Say Can You See

Remakes of classics. It is my sense that a classic has earned its place in its own constellation for a reason. Remakes seldom attain the je ne sais quoi of the original, but sometimes I have trouble telling them apart. I like scary movies—the classics anyway. In recent years various directors think they can improve on the masters and some of us get confused about what’s what. So it was that I came to watch the remake of The Hills Have Eyes without having seen the original Wes Craven version. As is typical for remakes, the writing tends to lack the flare that often characterizes the original vision. The story may be similar (in this case I’m only guessing) but more than the names may have been changed to protect—who? I’m afraid I didn’t care for the film. Graphic violence is seldom as effective as suggested terrors, but it can make you a bit queasy nevertheless.

I decided to stay with the movie to see if my thesis of religious elements and terror would become part of the story. In the remake, in any case, the action is set in a nuclear test zone where people disfigured by the radioactive fallout of American nuclear tests prey upon the victims they can lure into their lair. So an extended family is drawn in and very few of them make it out. The pater familias is a man who trusts his gun and has no fear of walking into the dark desert alone. But before he goes—yes! Religion. The mother of the brood, it turns out, is a devoted Christian and insists on praying before the men-folk set out to try to find help for their stranded vehicle. The eponymous eyes in the hills watch them pray and then begin to prey. The confident father says, “I trust my bullets more than your prayers.” (Or something along those lines.)

Ironically (and I can’t believe it was anything beyond coincidence) both dad and mom end up dead—the father in a crucifixion pose, the mother by being shot. Neither bullets nor begging save them from the mutants who seem to live just to cause others misery. The man who trusts his gun dies in a somewhat religious way, and the woman who trusts prayers is the victim of a gun. Now, in a classic there would be some lingering on the reversal here, but the remake syndrome is eager to add gore and grotesqueness to the screen without pausing for thought. The eerie backdrop of a nuclear testing town with mannequins still intact is effective, but otherwise you know to expect Road Warriors-type action in this small, post-apocalyptic world. The fact that even this wasteland supports a moment of prayer, however, demonstrates that fear and religion are never too far from each other.