There is something alluring about ghost tales being told in the darkness of the night. . . the way in which John Carpenter’s 1980 horror thriller The Fog opens – with a grizzled seafarer (John Houseman) recounting (to a group of wide-eyed children) the story of a ship of sailors who died in a horrific manner off of the coast of their small town one hundred years earlier.
Building off of the success of his hit from two years earlier, Halloween, Carpenter once again shows his skills at developing an immersive world – this time creating a realistic ocean-side town packed with intriguing personas (in both films, he does so with a very limited budget. . . and, in both he uses the antagonists to close off all avenues of escape – slowly shrinking the world until it feels utterly claustrophobic). The locale, Antonio Bay, California, is celebrating its one hundredth anniversary, something the townsfolk are very proud of, especially Kathy Williams (Janet Leigh), one of the organizers of the festivities.
Yet, all is not well in this quaint little place, as, at the stroke of midnight, a glowing mass of fog begins to set in, bringing with it bizarre electronic interference as well as other inexplicable things. Father Malone (Hal Holbrook) is the first to understand the mysterious disturbance, after an unexplained quake causes a piece of stone facade to collapse from his church – unearthing an aged diary written by his grandfather (who was also a man of God) a century ago.
Soon, others are witnessing the anomalies, including everyman Nick Castle (Tom Atkins) and a hitchhiking artist he picked up, Elizabeth Solley (Jamie Lee Curtis), as well as local radio station owner Stevie Wayne (Adrienne Barbeau), who is a single mother. Will those who call Antonio Bay home survive the fog, or will it only bring death to the small town?
The Fog director John Carpenter with Filmizon.com’s Nikolai Adams
A richly atmospheric motion picture, Carpenter develops a palpable mood and tone by way of an intriguing tale, expert editing, and impressive visual effects. It is a film that, though it has moments of violence, thrives in the shadows, utilizing its premise of fog to shroud the supernatural in a mysterious aura. It emphasizes the horror that lies in those things that reside just beyond our vision – the fright that can be found in the dark, the shadows, the threat of impending death. These moments can be found throughout, from the fog catching a group of drunken fishermen off-guard, to the supernatural beings knocking on the doors of townsfolk much like the grim reaper coming to gather his souls. The Fog is also a grand reminder that our history must be taken with a grain of salt, as the fabric in which it is woven is not pure, but rather covered with a soft silk that obscures certain darker secrets. And, speaking of history, Carpenter and co-writer/producer Debra Hill were partially influenced by Stonehenge, which they visited while promoting Halloween. . . the mysterious monument was hit by a thick fog as they toured it.
If you read my review of Halloween, you may recall that Carpenter is a big fan of Alfred Hitchcock. . . the ‘not listening and you’ll miss it’ quip comes when Castle mentions Bodega Bay – the location of The Birds. It draws further parallels when you consider that Solley’s arrival to the waterfront locale is very much like when Tippi Hedren’s Melanie journeys to the new place – their arrival, in both cases, brings with it a sudden unrelenting terror.
With a number of other references (the deejay highlights a band called “The Coupe DeVilles” – Carpenter’s group, or the coroner being named Dr. Phibes – after Vincent Price’s iconic horror villain, and the final lines uttered by Stevie Wayne echo The Thing from Another World – which Carpenter remade in 1982 as The Thing), The Fog is a treasure trove for horror and film fans alike. A cult classic, it is impressive just how well it has held up – the atmosphere and effects still sending shivers down your spine all these years later. Echoing each step is another memorable score from Carpenter. . . being somewhat reminiscent of his composition for Halloween. So, turn your fog lights on and check out this sharp little picture, it was ahead of its time.