Realização:
Tony MaylamCâmara:
Harvey HarrisonElenco:
Leah Ayres, Brian Matthews, Brian Backer, Jason Alexander, Fisher Stevens, Holly Hunter, Larry Joshua, Ned Eisenberg, Lou David, Carrick Glenn (mais)Streaming (1)
Sinopses(1)
After a cruel joke goes awry, severely burning him and subjecting him to five years of intensive, unsuccessful skin graft treatments, Cropsy (Lou David) is back at camp... and ready to wreak havoc on those who scarred him! With his hedge clippers in hand, he terrorizes the camp and systematically mutilates each victim. Can a few courageous campers save themselves and destroy this demented madman before he kills them all? (texto oficial do distribuidor)
(mais)Críticas (4)
Slasher is not and have never been my favourite subgenre, I get them all mixed up after some time, but I quite liked this one. In fact, I’m surprised The Burning never got a sequel, it has a decent villain for that. The murders are all committed with garden shears, but I don’t think the result is very good, they all look very similar – with the exception of the scene on the raft – I will remember that one for a long time. The atmosphere is effective, especially at the beginning and by the end, while the first half could have a richer plot, but it’s bearable. The Burning is a decent representative of the camp slashers from the 80s, no more than that.
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Um filme de assassínio feito da forma rotineira, uma das respostas mais conhecidas à Sexta-Feira 13. Adolescentes são massacrados num acampamento por um maníaco queimado com uma tesoura de jardinagem. Depois de um início prometedor, segue-se a primeira parte aborrecida em que não acontece praticamente nada, seguida de uma confrontação com algumas boas cenas de gore. Por causa delas, o filme foi proibido em muitos países. No entanto, em geral, isso não torna o filme nada de especial. Diálogos estúpidos e música de sintetizador de qualidade B. Sexta-Feira 13 foi mais profissional em termos de produção. A estreia dos então ainda jovens entusiastas do cinema (argumento + produção) Harvey e Bob Weinstein. Durante dois segundos aparece no filme Holly Hunter.
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Carol Clover shed a lot of tears over The Burning. The influential film theorist came up with the now widely used concept of the final girl and established the slasher as a subgenre that positively lends itself to the feminist viewpoint. Subsequent studies, such as Richard Nowell’s work, demonstrate that slasher producers, in response to the market of the time, also absolutely counted on a female audience and thus deliberately populated the genre with active female protagonists and constituent motifs that resonated with the female part of the audience. Opposed to this contemporary context, The Burning presents a fetishistically violent and fiercely misogynistic counterpoint. As such, the film defies causality and internal logic, but it is held together by its disdain for and objectification of women. The girls at the co-ed summer camp are viewed through a voyeur’s lens and emerge from their individual situations primarily as whores who make a lot of fuss and all they think about is sex. The central killer is supposed to be driven by a desire for revenge for the horrific burns inflicted on him by a group of privileged boys, which he satisfies by mainly killing the girls rather than dispatching the macho bullies at the camp. Could all of this somehow be related to the fact that this flick was written and produced by Harvey Weinstein?
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Together with Friday the 13th and Sleepaway Camp, this film might complete the imaginary trilogy of the best early 80s camp slashers. It draws quite a lot of ideas from the former of the aforementioned in particular, but The Burning still follows a distinct path with some really wild scenes in stock. Pretty decent.
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