The Halloween series are known for their work on the Slasher movie horror sub-genre. They, along with hundreds of other slasher movies typically follow a steady and ready-made plot which seemed to be monotonic in nature that the plot will be highly predictable towards the end. This is part of the reason why I abhorred slasher movies after a while. Sure, the first few times were a thrill, and the progression seemed to be meaningful, but after more and more of the same formula came, I simply grew tired of it. In the Halloween movie released in 2012 however, the thrill for slasher movies for me has been rekindled for the movie allowed a whole new dimension to be explored in the concept of the slasher film, which is the slasher himself.
Mike Myers had what was possibly be, the more atrocious of domestic environments with a seemingly non-existent family. It is exactly this environment which took away all emotion from him and enabled him to to the acts of mass murder. This formula of tragic pasts leading to a psychopath is seen even in other franchises like Dexter Morgan’s for example in the novel and Dexter TV series. The point is that Halloween(2012) gave more insight and possibly even more depth into the mesh of something else in the thoughts of Mike Myers. Of course, in the second half of the movie, we see how Laura, Mike’s younger sister has grown up to be a normal teenager although not as liberated and sexual as her friends. When Mikey escapes, I admit that I was sort of rooting for him because of his unbelievable display of power. I identified with him which was exactly the case in what Clover writes about. In horror movies, the male audiences typically root for and identify with the male characters who display the power and authority like in the case of Mikey. He has all the cards and plays which the whole plot revolves around, we are simply made to wait and gaze upon what he does next for he holds the power. However, as the characters slowly dwindle due to Mikey’s rampage, we are left with only Laura and the monster that is Mike.
Clover writes how there comes a phenomenon of castration of the phallic power from a male role which is then transferred directly to a female who then holds the power. This is the case when we see how Laura retaliates and how Mike continually fails to kill Laura. Mike’s inability to kill has been attributed to a castration of power of sorts which Laura is now starting to be the dominant role, the male audience then is forced and attracted to the idea of rooting for Laura until she finally conquers Mikey. This critical play on Gender and the workings on the psychology of the male mind is what horrifies us. Without noticing it, the inner workings of our mind and how it treats fear is intertwined with Gender.