It is not possible to diagnose a character in a film with a mental health problem, partly because we don’t have all the information of what is going on but also the actions they take will be made for purposes of storytelling, not accurate descriptions of health conditions. So when the 1960 classic horror movie Psycho used that word to describe the film and its villain, what were they trying to say? Most of the conversation of Norman Bates’ diagnosis seems to suggest Dissociative Identity Disorder, DID, previously known as Multiple Personality Disorder. The term “psycho”, or even psychopath, is not present in either of those conditions. “Psycho” was simply a word used to denote a dangerous and “crazy” person. The audience does not need any understanding of mental health to know what the title is suggesting. An academic article in The European Journal of Trauma & Dissociation argued that portrayals in media of people with DID were prone to over-the-top displays of switching of personalities and they were violent, dangerous and engaged in criminal behaviour, despite “that the vast majority of individuals with DDs (dissociative disorders) do not perpetrate violent crime; instead, they are more likely to be victims of it”.

The word “psycho” is a shortened form of the clinical term psychopath, this is someone felt to have a severe form of Antisocial Personality Disorder. There is also the term “psychosis” which is when someone suffers from a break from reality. Many, many horror villains would probably fall under the umbrella term of suffering a psychosis, but again those suffering from psychosis are more likely to be a danger to themselves than others. It is safe to say that the portrayal of DID, psychopaths, and those suffering with psychosis in the film Psycho is an inaccurate and negative one.

Halloween

Another horror movie considered a classic which leans heavily on mental health tropes is Halloween. The killer Michael Myers murdered his family as a six-year-old and has been held in a secure hospital ever since. There is a very vague explanation of any mental health problems Michael Myers has and more relies on the fact that he is a dangerous violent person who escaped from “lunatic asylum”. There are assertions about Myers being pure evil and even in the first film suggestions of superhuman or supernatural abilities. The clinical psychologist in charge of Myer’s care refers to him as “it”. Halloween is not trying to make a nuanced film about mental health, and neither would most of the audience accept this as a realistic portrayal but it further feeds into extremely negative views on mental health.

Split is a relatively recent addition to the horror genre and again focuses on Dissociative Identity Disorder. James McAvoy plays the villain, a serial killer with 23 distinct identities, some of whom are violent and dangerous and often seem to have abilities beyond normal humans. There was a negative response to the film from those working in mental health, stating that it sensationalised aspects of the disorder and showed that someone suffering from DID as inherently dangerous. In the movie the villain’s psychiatrist is pushing the medical community to move from a model of incarceration to treatment for people suffering from DID, many of her former patients have been incarcerated rather than treated. Now given that the villain is her patient, and is in fact a very dangerous individual who is actively harming people is Dr. Fletcher simply a naïve patsy? A message that for all doctors talking of treatment, understanding, and compassion are misguided, even though the actual real-world reality shows the view of people with DID as violent is incorrect.

The Babadook

Not all films handle mental health in such a negative way. Horror masterpiece The Babadook has a lot to say about depression, grief and the genuinely soul-destroying exhaustion a parent can go through, dealing with incredibly dark thoughts and feelings of negative thoughts a parent could have of their own child. Hereditary, widely considered a modern horror classic, is largely about grief and family trauma. This is not new – Don’t Look Now released in 1973 while dealing with typical horror ideas of the occult and murder is about parents grieving the loss of their child. What is notable about these films and their relationship to mental health is that the horror is a metaphor for the problems they are going through, it is not that a person who is suffering from depression and grief is murdering people but rather the supernatural danger they are dealing with represents that.

The criticism of how these films handle mental health is not to say they’re bad movies but that they could have made other choices, and portrayed things differently. Almost inevitably if the villain of a horror movie is identified as having a mental illness…then that will be the driver behind their actions and routinely misrepresented and sensationalized.

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Today we will analyse this issue. Firstly, by looking at the broad criticisms levelled at Dahmer – Monster and similar true crime murder projects. We will then review said criticisms before looking at how the subgenre might need to progress.

Making Media Murderers

Critics and audiences broadly liked Dahmer – Monster. It received praise for its accuracy, showcasing the victims’ stories as well as emphasising the systemic flaws that failed them. But it was also criticised for making Dahmer’s motives a central focus, playing up its grotesque elements, and for being yet another retelling of the case that, however unintentionally, serves to give Dahmer recognition for his crimes. Which was particularly seen as distasteful by relatives of those who were murdered.

These criticisms are common and long-standing when dealing with true crime murder stories. For example, The Town That Dreaded Sundown (1976), which focused on the 1946 Texarkana Moonlight Murders was embroiled in huge controversy for distressing and misrepresenting the families of the victims. But how are filmmakers meant to deal with these types of controversy?

It’s Only A Story

There are some who argue that true crime media (whether documentaries or dramatic retellings) because of its very nature will never be able to avoid controversy in one form or another. Instead, they say that these Films and TV shows should be seen as constructed narratives that attempt to tell stories in ways that are accurate to the original case and use the heightened presentation to inspire empathy for the victims, explore the darker side of humanity and explore broader societal perspectives on the case. Such as the failures of the legal system and the psychological impact of trauma.

However, dismissing true crime media as something purely artistic is dangerous. Firstly, true crime media’s depictions of violence present issues because of their heavy ties to real events. Which can result in people being negatively affected emotionally. Especially those directly harmed by these or similar events. Secondly, the constant repetition of certain subjects dilutes their impact. In true crime, this can have the effect of divorcing audiences from the reality faced by the victims. The sensationalist elements of the genre also often result in the foregrounding of the killer/killers in the public consciousness. Further demeaning the victims in favour of focusing on their murderer/murderers. And when coupled with the industry that has grown around the genre this ultimately leads to real peoples suffering being exploited for content and profit.

Great Responsibility

This is not to say that media based around real crimes are inherently bad things. Or that valuable art cannot be made from tragic circumstances. For example, studies have found that true crime media has a positive effect on women audiences. Helping them to feel less anxious and more empowered in their day-to-day lives. The genre has also helped to garner sympathy for many people who never had their stories heard. And some projects have even provided positive outcomes for real cases. But with the potentially dehumanizing and emotional impacts, the genre can have on people the makers of true crime media need to be responsible with how they treat the subject matter.

How can this be done? Primarily, care needs to be taken to show respect to those who were harmed and to refrain from romanticizing the perpetrators. This also means finding ways to showcase the crimes in a way that captures the horror of the situation without being exploitative. But most of all it means true crime producers need to take care with their projects. By not treating it as products needing to be consistently produced for a place in the market. But as stories that involve real people. 

Conclusion

With the rise of true crime murder media, now is the time to consider how such projects depict their subjects. To not take care risks demeaning both the art form that can cause us to ask big questions, turning it into cheap exploitative trash and the real people who suffered from these crimes.

Also Read: Kelly Galindo Discusses Her Docuseries “26 Seconds” Which Highlights Global Human Trafficking

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Horror cinema has many iconic villains and today we’ll be counting down 10 of the greatest merchants of menace. I will choose a single villain from each decade, look at a bit of the villain’s background and how they managed to traumatize audiences who watched their films. So, let’s get spooky.

1920s: Count Orlok – Nosferatu (1922)

Originally made as a Dracula stand-in, Count Orlok has become a great villain in his own right. With actor Max Schreck’s towering frame, creeping shadow, sharp teeth, and keen unblinking eyes Orlok has become an instantly recognizable cinematic predator that has lasted almost a century. Not even Stoker’s estate could prevent him from becoming a cinematic nightmare.

1930s: Frankenstein’s Monster – Frankenstein (1931)

The archetypal mad scientist creation. The monster isn’t necessarily evil but because of continual abuse and a lack of moral guidance, he begins violently lashing out at the world. Frankenstein’s Monster has a legendary look courtesy of makeup artist Jack Pierce. And thanks to Boris Karloff’s animalistic performance, which makes the character threatening and sympathetic, Frankenstein’s Monster has been cemented as one of horror’s most tragic monsters.

1940s: The Wolf Man – The Wolf Man (1941)

Like Frankenstein’s Monster, the Wolf Man garners great sympathy because of host Larry Talbot’s (Lon Chaney Jr’s) inability to control the monster within him. But unlike Frankenstein the Wolf Man is vicious. Murdering innocent people and leaving Larry to deal with the consequences. With Jack Pierce’s brilliant makeup making the monster the midpoint between man and beast, the Wolf Man is an iconic example of the darkness in all men.

1950s: Godzilla – Godzilla Series

Cinema’s biggest monster. Starring in 35 films since 1954 Godzilla is a Japanese icon. He’s a prehistoric monster awakened by hydrogen bomb testing and was created as a symbol for the destructive powers of the atomic age, though lately, he has become a metaphor for nature striking back at humanity. He’s the embodiment of destruction and for 66 years he’s shown that for all our advances annihilation is never far away.

1960s: Norman Bates – Psycho (1960)

The grandfather of all slasher villains. While seemingly normal, Norman hides another personality that forces him to kill anyone who threatens the illusion that his mother is still alive. Thanks to Anthony Perkins’ understated performance and Alfred Hitchcock’s direction Norman Bates (based on murderer Ed Gein) terrified audiences by showing that even the quiet good-looking boy next door could turn out to be a murderer.

1970s: The Caller – Black Christmas (1974)

Black Christmas‘ sorority house killer remains perhaps horror’s most terrifying villain. Because nothing about him is explained. His victims are random. The only insights we get into him are his disjointed, threatening ramblings. And his appearance, voice; name remain a mystery. Inspired by the urban legend of “the babysitter and the man upstairs” the Caller embodies the fear that you’re never safe. Even in your own home.

1980s: Freddy Krueger – The Nightmare on Elm Street Series

The burnt, razor glove wielding, Christmas sweater and fedora sporting dream killer has been scaring viewers since his 1984 debut. Inspired by stories about young people suddenly dying in their sleep and brought to life in skin-crawling fashion by Robert Englund, Krueger takes sadistic pleasure in twisting his victim’s dreams into nightmares. And the sheer glee he takes in his cruelty is what makes him cinema’s most iconic bogeyman.

1990s: Candyman – Candyman Series

Originally, Daniel Robitaille, Candyman became a vengeful spirit after he was killed over a 19th-century interracial love affair. His hand was mutilated, his body smothered in honey and he was stung to death by bees. Now he kills anyone who dares say his name five times in a mirror. With his imposing figure, hooked hand and Tony Todd’s intimidating voice, Candyman is a true terror titan.

2000s: Jigsaw – Saw Series

Jigsaw is the horror villain of the 2000s. Embodying post 9/11 anxieties about the morality of torture Jigsaw, aka John Cramer managed to carve out a gruesome legacy for himself. His use of ironic traps to reform/eradicate those who he believes don’t appreciate life, Tobin Bell’s commanding voice and his animatronic mascot made him the face of torture horror. And his legacy has continued through multiple accomplices and successors.

2010s: It/Pennywise – It (2017)

Stephen King’s iconic horror creation made a huge impact with Its 2017 reimagining. The creature that haunts Derry, Maine can change into many forms that will give anyone nightmares. His most recognizable form is Pennywise The Dancing Clown (Bill Skarsgard) whose smile hides a desire to devour children. It exploits our fear of the unknown and attacks the sanctity of childhood innocence all at once. Making It the perfect modern horror villain.

So ends my list of horrors 10 best villains. Which horror villains did I miss? Let me know in the comments.

Also Read: 7 Reasons Characters Die In Horror Films

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Jaws: The opening scene – John Williams

A name that holds weight in the film scoring world, there are plenty of pieces by John Williams that could have been chosen. However, with a risk of this list simply becoming ‘Seven Great John Williams Scores’ it had to be narrowed down to one. One definitive score. It’s different for everyone. For me, that one is the opening scene of Jaws.

Tasked with making an invisible monster terrifying, this could have easily gone wrong for John. But with two notes, Williams created the ultimate scare. It’s simple, subtle and for lack of a better word, iconic. Those two notes created nightmares and sent shivers down the audience’s spine as if they were in the freezing cold ocean with poor Chrissie. Though the reveal of the shark might have been terrifying to audiences at the time, no one looks at that rubbery machine now and feels fear. That scene remains in minds for two reasons: the unknown killer and the music that accompanies it.

Lord of the Rings: Fellowship of the Ring – The Bridge of Khazad-dûm- Howard Shore

For anyone that knows me well enough, they know I have a love, passion, affinity (some may call it an obsession) for the original Lord of the Rings trilogy. I have adored it from a young age and one scene that always sticks out in my head is in the first film, where Gandalf battles the Balrog.

It’s the scene where you feel the Fellowship is truly in peril. Trapped in the Mines of Moria, surrounded by orcs, trolls and Balrog alike, there seems to be no way out for the nine companions. Howard Shore’s accompanying score reflects the fight the group puts up, the panic as they try to flee and of course, Gandalf the Greys sacrifice. The painful grief the Hobbits feel as they lie in the snowy mountains, mourning their friend, is made all the more powerful with the final minute of Shore’s score. It’s a piece that pushes you through the same emotional roller-coaster the characters are going through themselves.

Batman 1989: Batman Theme – Danny Elfman

DC hasn’t always had the best run with their films. For every Wonder Woman, there’s a Batman vs Superman: Dawn of Justice waiting to happen. However, before the threatening shadow of the formidable MCU loomed over them, DC had started to reboot their legendary heroes. In 1989, from the camp ashes of Adam West’s Batman rose Michael Keaton’s Dark Knight – following him, Danny Elfman’s theme.

It was probably a hard image to shake when Tim Burton’s reboot was first announced. Though the comics had started to portray a ruthless, complicated hero, the on-screen version was the antitheses of this (although a lot more fun). In order for the new Batman to shake its predecessors’ goofy image, it needed a few things – a revamped theme being one of them. Elfman’s song understands the weight on Batman’s shoulders and creates a triumphant, heroic song with it. A score that has defined Batman now for at least thirty years, Elfman’s dark, brooding theme set the tone for the many reincarnations that followed (except George Clooney).

Wonder Woman: Wonder Woman Theme – Junkie XL & Hans Zimmer

Speaking of Wonder Woman, the hero reboot was amazing for many reasons, but none more so than the theme that came with her. That electrifying energy that flowed through it almost rippled through the audience, creating a feeling of power even in the ordinary man. The moment that created that emotion, was when she first arrived in the DCEU.

Superman and Batman are struggling in their fight against Doomsday. At one point, Doomsday has Batman cornered. Who should come to save him? The Amazonian herself. As Diana lands in front of the Dark Knight, defending him from the stream of fire Doomsday is spewing at him, her absolutely incredible theme plays, and you almost feel as powerful as the warrior. Listening to it can make you feel invincible like you can finish that ten-minute run or that book you’ve been putting off. Maybe even defeat the God of War. An epic entrance with an epic theme.

Up: Married Life – Michael Giacchio

The beginning of Disney Pixar’s Up is a joyous sequence purely because of how it was played out. Rather than delve into the lives of Carl and Ellie, we were given a glimpse into their marriage. Ellie, an extroverted explorer and Carl, the introvert with the inquisitive spirit, build a house and a life together. We see it all, from the beginning as kids to the very end of Ellie’s. It’s an emotional sequence and the score is no different.

There are no words in this montage, all we have to understand what’s happening on the screen is the body language and actions of the characters as well as the music. The challenge to get the audience to feel connected to the lives of the married couple enough that we also mourn the loss of Ellie was no doubt a difficult one. However, with such gorgeous visuals to guide him, Giacchio created a beautiful score that summed up their unique relationship in the four minutes we have to see it.

Psycho: The Shower Scene – Bernard Hermann

If there is a film that defines Alfred Hitchcock’s career, it would be hard not to argue in favour of Psycho. The 1960 thriller lifted the auteur to new heights – it was, for a time, one of the most frightening movies on the big screen. So what made it so for terrifying for that audience and what makes it so memorable for us? The iconic shower scene, of course, paired with the impeccable score supplied by Bernard Hermann.

The silence in the scene, to begin with, is deafening. Marion Crane is getting ready to shower, after meeting the sweet but undoubtedly creepy, Norman Bates. As soon as the mysterious figure that enters the bathroom opens the shower curtain on poor, vulnerable Crane, you know it’s already too late, due to the fantastic music provided by Hermann that slices through you as easily as the knife. Wild and savage, the string instruments grab hold of that moment in such a way that is unforgettable. That whole scene could have been easily glanced over if it wasn’t for that fantastic piece by Hermann that captured the death of Marion Crane in the violent, desperate act it was.

Also Read: Women In Horror: An Ode To Laurie Strode

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