A passing of the torch from horror-writing behemoth Stephen King, who recognised Barker’s deathly grip on horror before he adapted his novella The Hellbound Heart to the screen in 1987, making his directorial debut with the delightfully disturbing Hellraiser.
Spoilers for Hellraiser 1-3 ahead!
The film opens in a distant land, with a merchant posing the question “What’s your pleasure, Frank Cotton?”. Thrillseeker Frank pushes a wad of cash in exchange for an ornate puzzle box. “Take it, it’s yours. It always was.” Later, in a candlelit attic, Frank solves the box and is swiftly torn to shreds by chains cascading from every corner of the room.
We’re then introduced to Frank’s brother Larry (Andrew Robinson) as he’s moving into his late mother’s dilapidated house along with his second wife Julia (Clare Higgins). Their faltering marriage is further strained by Larry’s teenage daughter Kirsty (Ashley Laurence) and Julia’s yearning for a previous lover – an affair she had with the recently deceased Frank. Who unbeknownst to them, lays beneath their feet decaying. When Larry injures himself during the move, his blood trickles down to Frank’s hollow shell and he is soon reborn.
Halfway through the shoot, studio interference reared its ugly head but was fending off for as long as possible, with the film crew altering the schedule to ensure they were “doing something incredibly bloody” when the bigwigs would visit, ensuring they’d soon flee. Ultimately, it was requested that British accents were overdubbed to American. Which led to tonal shifts, sometimes within the same conversation, during the film’s opening. Stranger though, is how weirdly this fits proceedings, giving an offbeat pulse to the vast, empty house and even adding some unintentional humour as a precursor to the grisly carnage that’s about to unfold.
And said carnage truly begins as Frank resurrects, a scene devised by special makeup effects designer Bob Keen, whose talents have been utilised on films from Star Wars to fellow horror classic Candyman and a more recent werewolf staple Dog Soldiers. As the blood from his brother’s wound slowly replenishes Frank, his arms pierce the floorboards like stems and he horrifically blooms.
Julia soon stumbles onto a skinless Frank (now played by Oliver Smith), who tells of his cursed journey to another realm. While initially terrified, Julia aches to rekindle their fiery romance and agrees to lure men back the house, enabling Frank to drain their life force and once again be complete. As the death count ratches up, Kirsty stumbles in on this grim ritual and finds herself in possession of the puzzle box, with dire consequences.
As well as Frank’s fleshy transformation, Clare Higgins is superb as she has an overhaul of her own. From the palpable marital boredom to the initial unease of enticing men, until a pushy punter enables her to feel pleasure at his sacrifice. Later on and truly desensitised, a boxing match booms out from the television and Larry ponders that his wife usually detests violence, Julia cooly shrugs “I’ve seen worse.”
Diverging from his most notable and creepy role as Scorpio in Dirty Harry, Andrew Robinson is a likeable oaf here. Harmlessly showing off at a diner party and trying his utmost to keep both women in his life happy. Rounding off this dysfunctional family unit is Ashley Laurence’s Kirsty, an underrated “final girl” in my opinion – she’s plucky and an extremely engaging screen presence.
Of course, the most enduring aspect of Hellraiser has been Pinhead, simply known as “Lead Cenobite” in the early days, and exquisitely played by Doug Bradley under six hours worth of makeup. His nickname is thought to have originated in the makeup studio and on the inspiration behind Pinhead’s striking look, Barker reminisces “I had seen a book containing photographs of African fetishes: sculptures of human heads crudely carved from wood and then pierced with dozens, sometimes hundreds, of nails and spikes. They were images of rage, the text instructed.” Barker concludes;
“To rage, then; and to the monsters that embody it. They keep us sane, I think. At least a little.”
Bradley recalls Barker insisting he “do less”, eventually Bradley realised that “the makeup was so powerful, I didn’t need to sell it to the audience.” It was that brutal simplicity of Bradley’s portrayal that made Pinhead so terrifying. Drifting out from the shadows with no unnecessary words spoken, he dominates the film with majestic menace, as Barker put it “he so perfectly married threat and elegance”, despite only being onscreen for roughly eight minutes. Pinhead stands tall amongst fellow horror icons Freddy Krueger and Jason Voorhees and while the ending of their spat in 2003’s Freddy vs Jason was fittingly tongue-in-cheek, the alternate ending with Pinhead greeting the pair in Hell sounds devilishly good.
Contrasting other horror villains, there’s even a fairness and reasoning to Pinhead. Striking a deal with Kirsty to save her soul in return for an escaped Frank’s whereabouts. Her bargaining, however, comes with a bone-chilling warning that if she cheats the Cenobites …
“We’ll tear your soul apart!”
In a rare glimpse of brilliance in Hellbound: Hellraiser II, Pinhead also halts his overzealous followers from destroying a young girl forced to solve the puzzle box, eloquently stating “It is not hands that summon us. It is desire.” and pursues hunting the true summoner.
Of course, Pinhead doesn’t do the Devil’s work alone and his fellow demonic Cenobites are always in tow. You can usually hear “Chatterer” (Nicholas Vince) before you can see him and often instigates the torment, “The Female” (Grace Kirby) is the most bloodthirsty and is frequently reigned in by her leader and “Butterball” (Simon Bamford) is a slob and glorified onlooker.
“Explorers in the further regions of experience. Demons to some. Angels to others.”
Punk fashion, Catholicism and visits to SM clubs in New York City and Amsterdam inspired Barker’s vision of the Cenobites and costume designer Jane Wildgoose reminisces on her notes from Barker; “He wanted “1. areas of revealed flesh where some kind of torture has, or is occurring. 2. something associated with butchery involved” and then here we have a very Clive turn of phrase, I’ve written down, ‘repulsive glamour.'” Barker also insisted the Cenobites “should be ‘magnificent super-butchers’. There would be one or two of them with some ‘hangers-on’ as he put it, and that there would be four or five altogether.”
While nothing quite compares to the first time we’re properly introduced to this gruesome foursome, Hellraiser’s flawed sequel Hellbound managed to lessen their mystique by having them quickly dispatched during a lacklustre showdown.
Directed by Tony Randel (who co-edited the original), Hellbound also provided an unnecessary backstory to Pinhead’s origins. A frequent frustration with the horror genre and especially pertaining to a supernatural villain, such as Rob Zombie’s prequels that boringly explain John Carpenter’s mystical creation of Michael Myers. Here we learn that Pinhead was World War I veteran Captain Eliot Spencer and while there’s a morsel of an interesting idea in the somewhat literal interpretation of “war is hell”. To overexplain and undermine the franchises’ icon is a lethal combination in a film that then hurtles towards an incoherent third act.
Hellbound does have its moments, however. Deeply twisted Dr Channard is a memorable addition, later becoming an odd, wise-cracking Cenobite and in a neat little twist, Kirsty is tricked into a trip to the underworld after finding “I am in Hell, help me” smeared in blood on a wall. Assuming her late father is attempting to reach her, she sets out only to find it was Frank masquerading as Larry. We find Frank experiencing his own personal hell, an intriguing premise that’s underdeveloped alongside the desolate, labyrinth design of Hell. Thankfully there’s still a plethora of alarming threats courtesy of Pinhead.
“Your suffering will be legendary, even in Hell!”
Anthony Hickox was at the helm of Hellraiser III: Hell on Earth, which had a fresh slate of new faces and the basic premise that Pinhead is recruiting. After escaping the Pillar of Souls, Pinhead butchers his victims into pseudo-Cenobites with their mutations reflecting their former lives, but these incarnations are more comically playful than the outright hideousness of the original line-up.
Hell on Earth also boasts striking imagery such as Pinhead encased in granite and while he looks as inappropriate as you’d imagine in a church, when Pinhead mockingly reenacts a crucifixion, it’s genuinely quite unsettling, even for someone who’s not remotely religious. In perhaps an unpopular opinion, these glimpses of creativity led me to prefer Hell on Earth (Motörhead’s Hellraiser does play over the end credits after all) to Hellbound.
The franchise does feature another colossal seven entries, with much later outings churned out to simply retain rights but losing the essential Doug Bradley in the process. While a theatrical reboot has been in the works for some time now, more recently a TV series has been announced with Clive Barker on board as an executive producer. Echoing the thoughts of many fans, Barker expressed that he was “delighted the Hellraiser mythology is seeing a new life. It’s time the stories went back to their roots.”
Clive Barker managed to conjure the hellish magic of his literary worlds onto the screen and while he endearingly revealed he went to the library a week before filming “to get a book about directing. They had one – but it was out.” You’d never know of his inexperience with the final result. Thankful that his crew were “gentle” with him and insisting “You can only go that far into darkness if everybody’s on board.”
Penetrating that darkness is also some intentional humour, one of the final shots where Frank (wearing Larry’s skin) signs off chuckling “Jesus wept” before being decimated somehow works in a film so inherently sadistic. Barker’s vision of Pinhead with all his poise also remarkably fits amongst Hellraiser’s somewhat underappreciated showcase of grotesque body horror. It’s a tonal amalgamation that’s intensified by Christopher Young’s score that’s both thoroughly gothic yet ethereal.
Hellraiser explores the knife-edge between pain and pleasure and the ecstasy and ruin of desire. The film ends as it begins, safe in the knowledge that mortal souls will always lust for more, with the merchant sat across from a new patron, once again posing the question;
What’s your pleasure, sir?