“Longlegs” was not horrifying in my first viewing despite its title; indeed, other than Nicolas Cage appearing as an unnerving palefaced freak show and screaming out “Hail Satan!,” its experience wasn’t that scary at first glance. Although Neon hyped its early buzz via whisper campaigns and advance screenings made many believe otherwise; nonetheless it resurfaced within 12 hours in my nightmares with its unnerving high-pitched voice reminding me to shout: “Hail Satan!” in its unnervement; however this time around it proved more frightening.
How often have horror films managed to access our subconscious? In “Longlegs,” writer-director Osgood Perkins (“The Blackcoat’s Daughter”) delivers exactly the type of thrill-ride we sought as kids when watching films about monsters that made us afraid to sleep with lights on. Nicolas Cage plays an clearly mentally unwell rural dollmaker whose life-size figures of victims inexplicably lead their families toward violence against one another – something which most horror movie audiences find frightening enough if faced with strangers raising an axe against you is something quite another altogether!
Longlegs’ R rating could prove both beneficial and disadvantageous to its viewing audience, particularly precocious younger viewers who might otherwise become drawn in by its content. While sometimes not entirely logical (and almost incoherent at times), Perkins’ film captures your inner child by depicting a killing spree with victims all having one thing in common – they were born on 15th of each month.
Maika Monroe plays Lee Harker, an FBI rookie played by Maika Monroe. This scene shows Monroe appearing younger than she should here — like she decided to dress as Clarice Starling for Halloween! Perkins clearly was inspired by Hannibal Lecter movies “Manhunter” and “The Silence of the Lambs”, using effective tactics from other horror movies to craft “Longlegs”, including slow, ominous scenes mixed with disorienting cuts for maximum fear factor; religious fanaticism from recent nunsploitation films as well as Zodiac Killer-style messages written in runes which leave no clue other than Longlegs signature indelicays!
Longlegs is one of the more iconic creations by Nicolas Cage. No less disturbing than Max Schreck’s Nosferatu performance from which Cage draws great inspiration throughout his career, Longlegs makes us uncomfortable with its unnerved body language and exaggerated gestures; coupled with odd framing which cuts him off at his head this character makes an indelible mark in our minds.
Visually, audiences might hardly recognize Cage beneath all that makeup: his stringy white hair and pasty foundation give off more of an androgynous vibe, reminding one of Bette Davis in “What Ever Happened to Baby Jane?” and Celia Weston who plays Mom in Junebug respectively – not your standard horror archetypes at first glance, yet once its ultimate plan unfolds it leaves more unnerved imprint.
Longlegs first arrives at an innocent girl’s white country house driving a station wagon — one of the least menacing vehicles but rendered menacing through director Andres Arochi’s framing techniques. This opening sequence echoes a grainy home movie feel with vintage Kodak colors and round corners; setting an unnerved Longlegs off. Later on in the film, the frame expands to full anamorphic widescreen format, creating a coffin-like structure which isolates characters in hazardous situations. Cage interacts with “the almost birthday girl” by playing an incompetant version of peekaboo, his demeanor suggests an untrained clown or bachelor uncle — someone ill-equipped at knowing how best to relate with children – an adult whose actions indicate incompetence at dealing with young ones and is best avoided as such an unsafe stranger could lead to dangerous consequences for both parties involved.
From this prologue, the film jumps forward from the ’70s into Clinton administration where we see Lee participating in an FBI search for Longlegs. Though she exhibits psychic intuition as to where Longlegs may be found, her partner still meets an unexpected end as his departure signals just how shocking this film’s violence can be. Perkins uses tired serial-killer tropes such as Lee having personal connections to Longlegs is too coincidental while mysterious orbs more hokey than horrific; ultimately it doesn’t work well as it promises.
Perkins avoids recycling the genre’s standard elements by eliminating most procedural bits in favor of distinguishable details: such as an eccentric mental hospital chief who dresses like a pimp; or when she jokes around Longlegs by asking “Dad? Don’t you worry!” or commenting, “Oh no… that gross guy!” in response to Longlegs.
Perkins understands the pleasures of horror cinema aren’t limited to jump scares – gun-wielding figures may lurk out-of-focus in the background) can also add tension. Destabilizing audience expectations and relieving tension through unpredicted bursts of absurdity are equally essential, and both tactics he employs expertly. Unfortunately, however, all this potential lies waste in an underwhelming plotline. Authorities may find themselves baffled by these supernatural killings, since their explanation lies outside human psychology. What’s puzzling, though, is why they seem incapable of solving the case or why Longlegs suddenly leaves so soon (but only after giving an unforgettable interrogation session). Don’t be shocked to encounter him again in your dreams.
