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One memorable moment sees Laurie peek out her window to find Myers outside her house, half obscured by the washing line. Some of Halloween’s most frightening images play upon the prying eyes of suburbia, as Myers stares at Laurie from across the street and behind hedges. The dynamic between Myers and Laurie immediately echoes the kind of infatuation between a voyeur and his victim. While other girls spend Halloween night getting acquainted with their male classmates, Laurie hides away in the nursery of adolescence to look after two children. We surmise immediately that Laurie is a virgin and bookworm – in contrast to her flirtatious friends, she has no boyfriend, and most scenes she is found holding books and babysitting.
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When Laurie is introduced in the film, she’s the picture of innocence, her hair blonde and her skin milk-white. In contrast to this rabid, uncontrollable desire is Laurie Strode, a delicate 17-year-old high school girl. But memories of his sister’s nude form boil his blood, bringing him to a fever-pitch of rage that forces him out of the institution and back to the site of her death. The only intimacy he’s familiar with is the cold sting of a needle, and the hands that bring him medication and food. Myers, who spends his adolescence in a psychiatric hospital, has never known a female touch either.
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After his arrest, Kemper said that he didn’t know how to interact with women so he killed them.
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Myers’ fixation on the female body brings to mind the actions of serial killer Ed Kemper, who stalked and killed women over a nine-year period between 19. Instead of touching himself as he watches his sister undress, he kills her, silencing her tempting body and the shame it elicits.
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In this moment, stabbing replaces the act of masturbation. Through his eyes we watch her naked body writhe and the motions of his thrusting knife. As Halloween begins, we see the night that comes to define his sexuality, as he rushes into his older sister’s bedroom and stabs her to death. That Myers’ entire identity, down to his masked face and sadistic touch, feels like it’s born from an obsession with sex and a fear of it. It’s arguable that Myers isn’t an asexual figure at all, but a man whose stormy, destructive sexuality is what drives him to kill. As Myers forces his way into the bedrooms of suburban America, he deconstructs the family home into a hostile space ruled by sex and death.īut thinking of Myers simply as a symbol of corporal punishment overlooks his complexities. It’s a fitting role for such a physical, dominating force.
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By targeting precocious teenagers who spent their evenings stripping down and touching one another, Myers was seen as a vengeful god brought to life by puritanical parents. What was once an ordinary midwestern town is now the site of a rampaging demonic force called Michael Myers.įor many critics at the time, Myers wasn’t so much a man as a manifestation. There’s a moment in John Carpenter’s 1978 horror classic Halloween where Dr Loomis (Donald Pleasence) turns to a police officer and says, “Death has come to your little town.” It’s a perfectly chilling line, and one that turns Haddonfield’s sleepy streets into poisoned ground.