On August 2nd, 1939, a baby named Wesley Earl Craven was born in a Cleveland hospital. With a name like that, his predetermined life-options were:
- Assassinate a president.
- Become a notoriously corrupt prison warden in the South.
- Write horror paperbacks using his full name for his penname.
- Shorten the first name to Wes, scratch the middle name and create horror movies.
Obviously going with the last option, Craven’s creations range from seminal to regrettable, classic to clumsy, Elm Street to Vampire in Brooklyn. It’s a testament to how great his best output is, then, that his missteps don’t jump to mind when thinking of him. His worst works are overall less defensible than, say, the worst of John Carpenter, but people generally and rightly forget about Deadly Blessing, and don’t hold Vampire in Brooklyn, My Soul to Take or The Hills Have Eyes II against him, because this is the guy that gave us Freddy Krueger, Scream, the first Hills Have Eyes, Last House, and the semi-underrated Red Eye. Craven was the power-hitter whose towering walk-off home run could erase memories of the strikeouts he suffered earlier.
August 2nd also marks an anniversary of the release of 1985’s Fright Night. While The Lost Boys gets credited with modernizing and re-popularizing cinematic vampires, along with Near Dark to a lesser extent, Fright Night came to screens two years earlier. Its solid (if not remarkable) box office success, coupled with a strong run on cable and burgeoning home video after it left theaters, provided the first proof that big-screen vampires could be effectively marketed in the 80’s.
Through most of the 70’s, vampire films were still dominated by depiction, updates or offshoots of Count Dracula. On television, The Night Stalker and Salem’s Lot made an impact by bringing a vampire threat to the big city and to small town America, respectively. Fright Night was the first feature film to find success by taking the next step with such modernization, making its villain the handsome new neighbor who’s moved in right next door to you in your pleasant suburban community. Its vampires also appear truly ghastly and grotesque when revealing their true selves, as opposed to their comparatively normal-looking (and thus “cooler”) counterparts from The Lost Boys and Near Dark. Just one more example of how there’s plenty of room under the sun for a wide variety of vampires, including those who can exist “under the sun,” like that old voivode that Bram Stoker wrote about.