Director: Jack Sholder
Cast: Mark Patton, Kim Myers, Robert Rusler, Clu Gulager, Hope Lange, Robert Englund
Screenplay: David Chaskin
87 mins. Rated R.
The first sequel to A Nightmare on Elm Street is one of the more interesting tales out of Hollywood. The sequel that saved New Line Cinema.
Five years after the events of the first film, the Walsh family has moved into Springwood. Jesse (Mark Patton, Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean, Family Possessions) has not been sleeping well since the move. The air conditioner is broken, the heat upstairs is unruly, and the nightmares have been unyielding. But things are looking up. He has the hots for Lisa (Kim Myers, Hellraiser: Bloodline, 10,000 Days) and a new best friend in Grady (Robert Rusler, Weird Science, Blood Feast), but he still can’t shake the feeling that there is something dangerous within him. In his dreams, that danger takes the form of a burned man named Freddy Krueger (Robert Englund, Kantamir, Lake Placid vs. Anaconda).
So let’s talk about the magic that is Robert Englund. This franchise would be nothing without him, and he seems to find himself in a different way with each installment. The magic in this series mostly rests on him, as we’ve seen in the remake that did not feature the iconic actor in role. Just think, though, that there was a time when Robert Englund had not been hired for this sequel. Instead, New Line thought it best to get an extra or stuntman. Thankfully, that mistake was rectified a few weeks into production and we now have the franchise and character we know and love.
I want to shift focus now to the screenplay and David Chaskin. For those of you that have watched the brilliant Never Sleep Again documentary that chronicles the making of this franchise, you will already know that in its time since release, Freddy’s Revenge has been discussed heavily for its homoerotic themes. Director Jack Sholder (The Hidden, 12 Days of Terror) has vehemently denied any knowledge of it, and screenwriter David Chaskin (Midnight Child, I, Madman) has only recently taken credit for the themes in his screenplay. Couple that with Mark Patton’s performance (Patton himself claimed he was the first male screen queen) and you can see the layers of sexual repression and how Jesse just wants to bottle up all the anger and hatred and fear that one would experience after coming out and you can see where this is all coming from. It’s an interesting theory but I have to call bullshit on David Chaskin. I don’t believe for a second that Chaskin chose to put this in the screenplay. Chaskin, in interviews, comes across as a smarmy liar who wants credit for everything good in the film but takes no blame on any of its faults.
I think what angered a lot of people about the way Freddy’s Revenge conducted itself was that it seemingly threw the rule book out and took the mythology in a completely wrong direction. In certain circumstances this could work, but for Freddy’s Revenge, it took all the magic out of a film and turned Freddy Krueger into a traditional slasher. He loses all his power. There’s some cool new pieces to the mythology but overall it’s a disappointing installment.
That being said, this installment happens to be my fiance’s favorite and I have a special place in my heart for it being that a sequence in the film was so frightening that I had nightmares for years as a child. Can you imagine if I had been deranged?
-Kyle A. Goethe
For my review of Sean S. Cunningham’s Friday the 13th, click here.
For my review of Wes Craven’s A Nightmare on Elm Street, click here.
For my review of Steve Miner’s Friday the 13th Part 2, click here.
For my review of Steve Miner’s Friday the 13th Part III, click here.
For my review of Joseph Zito’s Friday the 13th: The Final Chapter, click here.
For my review of Danny Steinmann’s Friday the 13th V: A New Beginning, click here.
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