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Henry: Portrait of a Serial Killer
Portrait of a Serial Killer (1985) is precisely a cold-eyed character study based on the crimes of Henry Lee Lucas, who was convicted of eleven murders in the 1980s. Director John McNaughton presents an unflinching portrayal of the semi-fictional Henry's crimes, which include serial murder and the slaughter of a family captured and replayed on videotape by Henry and his accomplice Otis. The film proved immensely controversial, notably in the UK, where it confounded the British Board of Film Classification, which at one point during the film's tangled censorship history went so far as to re-edit substantially a crucial scene, in addition to cutting others. ÌýShaun Kimber's examination of the controversies surrounding Henry considers the history and implications of censors' decisions about the film on both sides of the Atlantic, revealing a wide range of cultural meanings and social fears relating to film violence. Taking full account of the views of audiences, critics and academics, both at the time the film was released and in the years since, this illuminating study also looks at the changing political, social and economic contexts within which the film was produced and has subsequently been circulated and consumed. It also considers McNaughton's usage of the codes associated with documentary and realism, 'exploitation' approaches to publicity and marketing, and the polarisation of responses to the movie. Today Henry enjoys the reputation and status of a key film within the horror genre, the history of censorship, and the study of film violence. Kimber's revealing account of the film's production and its fortunes in the marketplace provides a fascinating case study of film censorship in action, and offers a sustained and wide ranging analysis of what remains one of the most disturbing films ever made.
168 pages, Paperback
First published September 15, 2011
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August 13, 2019
Henry: Portrait of a Serial Killer, written by Richard Fire and John McNaughton, directed by the latter
8.4 out of 10
This drama has an impressive average, Metascore of 80, which means that most critics have been more than pleased.
Indeed, the Los Angeles Times and the Philadelphia Inquirer have both given it a maximum 100 out of 100, while Rolling Stone and others have been very appreciative.
The Washington Post on the other hand is rather dismissive of a 'half art film, half schlock-horror movie'.
Henry has a bizarre atmosphere, strange characters and a plot that is also outre, notwithstanding the fact that it is based on real events.
Michael Rooker is very effective as Henry, unless of course, you share the view of the Washington Post chronicler, who is actually correct in his assessment, at least in part.
He kills victims that he apparently selects randomly, albeit he has a rudimentary strategy, which he would explain later to the novice who learns how to murder from him.
The antihero shares a flat with Otis, who will listen to the lessons given by the experienced killer, who says that the police look for a pattern and thus it is better to change method.
Otherwise, they just follow the blood from the deer, they expect their wanted man to strangle again, or use the same gun.
Henry says that if you use a pistol, you can use it again, but change the weapon, don't use the same gun.
Both Otis and Henry are psychopaths, in that they don't feel the pain of their victims.
Indeed, Otis even enjoys his atrocities, while his sick partner and teacher seems to remain aloof, unmoved either way by his abominations.
For the first murder of the apprentice, they stop the car, raise the hood and signal for an innocent driver to stop, offering help.
When one does, his munificence is repaid with a few bullets that kill him for no other reason, except Otis had stated he feels like ending someone's life.
One day, Becky, Otis' sister, arrives, leaving behind her child, departing from a husband who would be sent to jail, for...murdering someone.
It looks like killers all move in the same circles.
The relationship between brother and sister is very disturbing, just as at one point, the woman recounts having been abused by her father, who had come to her at night, when she was just fourteen, kicked and raped her, repeatedly.
When the two men try to buy a television set, the man in the shop is less than forthcoming and he pays for his remarks with his life, when the two lunatics start stabbing him and finally they smash his head with one tv.
They will take one home and a camera with which they record their next heinous crimes, this time they dispatch father, mother and a boy, during scenes of extreme brutality.
8.4 out of 10
This drama has an impressive average, Metascore of 80, which means that most critics have been more than pleased.
Indeed, the Los Angeles Times and the Philadelphia Inquirer have both given it a maximum 100 out of 100, while Rolling Stone and others have been very appreciative.
The Washington Post on the other hand is rather dismissive of a 'half art film, half schlock-horror movie'.
Henry has a bizarre atmosphere, strange characters and a plot that is also outre, notwithstanding the fact that it is based on real events.
Michael Rooker is very effective as Henry, unless of course, you share the view of the Washington Post chronicler, who is actually correct in his assessment, at least in part.
He kills victims that he apparently selects randomly, albeit he has a rudimentary strategy, which he would explain later to the novice who learns how to murder from him.
The antihero shares a flat with Otis, who will listen to the lessons given by the experienced killer, who says that the police look for a pattern and thus it is better to change method.
Otherwise, they just follow the blood from the deer, they expect their wanted man to strangle again, or use the same gun.
Henry says that if you use a pistol, you can use it again, but change the weapon, don't use the same gun.
Both Otis and Henry are psychopaths, in that they don't feel the pain of their victims.
Indeed, Otis even enjoys his atrocities, while his sick partner and teacher seems to remain aloof, unmoved either way by his abominations.
For the first murder of the apprentice, they stop the car, raise the hood and signal for an innocent driver to stop, offering help.
When one does, his munificence is repaid with a few bullets that kill him for no other reason, except Otis had stated he feels like ending someone's life.
One day, Becky, Otis' sister, arrives, leaving behind her child, departing from a husband who would be sent to jail, for...murdering someone.
It looks like killers all move in the same circles.
The relationship between brother and sister is very disturbing, just as at one point, the woman recounts having been abused by her father, who had come to her at night, when she was just fourteen, kicked and raped her, repeatedly.
When the two men try to buy a television set, the man in the shop is less than forthcoming and he pays for his remarks with his life, when the two lunatics start stabbing him and finally they smash his head with one tv.
They will take one home and a camera with which they record their next heinous crimes, this time they dispatch father, mother and a boy, during scenes of extreme brutality.
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