Halloween II (1981)

When “Halloween” became the highest-grossing independent film of all time when it came out in 1978, it was given a sequel that wouldn’t be long from then. Still, how could a sequel even try to meet the success of the previous film, a horror masterpiece that helped heavily in the creation of the slasher genre? Well, it doesn’t. “Halloween II,” released in 1981, is great for many reasons; the first of it being its frightening visuals, but it’s not “Halloween.” However, the first two films in the series are about the same feel, pace, tone, atmosphere, and look, which is all the more useful seeing how they take place on the same night. Dustin Putman stated in his review, “Viewers could edit "Halloween" and "Halloween II" into one three-hour epic, the latter picking up immediately where the former left off, and the transition between pictures would be nearly seamless.”

When Michael Myers disappeared after Sam Loomis shot him six times off the Doyles’ balcony, Loomis runs from the house to try and catch up to his escaped patient’s path. As Michael silently makes his way through the neighboring houses, stealing a knife from the old, sandwich-making Elrods, and killing another victim in the home-alone Alice, played by Anne Bruner, a wounded and frightened Laurie Strode is taken by ambulance to Haddonfield Memorial Hospital. Putman said, “It isn't long before Myers has reached the medical center himself, determined to find Laurie even as he paints the staff red.”

Directing from a screenplay by John Carpenter and Debra Hill, Rick Rosenthall masterfully has tried to copy the at purpose but fascinating pacing and overall feel of “Halloween.” Supposedly, it wasn’t Rosenthall but Carpenter who did the post-production reshoots to add more violence and gore effects in the film. Of course, this is one of the problems of “Halloween II” that separates it from the original, not having the control and doing everything in showing people being burnt alive or having too much oxygen inserted in their head. Putman said, “Even as Carpenter misguidedly tried to compete with the most graphic "Friday the 13th"-style movies of the era, he could not destroy the classiness with which Rosenthal mounted the majority of the picture.” Whatever happened to Rosenthal in the short-term is beyond people. He came back for the horrendous “Halloween: Resurrection,” which is what everyone says is the worst in the series, but we’ll get to that soon enough.

Now about this madman who just is targeting three teenage girls, “Halloween II” happens to give him a certain objective and a more thorough back-story. As such, as Laurie is put under anesthesia and scarily tosses and turns in her hospital bed, she dreams of a childhood that shows she is Michael’s kid sister, adopted by the Strodes’ not long after Michael killed Judith and only knowing him through short visits to the mental asylum as a little girl. Putman said it best, “This certainly lends weight to the relationship between Michael and Laurie during the taut climax—a scene where Laurie waits for elevator doors to open as Michael approaches steadily from behind her is especially suspenseful—even as this plot hook was solely created for the sequel.” Until the final act, Laurie has little to do but be in a hospital bed and wake up for a short period before passing out again. Jamie Lee Curtis (by 1981 a complete scream queen wanting to come out to the mainstream) comes back in her role and is amazing when her character is awake. There is also a cleverly threatening story point, several times said, where head nurse Mrs. Alves, played by Gloria Gifford, tries to call Laurie’s parents to tell them what happened. Mrs. Alves is not able to call them – this is really suspicious as the night gets really late – and it doesn’t take long in the film or any later sequel what it is said what happened to them. Putman said it best, “It is just as well; the act of not knowing and imagining the worst is far creepier than the alternatives.”

With Laurie not being in the film that long and Loomis, along with nurse Marion, played by Nancy Stephens, try to find the links connected between Michael’s behavior and Halloween, a lot of the movie focuses on the hospital setting of doctors, nurses and candy-lovers working on Halloween. As they say jokes, fights, flirt, take care of patients (there are very few seen, except for a little boy who is one of the victims of the old razorblades-in-the-apple trick), and sneak out for some love, Michael Myers sneaks through the hallways, selecting his latest victims as he moves closer to Laurie. Putman stated, “The palpable air of October 31st is all over these almost observational scenes, with jack-o'-lanterns and decorations throughout, a few scenes in town featuring passersby in costumes” – one which has Ben Tramer (Jack Verbois), Laurie’s apparent crush from the first movie, and another where nurse Karen (Pamela Susan Shoop) late for her shift and having to drop off her friend Darcy (Anne-Marie Martin) off on her way to work – and a synthesizer-heavy music score by Alan Howarth (based on John Carpenter’s themes) that basically displays horror with a look of autumn.

Putman said, “"Halloween II" holds some sloppy holes in its script that the first movie did not, such as the way the hospital seemingly becomes deserted the further the film presses on, and the fact that the electricity goes out without much mind paid to it (this played a larger part in the director's cut, which occasionally airs on AMC). If one can overlook these logistical and editorial mishaps, the film is otherwise a well-made thriller, exquisitely photographed by the returning Dean Cundey and mostly respectful to the style of the original.” Just because Michael Myers is not in the front of a camera does not really mean he isn’t there, and director Rick Rosenthal is smart in not giving these scary moments by obvious hat-tipping, but letting viewers figure it out themselves. The long third act, where Laurie is chased by Michael and sees she is weak and helpless in the parking lot of the hospital, trying to get Loomis’ help but unable to scream when the car he is in arrives at the front door, is pitch perfect in building the nervousness and pending danger.

Finishing off with a three-person fight between Michael, Laurie and Loomis (Pleasance played this role with splendid willpower) that would look like the franchise had completed if it wasn’t for money, “Halloween II” is a more than solid if obviously weaker sequel. Even with its added violence afterwards, the film still has the same basic story, with masterful builded tension the main purpose was just to put together a body count. Putman said, “For Laurie Strode, her character arc is completed here (well, until 1998's "Halloween: H20"), encapsulated in the part-quixotic, part-eerie ending credits music cue of The Chordettes' "Mr. Sandman."” She may have started “Halloween” as a weak, soft, kind of innocent teenage girl, but she brought a start of a new era as a stronger, but also more tired and scarred young woman. In the last shot of “Halloween II,” Michael’s body and mask aren’t the only things being burnt, so is Laurie’s innocence.

If you saw the first movie and loved it, you should definitely check this one out. It feels like the only one that is about as good as the first one, and it felt like it was needed, even if it felt superfluous. This is a good sequel, and I recommend this to everyone, as if felt like the definitive cap and the right ending for the franchise. Please give it a chance and I’m sure all of you will like it. Yes, this is my 600th movie review, which is hard to believe.

Check in tomorrow for an underrated and wrongfully hated entry in the “Halloween-a-thon” reviews in this year’s “Halloween Month.”