In the cinematic universe of the 1970s, “The Evil Messiah”, directed by Willard Huyck in 1973, emerges as an intriguing work that oscillates between horror and social satire. This film, highlighting the excesses of contemporary society through the prism of a horrific story, questions the very nature of evil and its repercussions on the individual and the community. Huyck, with his bold and provocative style, manages to capture an era marked by psychological tensions and existential questions, thus broadening the spectrum of horror stories to make it a mirror of the human condition.
Willard Huyck – “The Evil Messiah” (1973)
Willard Huyck, director in collaboration with his wife Gloria Katz, is best known for his work with George Lucas, as co-writers of the iconic American Graffiti (1973) and the memorable Indiana Jones and the Temple of Doom (1984). However, it is with Messiah of Evil (1973), his first attempt as a director, recently re-released on Blu-ray, that Huyck really left its mark on the minds of horror cinema fans.
Mysterious Synopsis
The story of Messiah of Evil follows Arletty, played by Marianne Hill, who ventures to the coastal town of Point Dune in search of her missing father, a renowned painter. Surprisingly, no one in the small community seems to know this artist with the exception of an enigmatic trio composed of Thom, played by Michael Greer, and his companions Laura and Toni. Quickly, the apparent serenity of Point Dune deteriorates into disturbing madness.
Deleterious Atmosphere and Disturbing Aesthetics
Although the story itself may seem expected and sometimes incoherent, the heavy and oppressive atmosphere clearly distinguishes Messiah of Evil. Using an exploded narration and a staging highlighting the omnipresent danger in the ordinary, Huyck creates an aesthetic of chaos by playing on the anodyne character of a small seaside town.
Cinematographic and Aesthetic Influences
The film draws influences from the work of George A. Romero and Wes Craven, while anticipating the works of Stephen King and John Carpenter. For this reason, Messiah of Evil is both a pioneering and emblematic work of the horror of the 70s, paving the way for a new form of fantastic horror which would take off in the 80s.
Expressionism and Baroque Violence
The disruption of reality is masterfully represented by a mixture of expressionism and baroque violence. The settings of Arletty’s father’s house, characterized by their singular lines and misleading perspectives, create a nightmarish environment. Point Dune is thus perceived as a chaotic utopia, distant from the world but intrusively curious, symbolized by the painter’s illusory frescoes.
The Memorable Cinema Scene
One of the most terrifying scenes in the film takes place in a movie theater where Toni, played by Joy Bang, sits in the front row. As the room fills with livid and menacing figures, horror takes over the initial tranquility. This scene, inspired by Alfred Hitchcock and evoking an inescapable horror, is undoubtedly the most striking in the film.
A Nightmare Aesthetic
Messiah of Evil thus questions the idea of community, generally considered as an unshakable refuge in classic American cinema, but here a vector of evil. This community appears to be eaten away by an insidious evil, evoking a powerful metaphor of a social body in decomposition.
Blu-ray edition of The Smoking Cat
For horror movie fans and movie buffs, the Blu-ray edition offered by Le Chat Qui Fume offers rich content:
- Interview with director Willard Huyck (37 minutes).
- Documentary “What the Blood Moon Brings: Messiah of Evil, an American Nightmare” (57 minutes).
- Analysis “The American Gothic and female hysteria” (22 minutes).
Messiah of Evil by Willard Huyck is a striking, little-known film that deserves to be explored for its unique aesthetic and its significant influence on horror cinema of the 70s and 80s.
