toxic masculinity, belittling Kate whenever she insists George’s presence in her dreams is real. He continually discredits her, telling her she has an overactive imagination. Obviously, his behavior, similar to James Brolin’s as George Lutz in The Amityville Horror, indicates spiritual possession to the audience. David continues reading the diary, but prevents Kate from reading it. His callousness increases with more gaslighting, and he eventually drugs Kate without her consent. Even though David infantilizes her, Kate refuses to back down and is convinced George is reaching out from beyond the grave.
As the story evolves, we see more of those beloved ‘80s practical effects, makeup, and yes, computer graphics! Jason has an Apple II computer and, according to IMDb, is one of the first times it was featured in a film. The VFX in this scene are delightful and very reminiscent of 1981’s Evilspeak. (All hail, Clint Howard!) The makeup for David’s possessed look is monstrously superb, and the film’s final act, as Kate and Jason try to escape the mansion, succeeds on its own merits. That beloved ‘80s horror gore aesthetic shines with a man unzipping his scalp to reveal a pulsating brain, a talking, hanging dead body, a giant head and David/George’s face melting with his eyes gouged out. Then, his body opens like a cavern and his brain and internal organs spill out. Fun!
SCARED STIFF is a great ‘80s horror movie with amazing practical effects. Still, I’m not a fan of Kate’s ending. We know she has experienced trauma, and she’s trying to move on. I was hoping for a positive and cathartic outcome for our leading lady. But instead of overcoming her past and becoming stronger, she is defeated and back in intensive psychiatric care, having completely lost her mind. A sad and unjust ending for a woman who fought hard to keep herself and her son safe. This is the same issue I have with Joe Dante’s The Howling. It’s hard for me to watch a woman belittled and discredited by every man around her, only to have to sacrifice herself at the end to prove herself. Both films have disappointing endings for strong female leads.
Though Kate’s trauma is insurmountable, and she is defeated despite her tenacity throughout the film, the movie’s never drab. I must commend Friedman’s creative mix of styles and gore (and find it hilarious that in a giant mansion with multiple rooms, they stick the kid in one that leads to cursed pigeons and dead bodies). Whenever Doom Asylum gets brought up in conversation, I suggest watching SCARED STIFF in its place.
