‘Gremlins’ Remains a Nasty ’80s-Era Triumph

admin December 14, 2024

Joe Dante’s “Gremlins” isn’t just a seminal work of 1980’s pop cinema but a very-dark horror/comedy set at Christmastime.

It’s often funny, occasionally sweet but more often a truly nasty piece of work. I mean that latter quality as a compliment.

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Billy Peltzer (Zach Galligan) is a kindhearted teen who works at a bank in his Kingston Falls hometown to support his stay-at-home mom (Frances Lee McCain) and Willy Loman crossed with H.G. Wells father (Hoyt Axton).

Billy is in love with co-worker Kate (“Fast Times at Ridgemont High” alum Phoebe Cates). A humble life of small victories and massive embarrassments (courtesy of his dad and dog) takes a fateful turn when Mr. Peltzer gives Billy his Christmas gift, which he acquired in Chinatown.

The present, a small creature called a Mogwai (the first of many amazing puppet effects from Chris Walas’ team), is quickly named Gizmo and comes with a set of rules.

All together now:

  • Keep it out of the light
  • Never get it wet
  • And, no matter how much it begs, never feed a Mogwai after midnight

Dante never allows any of this to feel real – note the nuns riding in the catamaran in the opening shot. This is clearly a movie with backlot sets, mood lighting and a quirky, muscular synthesizer score by Jerry Goldsmith.

Truthfully, the whole gremlin angle, particularly in the way Futterman describes it, was done better a year earlier in George Miller’s segment of “Twilight Zone – The Movie” (if you listen closely, you can hear an early version of the “Gremlins” theme pop up in Goldsmith’s magnificent score for that film, which also features a fantastic Dante segment).

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Dante’s depiction of small-town America is affectionate, though every bit as realistic as his biting and wonderful “The ‘burbs” (1989). (The two films would make a great double feature).

Despite the town being lorded over by the rotten Mrs. Deagle (a go-for-broke, underappreciated turn by Polly Holliday), we grow to like Kingston Falls and the people who live there.

Dante takes advantage of that by killing most of the likable supporting characters.

Galligan has a sweetness that reminds me of a young Anthony Perkins (you know, before he did that Hitchcock movie). I always feel bad bringing up “Nothing Lasts Forever,” the sci-fi comedy Galligan made that barely came out the same year as “Gremlins,” as it’s never been properly released.

I had the joy of seeing that film, which co-stars Bill Murray, Dan Aykroyd and Imogene Coca and, in mentioning it, hope it will inspire enough curiosity that someone, somewhere will release it.

It’s a masterpiece. Anyway, back to “Gremlins.”

Cates’ performance is never forced and must sell how someone so nice and lovely can live in a town visibly populated by very few teenagers. I’ve seen Judge Reinhold’s cut scene, which is no longer in the theatrical version – it’s actually better this way, as his deadweight final, excised moment was better served as a first-act cameo.

Dante fills his cast with wonderful character actors and allows everyone from Axton, Dick Miller and Glynn Turman to steal their scenes. Cates’ infamous second-act monologue is typical of the balancing act Dante is pulling off on a scene-to-scene basis.

Yes, there’s a gallows humor punchline that could have been in the pages of “Truly Tasteless Jokes,” but Cates plays it so real, there’s a genuine sadness to it (at least, until they cut to a Gizmo reaction shot that makes it too funny to be taken seriously).

The final battle between Gizmo and the vicious Stripe is really something – watch how Stripe goes after this kid with a crossbow and a chainsaw! Yes, it’s funny but, my gosh is this movie violent!

The controversy over the film’s violence understandably rattled audiences (the microwave bit is said to be the culprit, but I’d say Mrs. Peltzer getting torn up by a Gremlin hiding in a Christmas tree is the real reason).

Yes, Steven Spielberg is the film’s executive producer (and has a gratuitous cameo in the same scene as Robby the Robot) but this is closer to his “Poltergeist” than “E.T. The Extra Terrestrial.” Hence, between this and “Indiana Jones and the Temple of Doom” both creating controversy over the level of mayhem for a PG-rated film, the PG-13 arrived not along after.

Today, with the ultraviolent shenanigans of Art the Clown bringing the uber-gory, Christmas-set “Terrifier 3” to the top of the box office, the notion of a Christmas-themed slasher comedy is quaint. “Gremlins,” on the other hand, maintains a real edge, especially in its second act, where we’re not always meant to laugh.

The infamous Christmas-set, serial-killer-in-a-Santa-suit slasher film “Silent Night, Deadly Night” appeared months after “Gremlins” and actually inspired protests and boycotts. The national hubbub around that movie succeeded in getting it taken out of theaters (after strong early box office).

Now, Christmas horror movies or horror/comedies like that film or “Gremlins” typically show up every December. Everything from “Violent Night” (2022), “Krampus” (2015), “Black Christmas” (1974/2006/2019) and even the original 1996 “Scream” (which portrayed no specific holiday but boldly and successfully opened on Christmas) owe “Silent Night, Deadly Night” and “Gremlins” a malicious cackle of gratitude for paving the way for the mainstream success of anti-yuletide films.

FAST FACT: An earlier version of the “Gremlins” script had Gizmo turning into the wicked Stripe. Dante said producer Steven Spielberg suggested an alternate idea that helped seal the film’s fate as a pop culture treasure. 

It only took a few years, if not months, for the inevitable rip-offs to turn up. Behold, the likes of “Ghoulies” (1984), “Munchies” (1987), “Critters” and “Troll” (both 1986). Dante’s eventual “Gremlins 2: The New Batch” (1990) is arguably better, unquestionably funnier, as it plays like a parody of the first film and of sequels in general.

Dante’s true fans will note that his in-between work, the flawed but wonderful “Explorers” (1985), the about-perfect and totally gonzo “Innerspace” (1987) and “The ‘burbs” (1989) are among his most eccentric, Looney Tunes-infused and brilliantly manic works.

Is there subtext to unpack here? Mr. Peltzer purchases Gizmo not from Mr. Wing (played by legendary Keye Luke, of the Charlie Chan film franchise), who refuses to sell him the Mogwai, but his grandson, who acts less in disobedience and more in desperation. He says his grandfather’s age and the need for money spurred him on.

Mr. Futterman distrusts anything “foreign” and is aware of the notion of “gremlins,” though it’s worth noting that he is eventually dispatched (at least, until the sequel) by a Gremlin driving his Kentucky Harvester.

Is that irony or just plain mean?

What are we to make of this? I’m unsure that screenwriter Chris Columbus, let alone Dante, intended for any of this to be taken seriously.

Mr. Wing returns in the final, forced confrontation to give a lecture about Billy not being ready to be a Mogwai owner. He also expresses concern over Gizmo being allowed to watch television.

Is this movie about how something pure is turned into a monster after exposure to American pop culture? If so, I’ve been a Gremlin since 1984. Most of my friends are cackling, video game-loving, mischief-making Gremlins.

In fact, if you’re still reading this, you’re a Gremlin, too. Merry Christmas.

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