The madness in the credits of John Carpenter’s best film

Many moviegoers may cover their mouths with their hand in horror if one dares to say that, like that of other directors of the fantasy and horror genre and except made of something as amazing as In the mouth of fear (In the Mouth of Madness, 1994), the New Yorker’s filmography John carpenter (b.1948) has been overrated.

Also his four cult films: Halloween night (1978), 1997: Rescue in New York (1981), The thing (1982) and They are alive (1988), some very influential portents but no wonder in their global evaluation, if We consider them in all their artistic aspects and not unjustifiably exorbitant the context of their first exhibition in cinemas, and the cultural impact they caused on the public and on other filmmakers.

John Carpenter and the madness in the credits of ‘In the mouth of fear’

But In the Mouth of Madness they meet how many virtues can John Carpenter possess as a worker of your trade, and a conjunction of talents that had never happened in one of his filming. From the tremendous script signed by Michael de Luca (Judge Dredd), the accurate photography of Gary B. Kibbe (The Town of the Damned) and the steady rhythm in the montage of Edward A. Warschilka (13 ghosts) to a cast with irreproachable Sam Neill (Jurassic Park) as John Trent up front.

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Here they leave us dumbfounded with a gothic, unpredictable and captivating tale that draws on the monstrosities HP Lovecraft and the figure of Stephen King, a sinisterly surreal nightmare with an insane atmosphere that gives no respite in the succession of spooky surprises.

On the other hand, the insane is a decisive ingredient from In the mouth of fear, and madness drags its poor fictitious creatures without remission and drowns everything from the beginning to its extraordinary and overwhelming denouement. And beyond: John Carpenter even goes up to the credits.

After the usual observation that “animal action was monitored by the American Humane Association with supervision on the set of the Toronto Humane Society” and that, thus, “no animal was injured in the making of this film”, we see what continues: “Human interaction was monitored by the Interplanetary Psychiatric Association. The body count was high, the casualties are numerous ”. The height of the mind-blowing metanarrative which he plays In the mouth of fear, John Carpenter’s best film.