Highschool geek Arnie Cunningham falls in love with “Christine”, a bright red 1958 Plymouth Fury which has seen much better days. Setting himself the task of restoring the car to its original condition, his friends notice that the car is not the only thing that is changing. Arnie seems to spend more and more time with his car. He’s also developed a sort of cocky arrogance which does not seem like the real Arnie at all. —IMDb
John Howard Carpenter (born January 16, 1948) is an American film director, screenwriter, producer, editor, composer, and occasional actor. Although Carpenter has worked in numerous film genres, his name is most commonly associated with horror and science fiction.
Carpenter was born in Carthage, New York, the son of Milton Jean (née Carter) and Howard Ralph Carpenter, a music professor. He and his family moved to Bowling Green, Kentucky in 1953. He was captivated by movies from an early age, particularly the westerns of Howard Hawks and John Ford, as well as 1950s low budget horror and science fiction films, such as Forbidden Planet and The Thing from Another World and began filming horror shorts on 8 mm film even before entering high school. He briefly attended Western Kentucky University where his father chaired the music department, but transferred to the University of Southern California’s School of Cinematic Arts in 1968 and graduated in 1971.
At USC Cinema, one of… read more
Hadn't watched this in years and was really impressed this time. Less a horror movie then a film about the end of adolescence. Carpenter's pacing is perfect, allowing the characters to develop before bringing in the horror elements. Until the last reel your sympathies lie completely with Arnie and Christine which makes it less scary, but a lot more interesting.
I finally found the crossroads between J.G Ballard and Chuck Palahniuk when it comes to material asphyxia, here in plain view from the best "doom" director to ever live I'll include Tarr as the only contender. Carpenter was able to find the paradoxical and adapt it into normalcy with a whole lot of thrills. Carpenter had an all seeing perspective. I mention Tarr without any real contrast, but both directors are the best I've seen in breathing personality into every person and every thing in their films there are no extras or props everything you see or even hear has personality not just resonance, Carpenter was able to do this with the cinema Tarr with life. You can say Tarr is Bruegel, separated from the cinema, and Carpenter, Hitchcock. In both their films doom is doom but it is also freedom, whether it be freedom from the world or freedom from solitude.
Also: Farocki, Amos Poe, Tuesday Weld and Anthony Perkins, Barbara Hammer, Fritz Lang and a busy season for admirers of Sherlock Holmes.