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The movie, in every scene, is really asking a moral question: How could human beings descend to this? To watch the movie, and to be terrified by it even if you don’t have a conscious thought about it in your head, is to confront that question. But my point is that “The Texas Chain Saw Massacre” attained its power through the vast litany of true-life horror that it channeled.
That last reference may sound flip: comparing a hog-wild B-movie to the most serious evil of the 20th century.
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It would remain as inexplicable as the serial murders of Ed Gein, the blood orgies of the Manson family, or the mass homicide instigated by the Nazis. Evil, in the “The Texas Chain Saw Massacre,” would never become familiar and knowable. Leatherface, played by the Icelandic-born Gunnar Hansen (whose name, at least on the grindhouse circuit, made it sound like he was the eerie decadent spirit of European vengeance rising up to attack America), was at once a monster and an overgrown corpulent beastly child, and the decision to have him never once remove his mask turned out to be a directorial stroke of genius.
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The movie said: This is what happens when living for the moment becomes a way of being. “Chain Saw” gave them a horrific comeuppance. And that’s because it was a metaphor for our new spiritual state: young people out for themselves, on the hunt for kicks.
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That trope - kids on the road, heading wherever, living free enough to die - became, after “Chain Saw,” the opening scene of a thousand horror films. But the lawlessness began before we even met them, with the spectacle of a bunch of post-hippie kids in a van, driving through Texas on a road to nowhere. The clan of cannibalistic redneck killers in “The Texas Chain Saw Massacre” were, on some level, a drive-in-movie riff on the Manson family: a grinning, leering, down-home cult of slaughter waiting to obliterate you. It was one that grew out of the counterculture, and out of the even Wilder West that was the early ’70s - a world in which all the old codes of behavior had been knocked askew and cast aside, and no one knew what, if anything, was going to spring up in their wake. It was a full-blown and fully accomplished masterpiece of nightmare cinema, as shocking as “Psycho,” as haunting in its visual and dramatic language as “Rosemary’s Baby” or “The Exorcist.” Hooper, born in Austin in 1943, was a vintage child of the ’60s, and he had more than a desire to scare you he had a vision. They had the desire, but not the technique. But it was that feeling, that presence, that low-budget horror films almost never succeeded in conjuring.
Call it what you will - the spirit of existential darkness, or maybe just evil. Working with the cinematographer Daniel Pearl (it was the first feature for both of them), Hooper framed shots with a shivery stateliness that came right out of Hitchcock and implied that the action we were watching was being hovered over by an unseen presence. Yet the ultimate reason that “The Texas Chain Saw Massacre” emerged as such a landmark movie, one that just seemed, somehow, to have appeared, is that it was made with a precision and suspense, a luridly exacting reverie-of-fear quality, that was nearly classical in its execution. A key element of the horror was the sense that it was all really happening right in front of you (or that it had, in fact, actually happened). The film presented itself as a true story, and it had the raw atmosphere of a found object, a kind of primitive documentary suspense film.
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It was the wildest nightmare that the movies had ever seen, all built around the image of Leatherface, a mentally disabled grunting mute psycho wearing a mask of human skin that he never took off, chasing people around with a giant buzzing phallic power tool that was as much an instrument of torture as it was a weapon of death. Yet for those who did venture out to experience it (those numbers grew impressively as time went on), “Texas Chain Saw” turned out to be something nearly unimaginable: a haunting and indelible dream of terror in the form of a meat-hook exploitation film. The film’s very existence was designed to give you a shudder. When “The Texas Chain Saw Massacre” appeared on the landscape in 1974, the film instantly became famous though relatively few people saw it, just hearing that title made you feel like you had. The director Tobe Hooper, who died Saturday at 74, will always be remembered for one spectacularly terrifying low-budget horror film, and that’s because it happens to be one of the most uncanny movies ever made.
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