From Video Nasty to Cult Classic: ‘The Boogey Man’ (1980) Reviewed

“The Boogey Man” (1980), directed by Ulli Lommel, is a fascinating entry in the early 1980s horror genre that blends elements of supernatural terror with slasher film conventions. While it may not reach the heights of its more famous contemporaries, it offers a unique and often unsettling experience that has earned it a devoted following over the years.

The film’s premise is deceptively simple: two siblings, Lacey and Willy, are traumatized by a violent incident in their childhood where Willy kills their mother’s abusive boyfriend. Twenty years later, they return to their childhood home, inadvertently unleashing a malevolent spirit trapped in a mirror. This setup allows Lommel to explore themes of trauma, family dysfunction, and the lingering effects of violence, all wrapped in a supernatural horror package.

From the outset, “The Boogey Man” wears its influences on its sleeve. The opening sequence, featuring a child committing murder, is clearly indebted to John Carpenter’s “Halloween” (1978). However, Lommel takes this familiar starting point and veers off in unexpected directions. The film’s visual style, particularly its use of vivid primary colors and dreamlike imagery, owes more to European horror traditions, calling to mind the work of directors like Dario Argento.

One of the film’s strengths lies in its atmosphere of creeping dread. Tim Krog’s synthesizer score is a standout element, creating an eerie, otherworldly ambiance that perfectly complements the on-screen action. The rural setting, with its isolated farmhouse and dark barns, adds to the sense of unease and vulnerability.

The performances in “The Boogey Man” are a mixed bag, but generally better than one might expect from a low-budget horror film of this era. Suzanna Love, as the traumatized Lacey, delivers a committed performance that anchors the film. Her portrayal of a woman haunted by her past and struggling with her present reality is often quite affecting. Nicholas Love, as the mute Willy, has less to work with but manages to convey a sense of lingering trauma and potential menace through his physical presence alone.

A pleasant surprise is the brief appearance of horror veteran John Carradine as Lacey’s psychiatrist. While his role is small, Carradine lends gravitas to his scenes and helps elevate the film above typical B-movie fare.

Where “The Boogey Man” truly shines is in its inventive and often shocking death scenes. Lommel demonstrates a knack for creating memorable, cringe-inducing moments of violence that will satisfy gore hounds. From a woman impaling herself with scissors to a boy’s neck being crushed by a window frame, the kills are varied and visceral. These scenes are enhanced by practical effects that, while sometimes dated, retain a visceral impact that CGI often lacks.

The film’s narrative structure is somewhat disjointed, which may frustrate viewers looking for a more conventional storyline. However, this fragmented approach contributes to the overall dreamlike quality of the film. The blurring of reality, memory, and supernatural occurrence keeps the audience off-balance and adds to the unsettling atmosphere.

One of the most intriguing aspects of “The Boogey Man” is its exploration of the mirror as a conduit for evil. This concept allows for some genuinely creepy moments and inventive visuals, such as mirror shards that float and attack of their own accord. The idea of reflection as both literal and metaphorical plays into the film’s themes of confronting one’s past and inner demons.

It’s worth noting that “The Boogey Man” was caught up in the “video nasty” controversy in the UK, leading to its ban in 1984. While it’s tame by today’s standards, this history speaks to the film’s ability to shock and disturb audiences of its time.

“The Boogey Man” is a flawed but fascinating horror film that deserves reassessment. Its blend of slasher elements, supernatural horror, and psychological drama creates a unique viewing experience. While it may not always succeed in balancing these elements, its ambition and willingness to experiment set it apart from many of its contemporaries.

For horror fans, particularly those interested in the evolution of the genre in the early 1980s, “The Boogey Man” is essential viewing. It represents a bridge between the more straightforward slashers of the late 1970s and the increasingly supernatural-oriented horror films that would dominate the latter part of the decade.

“The Boogey Man” is a cult classic that, despite its imperfections, offers a compelling and often genuinely scary experience. Its influence can be seen in later films that blend slasher tropes with supernatural elements, and its imagery lingers long after the credits roll. While it may not be a masterpiece, it’s a singular vision that horror enthusiasts will find rewarding to explore.