Roger Ebert Was on the Right Side of ‘Henry: Portrait of a Serial Killer’

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As a seasoned horror enthusiast who’s seen more than my fair share of slasher flicks, let me tell you that “Henry: Portrait of a Serial Killer” stands head and shoulders above the rest. Coming from someone who’s spent countless nights huddled under the covers, this movie is a chilling reminder that evil lurks not just in the shadows but among us.

During the 1980s, slasher movies held sway over movie theaters and video store shelves, offering viewers an escape from reality. Creatures like Jason Voorhees and Freddy Krueger satisfied audiences’ cravings for gore and inventive murders, while also dishing out generous helpings of sexuality. This served to reinforce traditional American beliefs that drug use and pre-marital sex often led to characters meeting their untimely ends. In contrast, a different kind of film emerged in 1986, delving into violence in a nearly unfiltered realism. Titled “Henry: Portrait of a Serial Killer“, James McNoughton’s work offered a peek into the realm of serial killers.

Drawing inspiration from the notorious real-life serial killer Henry Lee Lucas, this film received acclaim from critics such as Roger Ebert and Gene Siskel, both known for their skepticism towards the growing trend of slasher films. The main character, played by Michael Rooker, provides a chilling insight into the antisocial traits exhibited by these real-life predators lurking in the shadows. The film, unapologetically graphic in its portrayal of serial killings, embodies the paradoxical allure that true crime holds for the public. Despite our revulsion towards such individuals who lack compassion and prey on victims, we are inexplicably captivated by them.

Detachment and Deconstruction of a Serial Killer

Since the post-war economic growth after World War II, there’s been a persistent public interest in true crime stories. With just a click of a button, you can access numerous shows that delve into crimes, their perpetrators, and the effects they have on victims and society. But why do we keep getting drawn to these people who we find repugnant yet cannot seem to look away from? This is the question we should ponder over.

The movie “Henry: Portrait of a Serial Killer” prompts viewers to contemplate and question their perspectives in multiple ways. Henry (Rooker), living with his cellmate Otis (Tom Towles), who mirrors the real-life serial killer Ottis Toole, is a character that represents society’s extreme outskirts. Henry shows disregard for empathy and ethical norms. The allure of this abnormal lifestyle is demonstrated through Otis’ sister, Becky (Tracey Arnold), who becomes instantly fascinated by Henry upon hearing him discuss killing his mother.

These three individuals – Henry, Becky, and Otis – will likely come to represent the three key elements fueling the public’s interest in serial killers and true crime as a whole. Henry embodies the ruthless perpetrator, while Becky symbolizes the allure of those who break societal rules and laws. Lastly, Otis represents the figure who is drawn into activities that challenge our moral foundations through training and grooming.

Open up, Otis. Take a good look at the world. It’s you or them. I think you catch my drift.” In this pivotal scene from the movie, Henry’s words echo his cynical, ruthless perspective on society as a whole. As Otis finds himself ensnared in Henry’s ruthless realm, where life holds no value and the compulsion to kill reigns supreme, we get a glimpse into the mind of individuals like Henry. Armed with an innate predatory instinct, Henry not only hunts his victims but also manages to stay one step ahead of law enforcement for survival’s sake. By stripping away any semblance of humanity from his targets, Henry can continue his deadly pursuit, a pursuit that he passes on to Otis, teaching him the nuances and strategies of his lethal artistry.

Depictions of Murder and Excess

McNaughton’s portrayal of Henry’s violent rampage in no way shies away from extravagance, making sure every gruesome detail is vividly depicted. To quote William Shakespeare’s Henry V, “Upon this, your imagination must work” to fully immerse oneself in the content. In essence, McNaughton not only shockingly depicts Henry and Otis’s actions but compels the audience to use their imagination to fill in the gaps, if you will.

In the movie “Henry: Portrait of a Serial Killer“, although there are graphic scenes of violence, much of its impact lies in what isn’t shown on screen. Most of Henry’s victims are killed off-camera. Instead of presenting numerous gory sequences detailing his crimes, the film shows the consequences. The audience sees the victims but focuses more on their state and less on how they were killed. This approach makes us imagine the horrors that transpired, which is far more unsettling. Since Henry operates out of compulsion and doesn’t view human life or empathy as significant, the scenes depicting the aftermath symbolize the almost mechanical way he discards his victims. His victims become mere statistics without personal significance in this process.

In this movie, a connection between the film and its viewers is created by depicting events through a camera lens. Characters Henry and Otis record one of their criminal acts, which is a home invasion. This scene, involving multiple homicides and sexual assault, is disturbing to watch and leaves any viewer feeling uneasy. Rather than witnessing the incident live, we see it through the footage shot by Henry and Otis, which they watch from their living room comfort. This portrayal of being a secret observer of violent acts echoes our own relationship with the film, where the intense portrayal of violence is viewed from a distance. Similar to other forms of violent art, we are drawn to it but maintain a physical separation from the actual event.

Undiluted Realism and a Performance That’s All Too Real

As a movie enthusiast, I’d say the key element that sets Henry: Portrait of a Serial Killer apart as an unsettling portrayal of the chilling monsters hidden among us is the exceptional performance by Michael Rooker. Instead of playing Henry as an otherworldly monster like those in slasher flicks, Rooker brings to life the dual nature of evil – the ability for such individuals to lurk undetected within our very society. It’s this unsettling blend of repulsion and fascination that makes Henry: Portrait of a Serial Killer stand out as an exceptional film.

While horror films have always provided us with escapism from the stresses of the working world and the burdens of reality, Henry: Portrait of a Serial Killer provides a chilling and real look at the evil with which we coexist. Ted Bundy’s famous quote about serial killers being a normalized part of society and that there are “more of us tomorrow” permeates throughout John McNoughton’s film and is a sobering reminder that reality is always more traumatizing and distributing than fiction. Stream on Prime Video, Peacock, and free on Tubi.

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2024-12-08 19:31