Vital Stats
Quotes
Themes
Reviews
Tid-Bits
I Hung With The Hankster!
Yes, I did. And don't you want to hear all about it? Oh, you know you
do.
The Encounter
The Meet-Up
The Aftermath
Hank stuff from "The Scaredy-cat Stalker"
Caught on Tape
The End of An Era
* * *
Stalking
Goodies
Project Me
Lone Star Thomas
phone home
View My Guestbook
This movie was suspiciously absent from all the filmographies I'd originally seen. When I finally did see "Psycho IV" listed after Henry's name, I still wasn't sure if it was the Henry Thomas or not. Computer listings tend to be misleading. There's a Detroit Lion, Henry Thomas, who gets a heck of a lot more coverage than Hank (that's not so true anymore). To make matters worse, the only movie reviews I could find were for "Psycho I-III", yet I knew this 1990 thriller existed somewhere. I came to the conclusion that it must've been a made for TV movie. And if this were the case, than it must star the Henry Thomas in question. As it turns out, it was a Showtime production with a 19 yr. old Henry playing the teenage Norman Bates. It sounded too good to be true--H.T. as the ultimate sissy/mama's boy. It was all so perfect.
The not so perfect thing was the fact that it was made for cable--hence likely to be unavailable on video. I couldn't find it at any rental stores, but luck was on my side this time. I'd started this new job that was even more exciting than pricing make-up--cutting photographic negatives. But I mentioned H.T. one day and this co-worker asks if I'd seen "Psycho IV". Of course I hadn't, but would kill to get a glimpse of it. As it turned out, he just happened to collect horror movies and had a promotional, screening copy. Score!
Sequels rarely live up to the original (or remakes for that matter. You hear me, Mr. Van Sant?) and when you get past the third in a series you know you're in trouble. The premise of "P IV" is a look back in time to discover the events that made Norman Bates the killer he became. A late night radio talk show host is doing a show on matricide. Who just happens to be listening to the radio at this crucial moment and decides to phone in? Norman Bates, of course, played by a then still living (and extremely stalkable) Anthony Perkins. The movie flip-flops between call-in scenes and poignant flashbacks.
I'm not sure if we ever do find out what makes boys kill their mothers, but it doesn't matter because this movie kicks ass! I would've never thought of casting Henry as the young Norman Bates, but it really works. There is some resemblance. Henry easily plays a high-schooler despite his 19 years. It wasn't so long ago that I was 19 and I don't remember any guys looking that pubescent. (Believe you me, I'm not complaining). Through the whole movie his nose is glaringly shiny, as if he didn't have his hormonal, oily skin thing under control yet. Or maybe the budget didn't cover adept make-up artistry.
I don't think it was an accident that Henry conveniently omitted "P IV" from his repertoire. and it's not that it was made for cable because he included "Curse of the Starving Class". The reason he left it out is because it's a fucking tit movie! Well, not exactly, but there's some demented stuff going on. I hesitate to say incest, but Normie and mom (played by Olivia Hussey of "Romeo and Juliet" fame. In high school we got a big thrill 'cause she showed her boobs. I guess she's just a free spirit 'cause she gets 'em out for this film too) have a decidedly atypical relationship. I can't really do it justice, it's something you've got to see for yourself.
One of the titillating scenes involves an attempted seduction by a young, blonde nymphette. The dialogue is engaging:
horny chick: Do fireworks get you hot?
teen Norman (H.T.): Not inordinately.
horny chick: Inordinately...I love sexy words.
She gets him in his bedroom and proceeds to get naked, throwing her, ahem, "panties" (I really hate that word, but in this circumstance it's fitting) at Norman's face. Henry stands there zombie-like, prompting her to query, "Well, is it a good smell?" To which Norman quips, "Not inordinately". This crazy banter continues. Eventually Henry gropes her perky tits under the covers, which causes him to snap. You can probably guess the little slut's bloody fate.Later his mom's lying in bed and tells Norman to get out of his wet clothes and hold her because she's afraid of the storm . Adult Norman in the recounting of this incident waxes nostalgic about "getting a little too big for his britches". Yes! There's nothing like popping boners to get people's attention. Pretty soon son is rubbing mom with perfumed water, which he spills, resulting in, "Careless child, spilling mommy's orange-flower water. Wicked, wicked, boy". They proceed to roll around on the floor for a while (Henry's in his undies. He seldom has on a shirt and when not in underwear, sports pajama bottoms. Very suggestive.) until he finally ends up on top of his mom with his britches once again becoming a little snug. This evokes his mother's wrath (she constatnly switches from sweet to evil. I think we're supposed to be seeing why she had to be killed). She puts Norman in a dress and smears lipstick all over his mouth, then tells him he's a girl.* A priceless scene ensues. Henry is looking into a mirror in his girl garb and make-up, and with wide-eyed melodramatic horror exclaims, "I'm not a girl! I'm not a girl!" This causes him to be locked in a closet while his mother is shouting, "That's what that thing of yours is for--making wee wee. Are you clear on that, Norma"? I know, it sounds unbelievable. It's almost as if someone read my mind and culled every demented Henry Thomas fantasy I'd ever had.
Memorable moments from this movie include heavy petting with an older woman, peep-hole action with Norman's mom and boyfriend, and of course, lots of murder. See a wig-wearing, knife-weilding Henry splattered in blood. It made my day, it'll probably make yours too. You don't have to pay attention to the main plot of Norman and his wife the psychiatric nurse who made him better. (Yeah, like who in their right mind would marry the notorious Norman Bates). She gets pregnant despite her and Norman's decision to not carry on the bloodline. (Um, like Norman could ever be capable of a normal heterosexual life). This secret pregnancy angers Norman so much that the only choice he has is to kill his wife. So he talks her into meeting him at his mom's old house and chases her around with a knife, then the house cathches fire, but he escapes and they hug and make-up and decide that they'll love the baby and that it won't turn out to be a freak like Norman. It's incredibly asinine so just watch the Henry scenes.
"Psycho IV" raises a lot of questions. I don't have the answers so I'll just pose them to you. Why would Norman's mother have a British accent? What would a supposedly cute, normal girl see in the inept young Norman? (I could tell you, but maybe I'm not cute or normal). And for that matter, what would a thirty-something woman find attractive about an unstable teen who looks thirteen? (I know it's hot). Why is Norman even allowed back into society? And finally, why does Norman dress up in bun wigs and old lady dresses when his mom was quite a looker and fairly young? I think some things were never meant to be understood.
*I wonder if that top-notch (and oh so stalkable) Bay Area band, Henry's Dress was influenced by "Psycho IV". O.k., now I'm being ridiculous. But you never know.
side note: I coveted my borrowed copy of "Psycho IV", never thinking that I would ever own my personal copy. Hey, dreams can come true 'cause the same guy who lent me the movie tipped me off to where I could purchase it. it turned out to be a most unlikely locale for a Henry movie, or for any movie--Cub Foods (a mammoth suburban grocery store) in Tigard, OR . There it was on a sale rack near the check-out line, and for only $9.98. Not bad. Henry was worth every hard earned penny.
Unfortunately not. It would've been cool to see Norman stage an equestrian based slaying. Maybe he could trample someone to death.
No. I guess they couldn't really fit Texas into the story, considering the Bates Motel was in California.
No again. This movie is very un-Henry. I think taxidermy was Norman's primary hobby. There wasn't time left over for music lessons.
You betcha. It starts with the teenage vamp eyeing Henry's crotch and saying, "I can see you're glad to see me" then snatching a candy bar from his lap and chomping on it. There's the "too big for my britches" episodes. Then his mother's boyfriend, Chet, tries teaching Norman to box. In order to rile him up he taunts, "You're not a girl are ya? You know your mamma swore to me you was a boy. You know she says you're not too badly hung either". Wowie.
Uh huh. But you'd guess the 1980's rather than the 1950's, as was intended. If it weren't for the cars and the fact that this is a prequel and the original movie was filmed in 1960, you'd be lost. In the 50's I'm familiar with people didn't wear polos, 501's, and deck shoes. Maybe the budget was so low that the cast had to provide their own wardrobe. That would still be disturbing 'cause those clothes aren't even suitable for 1990.
Yes. This is one of cable's finest offerings.
You know it. After Norman gets caught with girlie mags, his mom forces him out in a rainstorm to throw his porn in the trash. Did I mention, he's doing this in his skivvies?
I did rent this one against my better judgment. It is definitely a period piece, kind of in a "Dangerous Liasons" vein. (It's essentially the same movie, released around the same time, but less hyped up. Who's bright idea that was, I do not know. Henry plays Keanu Reeve's character.) Henry has a pretty major role in this as Fairuza Balk's young, cultured, harp teacher. There are a bunch of stories going on and it's supposed to be this bawdy thing, but the only nudity is Fairuza's bare ass. So, Henry plays this character Chevalier Danceny and he and Fairuza write secret love letters because she's engaged to this older man that she doesn't love. It's all very poignant and tragic. At one point the Chevalier gets Fairuza all gussied-up in this kinky little outfit, fills her with a bunch of hooch, and tries to seduce her with his singing and harping. This is not the bare ass scene and actually the two never even kiss, but believe me, Henry is hot. Henry has an implied sexual relation with Annette Benning so maybe he's into older women. He is kind of a babe in this even though he's 17 and appears younger. There's something about him not quite being grown that is sickeningly appealing. The music and horse riding aspect are both present. Henry even manages to kill the title character to fight for Fairuza's honor. This guy is so determined and noble that I have to admit that I kind of liked this movie.
I had a hard time finding something to say about this movie (other than the obvious H.T. comments). The whole true crime/murder genre never did much for me. It's not that I have a problem with vioence in general, but if you dwell on the details of these cases it can start to disturb you. "Murder One" is a 1988 production based on a real life murder spree from 1973. The filming coincides with the time of the retrials. This is the story of escaped convict half-brothers, Wayne Coleman and Carl Issacs. After busting out with fellow escapee, George Dungee, they pick up 15 yr. old Billy Issacs (H.T.) and embark on a twelve state rampage. Their road trip culminates in the slaying of the Alday family in a rural Georgia town.
You know from reading the box that this is the story of killers on the loose, who are going to slaughter a family. So you'd expect the next hour and a half to be filled with some interseting side plots or character background. But nope, you're pretty much subjected to four guys driving around aimlessly and acting dumb. Uh, maybe the director was attempting to portray the emptiness and monotony of a criminal's existence. Then again, you could subscribe to the very small budget/third-rate actors theory.
I'll have you know that Henry steals the show. And this isn't me being all gushy, he is the intended focus of this otherwise lifeless flick. The story is told through Billy's eyes. He's the naive little bro who just wants more than anything to belong. See, he never knew his father and he's estranged from his mom, the small-time hooker. It only makes sense that he'd look to his brothers for acceptance. Billy's just a cute, simple kid who pumps gas for a living and is doing the best he can. I had some high hopes for this movie when the first scenes were all about Billy and his little existence. He was riding around on this bike and delivering some tender narration in a scratchy stoner voice, "People always thought I'd turn out bad. They whispered behind my back about my brothers and they turned up their noses 'cause I stayed with Carl's girl. I didn't care. Jenny's always watched out for me and we did o.k. We're surviving". This was enticing in a real mid-80's melodramatic way. It seemed like the kind of movie you'd catch part way through on a Sunday afternoon, and end up watching even though you knew better. Sadly, it all went downhill from there.
The film continues on in a dry matter of fact fashion. The acting is adequate, but dull and the storyline linear and undeviating. For the most part, this is a film that takes itself too seriously and is trying to be something it isn't--namely, interesting (kind of like Hank, himself). It's a sad state of affairs when the best parts of a movie are the overdone ponderings of one, H.T. I'll give you some samples of these brilliant "Billyisms". After the murder of a college student, 'It's strange when a person gets killed all of a sudden. They're there and they're not there. It's like this crack opens up in the universe and they just fall off." Yeah, I guess. Billy, still tormented by this heinous act is later shown close-up in a bathroom drying off his hands. He thinks aloud to himself, "I'm just doin' all the motions. I don't feel anything. I'm just numb. It's like I've been rolling down a hill on my side for hours and finally I hit bottom". Billy comes off as a choirboy, albeit a dumb and emotional one. It's too bad his character isn't explored more, since he's potentially interesting. The other three are just two-dimensional "bad guys" you could care less about. I wish they would've just got caught in the first half hour so I wouldn't have to be subjected to the drawn-out inevitable saga.
It's not only the slow plot that makes this film difficult to watch. I'm not sure when I got a conscience, but after reading up on the real details of this crime, it made me reluctanct to re-watch it. The surviving members of the Alday family were outraged by the sympathetic portrayal of the killers, Billy in particular. He never killed anyone, but you don't get 110 years in prison for just sitting in the backseats of cars, which is what the movie leads you to believe. The other three were sentenced to death, but are still going through a series of appeals. I know movies are for entertainment purposes, but I think when it comes to true stories you should be careful about what you gloss over. Some facts that were conveniently omitted from the screen version are that Billy did have a criminal past, George and Wayne were sexually involved, and that Mary Alday wasn't just slapped around and sort of raped once by Carl, but was repeatedly raped and sodomized by three of the men (Billy was exempt from this action) using peanut butter.
This was a long, painstaking way of getting my Henry fix. But with that hairless boy-body, and that trying-to-be-tough demeanor, it was just about worth it. I'll end with Billy's closing lines. As he's being read his rights you get to hear this wistful voice-over, "Nothing mattered anymore. Living and dying, it was the same. All I remember now was watching Carl and Wayne like I was watching a movie. LIke they was Jesse Jmes and the whole gang. I was right there by their side in the movie with them. All the shooting and the killing and the robbing--it was gonna end. And when Carl and Wayne, they were done, all those dead people would get up and take a bow...but they didn't and they never will."