Directed by:
John CarpenterScreenplay:
John CarpenterCinematography:
Gary B. KibbeCast:
Donald Pleasence, Jameson Parker, Victor Wong, Lisa Blount, Alice Cooper, Dennis Dun, Anne Marie Howard, Susan Blanchard, Ann Yen, Peter Jason, Robert Grasmere (more)VOD (2)
Plots(1)
A group of graduate students and scientists uncover an ancient canister in an abandoned church, but when they open the container, they inadvertently unleash a strange liquid and an evil force on all humanity. As the liquid turns their co-workers into zombies, the remaining members realize they have released the most unspeakable of horrors, Satan himself, thus paving the way for the return of his father - the all-powerful anti-God. Terror mounts as the last two members of the team must fight to save an innocent world from a devilish fury that has festered for over seven million years. (official distributor synopsis)
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Reviews (7)
The magic and appeal of Prince of Darkness are derived entirely from its creative and musical aspects. Though the visual effects are cheap and even ridiculous in places, there aren’t enough of them to do the film any harm. Conversely, there’s an abundantly dark and sultry atmosphere created by the almost constant darkness, great dream imagery and demonic music. Like The Thing, this is a horror movie with an extremely pessimistic ending that will give you chills and you won’t exactly want to pop open a bottle of champagne.
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Carpenter lays down some pretty solid arcs here in his unmistakable style, making Prince of Darkness into another great serving of what horror has to offer. The suffocating atmosphere created by the simple masks, the artful work with the unknown evil descending on the earth, and the brilliant horror music can be felt throughout. In addition, the more than solid script, interestingly working with the "clichés" of the Satan cult, works alongside this, which makes me almost give it the best possible review. However, in the end, it's still standard Carpenter, with no proper innovation in the formal procedures, and the sense he occasionally steals from his past works is very evident to more knowledgeable viewers, and some things can be predicted ahead of time (such as the kill list). Despite this, the most important thing (the viewer's emotions) remains, and so I give it four stars with a clear conscience.
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Prince of Darkness was the first Carpenter film made under the banner of Alive Films, which he joined out of disgust with the terms of the big Hollywood studios. He made a deal with Alive that he would get 3 million for each film and complete creative control. This put him in virtually the same situation he found himself in when he made Halloween or The Fog. Even with those, he had the choice of either throwing himself into a more ambitious, big-money project with producers up his ass or raking in a few hundred grand and doing whatever he wanted. It was a sensible move for Alive Films, remembering how Halloween made nearly eighty grand for 320k, especially since Carpenter still showed no signs of creative decline (despite the convictions of the critics of the time, who incidentally totally buried him with The Thing). In Prince of Darkness it is easy to see the director's relaxation, the release from the pressure he hated so much. Unfortunately for the viewer, it contains many of the flaws that cost him so much effort to eliminate in The Thing, and you can sense from here the slight disillusionment that he wasn't going to waste time with the treatment as he did at his zenith back when no one appreciated him. Whereas in The Thing he spent months rewriting the script, selecting the cast, doing two weeks of rehearsals with the actors, which was unusual at the time, as well as reshoots and pick-ups, here it's pretty much plain to see that he's done away with those elements and gone back to the "as long as the camera’s rolling" method of his early days. The cast ends up being a horrible collection of patients in their eighties (the real horror occurs whenever the protagonist smiles under his moustache), most of the information is provided during a session in one room and anyone who isn't in that room is probably wandering around one of the two corridors somewhere, where his transformation into a servant of evil already awaits. On paper, however, Prince of Darkness rests on an exceptional, original, and thoroughly radical story, which is nothing less than the invocation of a Nega-God tying in secret societies, time travel, forgotten languages, meta-worlds, and cosmic anomalies. Which is awesome. So nobody’s going for a more capable remake?
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For me, the fourth best Carpenter (after The Thing, Halloween and In The Mouth of Madness). The story moves along quite slowly, using the mysterious rooms of an old monastery to build a terrifying atmosphere, which becomes thicker than mud, and by the end (i.e. the last 25 minutes) had me watching almost without blinking. Everything is supported by an excellent horror soundtrack, which doesn’t have a motif as strong as Halloween’s, but it’s nonetheless superb and elevates the experience. If there’s anything really worth criticising, that’s the very (and I mean very) unlikeable characters, whose actions and words sometimes get dangerously close to idiocy. Otherwise, satisfaction.
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Prince of Darkness is essentially John Carpenter's Lovecraftian variation on his second film, Assault on Precinct 13. This time the characters are besieged by an ambient threat in a church instead of a police station. And while Assault was a modern version of Howard Hawks's western Rio Bravo, Prince of Darkness pays homage not only to Lovecraft but also to screenwriter Nigel Kneale, particularly his film Quatermass and the Pit. In both films, scientists discover an alien object underground that has a psychic effect on humans. Here, a group of scientists investigate an ancient canister containing a liquid alien life form discovered in the basement of a church. The film combines elements of science fiction and horror with religious themes and theories of quantum physics (which Carpenter was fascinated with at the time) in a novel way, blurring the lines between science and spirituality. One of the main characters declares: "while order DOES exist in the universe, it is not at all what we had in mind!" Good and evil are linked here with the concept of matter and antimatter, and Satan is described by the local science team as an "antigod", a cosmic force of extraterrestrial origin, a rather unusual idea. The whole film is a masterclass in building atmosphere and anticipation of impending doom, but unfortunately fails to hold the viewer's attention throughout. It tries to scare us largely intellectually and create a sense of existential dread, but after a while it gets a little boring with lengthy monotonous scenes in which a group of bland characters just stare at computer monitors and brood over what's going on. Every time something dramatic happens, the film manages to dazzle with cheesy but imaginative effects that defy the laws of Newtonian physics, but then reverts back to dry dialogue. For me, the weakest part of Carpenter's apocalyptic trilogy, but a must for fans of the director.
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