Category Archives: Harry Manfredini

Rocks In The Attic #865: Harry Manfredini – ‘Friday The 13th Part IV – The Final Chapter (O.S.T.)’ (1984)

RITA#864When I was just six years old, my brother tried to scare me by showing me the box-cover of this film at the video shop. The poster of the film depicts Jason’s mask, lying in a pool of blood, with a knife sticking out one of the eye-holes. To my six-year old mind, I thought it was a picture of a potato. That’s not scary at all. What’s scary about potatoes? I’ve since heard similar stories by people who saw the poster when they were a similar age, and they thought it was a potato too. You say hockey-mask, I say potato, let’s call the whole thing off.
Is there any better indicator that you’re watching an ‘80s film than Corey Feldman being in the cast? Not only do we get Feldman in the same year he appeared in Gremlins, before he broke through with The Goonies in 1985 and Stand By Me in 1986, but Friday The 13th: The Final Chapter also gives us a pre-Back To The Future Crispin Glover. Outside of Kevin Bacon’s appearance in the first film, Feldman and Glover’s presence make The Final Chapter the most star-packed episode in the series.

RITA#864aSpoiler alert: it wasn’t the final chapter at all. In fact, Part IV, as we’ll refer to it, was far from being the final chapter. It’s very much mid-period Jason. Producer Frank Mancuso Jr. – the son of Paramount CEO Frank Mancuso Sr. – titled it as such as he was embarrassed at being linked to the franchise. Regardless of how much money the series was raking in, he felt like killing off Jason would end the films and would allow him to concentrate on more respectable projects. We don’t even get roman numerals in the film’s title this time, although the strap-line would have served as a clever marketing move – “Gee, we had better go and see this one! It’s the last one they’re going to make!”

As is now par for the course by this point in the series, we open on a recap of parts I, II and III – “Previously…on Friday The 13th”. Framed around the fireside chat from Part II, we hear Paul from that film narrate the legend of Jason Voorhees, while we see a montage of kills from the three films so far.

Instead of the film’s block title advancing towards the camera, we now see the mask do the same trick. All of a sudden, the mask is now the icon of the series, and would remain so forever. Jason would wear the mask permanently from this moment on.

The opening scenes, set in a middle-of-the-night hospital where they have taken the corpses from the end of Part III, is very reminiscent of Halloween II, a film that had only been released two years earlier. The subtle, blink-and-you’ll-miss-it shot of Jason’s breath as the doctor loads him into the freezer is a wonderful piece of filmmaking. From this detail, you already know you’re in far safer hands than Steve Miner’s tired direction of Part III. Joesph Zito directs Part IV, and he makes it one of the stronger films in the franchise alongside Part II.

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We’re introduced to the 12-year old Corey Feldman, who lives with his older sister and their mother, and we have a bunch of young kids moving into the house next door (I wonder what’s going to happen here!). Crispin Glover does some crazy dancing, ahead of his crazy dancing at the ‘Enchantment Under The Sea’ Dance in Back To The Future.

It’s in this film where we glimpse the Pamela Voorhees ‘1979’ gravestone that knocked the franchise off into its wonky timeframe. This film was released in 1984, but by now we’ve caught up after Part II thrust us five years into the future. Part III took place the day after Part II, and we stay in the same timeframe, with Part IV taking place the day after Part III. Phew, keep up people…

The music, again by Harry Manfredini, is, of course, as excellent as always. Part IV is a strong, well-made film; perhaps as strong, if not stronger, than Part II. Now if only we could sidestep Part V

Hit: What Boy, Ma’am? / Main Titles

Hidden Gem: Helicopter

Body Count: 14

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Rocks In The Attic #825: Harry Manfredini – ‘Friday The 13th Part III’ (1982)

RITA#825Jason’s back for another round of killing. We’re well into the series now; it’s the third installment and the second with Voorhees Jr. as the man with the machete. After the first two parts, it’s a step-down in terms of quality – the acting is terrible, and the sets look very cheap. It’s worth a watch though, if only to see the few new things added to the mix that would become iconic to the franchise.

First, we open on another recap: “Previously, on Friday The 13th” it might say, if it was a TV show made in the early 2000s. Do we need another recap? Well, yes and no. In the age of home video and streaming, it’d be easy to do without this, but back in 1982 and before any such luxury was commonplace, it was probably the only thing to serve as a reminder of what’s happened so far. Plus, it helps to make sense of the Lady In The Lake dream sequence at the end of the film.

RITA#825aAt the end of the recap, we see a top-down view of the aftermath inside Jason’s makeshift cabin from the end of Friday The 13th Part II. We see Jason crawl away, ready to kill again – something that would often be repeated at the start of each film going forward. Then we get some eye-popping credits.

WOAH! The titles are flying out into my eyeballs. We’re in 3-D! And there’s some crazily funky disco music playing over the credits. It’s exciting! It seems to do for Jason what Marvin Hamlisch’s Bond ’77 failed to do for James Bond five years earlier in The Spy Who Loved Me. Hamlisch’s efforts to be hip and trendy are eye-roll-inducing; Manfredini’s funky little jam, on the other hand, sounds great. The rest of the score is textbook Friday The 13th, and this reissue of Waxwork Records’ 2016 pressing with a 3-D effect lenticular cover, artwork by Ghoulish Gary Pullin and pressed on ‘3-D Glasses’ red with blue splatter double vinyl is absolutely gorgeous.

RITA#825bWe open in the aftermath of Part II – giving the franchise an opportunity to catch-up somewhat to that crazy ‘5 years later’ timeline blunder that the earlier film makes. In the first scene, we see one of a multitude of camera ticks employed throughout the film to make full use of the 3-D. A mis-cast 20-something/going-on-50 housewife badgers her long-suffering husband for knocking over the washing-line prop. POINT IT AT THE FUCKING CAMERA! It isn’t long until these shots start to feel gimmicky. More than anything, the scene serves as an opportunity for Jason to change out of his Part II dungarees, and into the more generic everyman worker clothes he dons for the rest of the series.

The film blunders on. It isn’t well-made in any respect. As well as the sub-standard acting, we also glimpse the reflection of the camera-crew in the window of the VW Beetle. It’s also the first of the Friday The 13thfilms where the audience can really start rooting for Jason, as the Final Girl Chris is just so annoying.

We see Jason stumbling around in Chris’ painful-to-endure flashback moments, with his bald head completely rewriting the scraggly long hair we see him with in the final shots of Part II. Discounting that scene as a dream-sequence makes some sense; seeing Jason in Chris’ flashbacks, dressed in the clothes we see him start to wear in Part III, makes no sense. There should be a caption at the foot of the screen, reading ‘DON’T THINK TOO HARD ABOUT THE FINER DETAILS!’.

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It’s good to see Crazy Ralph replaced by a similar Greek chorus doomsayer, and we even get to see one of the characters read an issue of Fangoria magazine – surely a great meta moment, featuring a magazine that the film would ultimately appear in once released. The most notable thing about the film though is the introduction of the hockey mask.

The mask would become the icon of not only the character of Jason, but of the Friday The 13th series in general. It’s probably one of the most iconic movie-props in the history of cinema. It’s almost magical when he takes it from practical joker Shelly, and we see him use it for the first time to murder Vera.

Mask, clothes, machete. Jason’s ready.

Hit: Theme From Friday The 13th Part 3

Hidden Gem: Part 2 Flashback

Body Count: 12

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Rocks In The Attic #766: Harry Manfredini – ‘Friday The 13th Part II’ (1981)

RITA#766Jason’s finally here. He drowned back in ’57 but somehow he’s still alive and, two months after the events of the first film, has tracked down his killer mother’s killer, Alice, back to her suburban apartment. There’s no explanation of how he got there – did he take the bus, hire a car – nor how he managed to track her down, but he’s here to deal out some payback. Just don’t think too hard about the details.

In fact, maybe we should talk about the details. When we first see Jason, walking across the dark street towards Alice’s apartment, we only see his boots and the lower half of his legs. He’s wearing jeans, quite normal-looking, blue jeans. This isn’t the dungaree-wearing wild man of the woods we see later. In fact, it very much isn’t Jason at all, as this short insert was filmed with a female member of the crew standing in for Jason. In the first film, we expected the killer to be a man, but it was a woman; now we finally see the male killer, and his first appearance as an adult is portrayed by a woman. Mind blown!

RITA#766aAfter dispatching Alice, we cut to the kettle, whistling on top of the cooker. Jason’s hand reaches over and takes it off the heat. Every time I watch this film, I expect to see Jason force the side of Alice’s head down on to the hot element, and I catch myself agreeing that these movies are pretty gruesome. But then it doesn’t happen; my memory just tricks me. He just removes the kettle, because he…likes to keep a tidy kitchen?

Five years later, an intertitle tells us, the action moves to a camp near Crystal Lake for the rest of the film. The time-jump really throws a grenade into the timeline of the series, as discussed by Matt Gourley and Paul Rust on the excellent In Voorhees We Trust podcast. Bear with me…

The first film was shot in 1979 and released in 1980. However, a glimpse of Pamela Voorhees’ gravestone later in the series marks her death as the year of 1979, firmly placing that film’s events in the summer of that year. The five-year time-jump therefore places the events of Part II in 1984, three years into the future from its release date of April 1981. Part III and Part IV’s events both take place in the days following Part II, which allows the series to catch up a little, but then there’s another jump with Part V’s events taking place in 1989, despite being released in March 1985. I’d like to see Doc Brown chart this one out on a blackboard.

Back to Part II, and we find the businesslike Paul Holt opening a training camp for camp counsellors. We see Paul’s arm ringing the bell to call the other counsellors, and this is surely a red herring of a clue to the audience. We’ve already seen that Jason was dressed in a dark-check shirt when he killed Alice, and here we see Paul wearing a similar shirt. Is Paul the killer? The first film had a similar red herring, where we first see the killer drive a jeep, before seeing the camp leader Steve driving a similar jeep. These little details would have been really important when watching the film for the first time, but they just get lost in the picture when you’re re-watching for the hundredth time.

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I get this is now a quasi-futuristic film now, but the 1984 that this film imagines seems to be one where women don’t wear bras. The nipples on display, not to mention temptress Terry’s ass-cheeks peeking out the bottom of her cut-off Levis, are more suited to the eye-popping 3-D of Part III.

The other thing that pops out of the screen is the colour. I’m not sure if it’s better film-stock they’re using, or better-spec cameras, but this really looks like a typical Hollywood film after the muted tones of its low-budget predecessor.

Crazy Ralph makes a short return, but sadly doesn’t get to say “I FUCKING CALLED IT, MOTHERFUCKERS!” before he too is killed by Jason. With non-camp people like Alice and Crazy Ralph murdered early-on, and with the increased number of campers on offer, you’d be forgiven for thinking that Part II would easily surpass the first film’s body count of ten. But strangely, the film leaves half of the campers out drinking at the local bar while the finale happens. Ted (the nerd) is very much one of the main players, and his introduction in the first half of the picture ultimately leads nowhere as we last see him asking the locals where they can go after-hours. The body count comes in at a pitiful nine.

Jason is much less-scary when he’s on-screen. Once the Final Girl, Ginny, encounters him, he’s just a lumbering idiot. This is further supported by the fact that he’s seemingly wearing a pillow-case on his head. My tricky memory always remembers it as a hessian sack, but it’s actually a burlap flour sack. We glimpse a horrible blood-blister under his thumb at one point: one of the many ways the series would continue to show him as a despicably grubby individual. Ginny and Paul overpower Jason, and he ends up with a machete through his shoulder.

The film is one of the stronger entries in the series, with a decent cast and without some of the sillier moments of the later films. The soundtrack is just more of the same from Harry Manfredini, and that’s just fine.

One last thing to mention is the shrine we see at the end of the film, inside Jason’s makeshift cabin. Lying on the floor, next to the decapitated head of his mother are a couple of dead bodies, one of which is supposed to be Alice from the opening of the film. Man, it sure would have made an awkward conversation with the bus driver when he tried to bring that all the way back to Crystal Lake.

Hit: Keep A Cool Head (Main Title)

Hidden Gem: Return To Chez Jason / End Title

Body Count: 9

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Rocks In The Attic #762: Harry Manfredini – ‘Friday The 13th (O.S.T.)’ (1980)

tp0009c_SP_Gate_CoverAs well as watching all of the James Bond films in the run-up to next year’s Bond 25 , I’m also in the middle of watching the Friday The 13th films in order. I’ve seen them all before, multiple times, but it’s good to rewatch them as I’ve been listening to the great In Voorhees We Trust podcast, hosted by the very funny Matt Gourley and Paul Rust.

Friday The 13th has always been my favourite horror franchise. There’s just something more lovable about the series than the lame comedy-horror of the Nightmare On Elm Street sequels, or the dull-as-dishwater Halloween films after the brilliant third installment.

Jason Voorhees is just a lovable guy. He might be disfigured, wander around in the dark, and kill campers with a machete, but what a guy! He doesn’t limit the terror with wisecracks like Freddy Kreuger, and he’s far more animated than the passive Michael Myers. Although I don’t like the superpower qualities he adopts in the later sequels, it’s great to see Jason’s character develop through the first four films.

RITA#762aOf course, as every trivia expert knows, Jason isn’t the killer in the original Friday The 13th film. It’s his Mom. The matriarch of the Voorhees family, Pamela wears fisherman’s sweaters and looks a little like a menopausal Steven Tyler. The film opens on Camp Crystal Lake in the late 1950s, with Momma Voorhees as an unseen killer, in POV. She kills a pair of camp counselors who allowed her son Jason to drown while they had sex.

Enter plucky young hitchhiker Annie, on her way to Camp Crystal Lake. A intertitle informs us it is now the present day, AKA 1980. The camp is being re-opened for the summer, but Annie doesn’t get there. First, she meets Crazy Ralph, who warns her against going to the camp (“It’s got a death curse!”), and then she gets a lift from the POV killer who dispatches her in the woods.

Cut to camp, and we find the enterprising Steve Christy, who’s rushing to refurbish the camp before its first guests of the season arrive. He’s employed a team of young counsellors, including Bing Crosby’s son Harry, and Kevin Bacon, to fix up the place. Interspersed with these establishing scenes are shots of the killer, hiding behind trees, watching the counsellors in POV. It’s far less scary when you know it’s an old lady watching them. At this point, it’s important to note that Kevin Bacon cannot dive very well. Before he meets Mrs. Voohees, he almost kills himself with a belly-flop.

The killings start almost immediately without a chance for any character progression. Day turns into night and the counsellors get picked off one by one during a rainstorm. The murder scenes are great, aided by special-effects maestro Tom Savini, and do for campsites what Jaws did for beach-swimming five years earlier.

Harry Manfredini’s score has just enough innovation in it to sidestep any accusations that it takes a little too liberally from John Williams’ Jaws and Bernard Herrmann’s shower scene in Psycho. The repeated ‘Ki-ki-ki, Ma-ma-ma’ sound-effects, representing Jason’s pleas of ‘Kill her, Mommy’, are just brilliant and effortlessly lift the film’s sound-design above its contemporaries.

It’s a simple film; over as soon as it’s set up. And of course, the location is superb. I’m not sure if sequels were considered before its runaway success – it made $40 million in the U.S. alone, from a $500,000 budget – but the location easily allows for subsequent films, as new, unknowing victims turn up at the camp each summer.

In the episode of the In Voorhees We Trust podcast which covers this film, Matt Gourley and Paul Rust debate whether or not the title card, at the top of the film, flies into view and breaks the camera lens or the viewer’s screen – or whether it’s supposed to be a mirror breaking, as per the film title’s link to superstition. Rewatching it, I’m pretty sure it’s supposed to be the lens of the camera, although it’s a missed opportunity for the film not to reference the theme of superstition a little more:

Final Girl: Oh, Mrs. Voorhees, what a pretty black cat you’re holding.

Pamela Voorhees: Oh yes, dear, I’ve just come from my Amateur Dramatics class where we’re rehearsing the Scottish Play…or should I say…Macbeth!

Final Girl ducks out of the way, under an open ladder, as Stevie Wonder’s Superstition plays over the soundtrack.

And speaking of Mrs. Voorhees, I fully agree with Gourley and Rust that she would have been soliloquising with each character, refining her back-story down to a tight-five, before murdering them.

Pamela’s head rolls, as do the credits, and the only thing missing is a post-credit sequence with Crazy Ralph grinning at the camera, joyfully exclaiming “Called it!”

Hit: Overlay Of Evil / Main Title

Hidden Gem: Banjo Travelin’

Body Count: 10

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