Welcome back to the scariest, and at times goriest, column here at Film Inquiry: Horrific Inquiry. Twice a month, I will be tackling all things horror, bringing two films back into the spotlight to terrify and frighten once more. And occasionally looking at those that could have pushed the envelope further. Join us as we dive deep into the heart of horror, but warning, there will be spoilers.
“You give away our position one more time, I’ll bleed ya, real quiet” – Predator (1987)
When thinking of horror films, John McTiernan‘s Predator never seemed to be one that fit the bill. With a cast led by action star Arnold Schwarzenegger, the glimmering chameleon creature of the hit franchise always seemed more of an action film than a horror – never truly piquing my interest. That is until now.
With the release of Hulu’s Prey this past month, and with strong recommendations from friends, I can confidently say that Predator is now finally checked off my list, and does indeed fit the bill of a horror. It may start off as sci-fi, quickly flooding with a wartime action feel, but the gorilla warfare-infused terror of Predator slowly seeps into the veins of the film, delivering not only an entry into the horror genre but a horror franchise as well.
Setting the stage
Even with the rave reviews for Prey, I still felt some hesitancy watching Predator. My eventual excitement came from both my viewing party and its perceived necessity in order to fully enjoy Hulu’s latest entry into the franchise. As promised by those in my group, whose devotion to the film added an extra experience of quoting the film as we went, Predator is a festival of one-liners, amazingly ridiculous performances, and a staple of 1980s cinematic culture.
While I had prepared for 1980s action, I was immediately surprised as the film opens not in the jungle but rather in space. As a spaceship makes its way across the black abyss, a small pod breaks free, making its way to the earth’s surface. There is an almost Star Wars: A New Hope feeling to the film as the camera pans further over the planet, taking in both its grandeur and size, especially in comparison to the small ominous pod. Immediately the idea of the sci-fi and the alien creature is solidified for viewers.
Predator transitions quickly to the world below, a helicopter making its way to base. While the opening is drawn out, the music the only true mood setter, the film establishes its need for filler early on – a trend that will follow through all the way to the film’s conclusion. Where the moments in space and the arriving helicopter may act as filler, though, Predator is quick to dive into its saturation of ridiculous one-liners.
Honestly, part of the entertainment of Predator is its quotable one-liners and the performances that surround them. While “Get to the Chopper” may be the film’s most recognized, roars of laughter erupted as “I ain’t got time to bleed”, “Dillon! You son of a bitch!” And “What’s the matter? The CIA got you pushing pencils” were uttered, both forms of extreme masculinity and intensity ushering behind them. I would be lying if I said one of these quotes had not become part of my daily utterances.
Hunting the Horror
So where is the horror you might ask? While a third of the film’s first half feels like a lighter, action-packed Apocalypse Now, the feeling of “men going into battle” begins to take a different shape as bodies are suddenly discovered, hanging upside down and stripped of their skin. The visual horror snaps into view out of nowhere, giving viewers the understanding that there is something more menacing hiding in the jungle than the horrors they are expecting.
After the discovery of the bodies, viewers are given the first voyeuristic heat-seeking view of the Predator. We see what he sees, almost an inception of viewership. While we recognize that the heat seeker viewpoint is that of the unseen alien creature, there is the feeling of being placed in the driver seat, the subsequent audio further driving the idea of wearing someone or something else’s skin.
As the film progress to is initial reveal, its own red herring of betrayal and misdirection, this voyeuristic approach is further driven home. Yet, this viewpoint gives audiences a different perspective as we understand the Predator is not only planning his own course of violent takedown but that he has just watched the brutal attack carried out by the men below, unseen and unheard, from the jungle. As the film continues to play out, there is a parallelism between the Predator and the brutality of men. With the Vietnam War, Korean War, and Gulf War fresh in the minds of the viewers at the time, Predator begins to take on a new genre role, placing humanity through a harsh and horrific lens.
As Dutch (Arnold Schwarzenegger) and his men begin to leave the blood bath behind them for “the Chopper”, the Predator begins to make his move. One by one, each of Dutch’s men falls to the unseen creature, the film slowly giving glimpses over the course of the film’s runtime, carefully crafting a picture of what the Predator truly looks like. Yet, the Predator is more human-like than we would like to acknowledge, creating its own horror within the similarities. Following a scene that involves copious amounts of ammunition being fired after the Predator haphazardly into the Jungle, it is realized that the Predator has been wounded – “If it bleeds, we can kill it”
While the Predator proves to be destructible, it also proves itself to be both prepared and resourceful. Much like a hunter shooting for a game, the Predator feels as though he is in his own sport (a theory supported by the film’s sequel). Equipped with his own version of a first aid kit, as well as various forms of protection, hunting animal takes on a new form. Each of his kills, much like the copious amount of ammunition fired into the jungle, is brutal, violent, and over the top. Obliterated chests, shots through the eye – Predator goes for both the body count and the gore.
Conclusion:
Predator is one of those classic films that is a must-see – especially if you have the right crowd to watch it with. It’s a film both enjoyed alone, but best shared by those who have already found their love for it. It is also one of those films that when you watch it back, you discover a little bread trail that was missed early on. As Dutch is convinced by Dillon (Carl Weathers) and the general to take on the mission, glances are exchanged as Dutch mentions he and his team are not assassins. And as they make their way through the jungle, you see the pieces that prove this is a ploy and a different mission is being carried out.
And with the trickery to achieve goals that can not be accomplished through truth, the film takes on several layers of horror, leading up to its especially insane final battle between the Predator and Dutch, one that asks you to suspend all belief and to just go for the ride.
Have you seen Predator? What did you think? Let us know in the comments below!
Watch Predator
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