For those struggling to select the perfect horror film for Halloween night, the 1973 cult classic Messiah of Evil might offer a compelling solution. More than five decades after its initial release, the film stands as a remarkable synthesis of horror tropes from the 1970s and a prescient influence on what was to come.
Written and directed by Gloria Katz and Willard Huyck, a duo better known for their work on American Graffiti, Indiana Jones and the Temple of Doom, and script revisions for Star Wars, Messiah of Evil displays a similar genre-bending sensibility. However, instead of referencing 1930s sci-fi serials, Katz and Huyck sought to create a Frankenstein's monster of literary and cinematic horror. The plot follows Arletty as she travels to a coastal town to find her estranged father, becoming entangled with Thom, a mythology enthusiast investigating a local legend of cannibalism, a quest that ultimately leads to peril for most involved.
The film navigates its narrative with a dreamlike logic that, rather than feeling like a crutch, creates an atmosphere of unnerving wakefulness, a sensation of being drenched in sweat and disoriented. As Arletty, Thom, and their companions delve into the mysteries of Point Dune, Katz and Huyck construct a disorienting environment. At times, the film evokes the low-budget charm of vintage horror found in bargain bins, with stiff performances and overly dramatic shadows. Yet, in other moments, such as Arletty and Thom exploring Joseph's Escher-esque home filled with expressionistic art, it mirrors the aesthetic of European horror films. The soundtrack and the characters' provocative 1970s fashion ground the film in its era, while a gothic wraparound narration injects a tone reminiscent of Poe or Lovecraft. A particular set piece, involving patrons in a grocery store consuming raw meat, offers a scene of chilling surrealism that feels akin to the work of Wes Craven.
While Messiah of Evil may not align with contemporary definitions of 'elevated horror,' its technical merits are considerable. Cinematographer Stephen Katz, who honed his craft in Roger Corman's low-budget productions before collaborating with John Landis, delivers visually striking work. Production designer Jack Fisk, embarking on a career that would lead to four Oscar nominations for his work with directors like David Lynch and Martin Scorsese, contributes significantly to the film's unique atmosphere. Viewers familiar with David Lynch's early work will recognize a visual kinship, though Messiah of Evil predates Eraserhead by six years.
Messiah of Evil eschews the typical art-house approach, instead offering a comprehensive horror experience suitable for Halloween. It features car mechanics collapsing into pools of blood, jarring flash-frame stabbings that would impress Dario Argento, and the aforementioned unsettling grocery store scene. The film's distributors, eager to market it years after its initial release, even retitled it Return of the Living Dead for at least one distribution.
Despite its disparate elements, Messiah of Evil avoids feeling like a mere pastiche. Katz and Huyck imbue the film with a coherent vision, much like they did when balancing reverence with their own narrative logic in Temple of Doom and Star Wars. The film's genuinely frightening nature stems from its unpredictable narrative, where anything can happen. It suggests that something profoundly sinister, perhaps hell itself, is seeping through the cracks, making it a fittingly terrifying watch for Halloween.
Messiah of Evil is currently available for streaming on Shudder and Prime Video, and can be viewed for free with ads on Tubi and Pluto TV.