It’s not that there’s nothing to appreciate in the venerable, once-shocking Friday the th franchise. It’s just that everyone involved in the series did everything conceivable to keep us from taking it seriously. Enter Friday the th Part III originally released in D.
With the original installment producer and director Sean S. Cunningham never shy about admitting his slasher was a blatant attempt to cash in on the unprecedented financial success of John Carpenter’s still-outstanding indie horror Halloween, yet the first two films in the Friday the th series were creditable imitators. With the twist ending of the first film faking out moviegoers who were primed to see the introduction of another seemingly indestructible masked killer akin to Carpenter’s Michael Myers, by revealing the slasher to be the mad mom of a child left to drown by neglectful counselors at Camp Crystal Lake, Cunningham at least put some effort into his rip-off.
With the mother dispatched and presumed long-dead camper Jason Voorhees inexplicably emerging as the series’ silent, stalking antagonist going forward, the next year’s Friday the th Part directed by Cunningham protege Steve Miner also made a creditable effort at toying with the already serially wearing-thin slasher formula. Along with the requisite higher body count, the sequel introduced not just Jason concealing his deformed visage under a flour sack inspired by ’s The Town That Dreaded Sundown as the seemingly back-from-the-dead killer, but also the long-running series best so-called “final girl” in Amy Steel’s Ginny.
In the genuinely intense finale, the stalwart Ginny, introduced as a student of child psychology, manages to distract hulking mama’s boy Jason by donning his dead mother’s clothing and playing on the murderous man-child’s devotion to nearly disarming him, eventually managing to survive the movie-long slaughter.
Naturally, the ubiquitously lucrative slasher genre needs to leave the door open for the next sequel. After the second possible dream sequence in a row, we’re still not certain whether Ginny’s colorless boyfriend Paul is alive or dead. This may be a cliche now — and even was becoming one in — but fans of faceless, implacable slasherskillers were on board.
Miner returned to helm the third installment, released another year later, but this time, the now-also-on-board minds at Paramount thought that Friday the th needed novelty to keep the box office rolling in. And with the every–years gimmick of D projection reigniting, it was determined that what the franchise needed was for audiences to shriek and duck away from now three-dimensional horrors.
Assessing the Friday the th series is an exercise in placing it in time and place, recognizing its enormous influence and impact, perhaps analyzing some of the themes and undercurrents even the people involved were less than occupied with, and, most importantly, not succumbing to scoffing at what quickly became one of the most programmatic and predictably exploitative franchises in movie history. The first two films were hardly classics of the genre, but they were competently made, the characters with actors drawn from the New York theater scene were above average for the genre and there was some thought expended on the motivations of the first two killers. Mother Pamela was a townie summer camp cook whose grief spurred her to horrible, misguided vengeance once Camp Crystal Lake was reopened. And, as nonsensical as Jason’s reemergence was in the sequel from a narrative logic or time-frame standpoint, Ginny’s midfilm monologue unpacking the pain of the campfire legend of the deformed, drowned little boy shows a willingness to think of Jason as more than just a merchandising gimmick.
Part III, on the other hand, is nothing but red flags. The scrappy, lived-in East Coast vibe of the first two indie outings is swapped for more studio-convenient California locations, complete with a pitifully inadequate Crystal Lake. Artificially built, the once-naturalistic setting is here a sickly green pond, and the improperly sealed construction kept seeping down to muck. Switching coasts saw the theater kids swapped out for indifferent, generic TV types, none of whom were helped in their performances by the balky and rudimentary D process prioritizing technically usable takes over performance. And it shows, with few of the overpopulated and underdeveloped cast breaking out in a meaningful way.