PROM NIGHT

Years ago, teenager Donna Keppell found her family brutally murdered within the walls of their home; the perpetrator of this horrific act was Richard Fenton, a homicidal maniac obsessed with the girl, arrested just before he could carry out his 'plan.' Now Donna lives with her aunt and uncle, but despite the years that have passed and the constant support of a psychologist, she cannot overcome the tragic event that shattered her life. Meanwhile, the much-anticipated prom night is approaching, and Donna has decided to attend with her boyfriend Bobby and her friends. However, their hopes for a fun evening will soon turn into terror: Richard Fenton has just escaped from the criminal asylum and is already on Donna's trail. This prom night will undoubtedly be unforgettable... The sun has long since set, the camera focuses on the sea (how many films start this way?), followed by a meticulous sequence that rises from the waves to capture a bridge and then zooms in on a car speeding along, carrying Donna, the protagonist, as she returns home after a night out with friends. In the background, the notes of a cover of the famous 60s song 'Time of the Season' by The Zombies can be heard. This is how 'Let the Night Begin' ('Prom Night') opens, a very evocative and well-executed introduction that raises high expectations for the film the viewer is about to watch. Unfortunately, these excellent opening credits fail to deliver as the film progresses, flattening out and losing its charm minute by minute. For those who may not know, 'Let the Night Begin' (a questionable title in English) is a remake – in name only – of a slasher directed by Paul Lynch in 1980 titled 'Prom Night.' Lynch's film, though it has become a minor cult object among horror enthusiasts over time, actually had many flaws, and its commemoration is largely due to the presence of Jamie Lee Curtis, the 'scream queen' of the time. A weak film, and therefore one that could have been improved with a good remake, but unfortunately, that was not the case here, and this reinterpretation may even seem weaker and more pointless than the original. As mentioned earlier, this film has very little to do with a 'remake,' as the story deviates significantly, too much, from the narrative of the old 'Prom Night,' making any parallel between the two works difficult, if not impossible. Let's try to consider it as an independent and 'original' film. From the very first murders in the introduction, 'Let the Night Begin' reveals itself to be a clean, polished, and proper slasher, far removed from the recent trend in horror cinema that focuses on brutality and the spectacle of violence. We are far from the extreme, amoral, and unapologetically gory horrors that have gained popularity in recent years. Instead, we are dealing with a film that even seeks to distance itself from the horror genre, aligning more with family thrillers or, worse yet, the new generation of teen programs raised on MTV and harmless TV dramas. Blood is spilled sparingly, the murders, when shown, lack 'ferocity,' and the killer's look is anything but threatening. Instead, attention is given to the romantic relationships between the characters, their jealousies, envies, and the ambition to be crowned prom king and queen. A true disgrace, if put this way. However, it must be said that criticizing and disparaging this film could seem easy and gratuitous, as well as morally inappropriate, since everything that might appear as a 'flaw' is entirely intentional. From its inception, when 'Let the Night Begin' was just a vague idea, its fate was already sealed: to be a simple, trendy slasher leaning more toward soft and delicate atmospheres than toward gory and repugnant effects. A choice that may or may not appeal... but still a choice. That said, setting aside the more or less agreeable idea of making a less horrific horror film, it must be admitted that not everything in 'Let the Night Begin' is disposable. A somewhat approximate, predictable script by J.S. Cardone (exploiting all possible clichés of the genre) that tends to drag at times is accompanied by competent direction from Nelson McCormick (mainly known for TV productions), who demonstrates skill with the beautiful opening sequence and a fairly refined and elegant cinematography. However, the cast is a weak point, featuring a lineup of relatively unknown actors or those primarily from TV series, unable to add depth to clichéd, uninteresting characters that revolve around the genre's most common tropes. In conclusion, 'Let the Night Begin' proves to be an insignificant film, unable to stand out in the slasher subgenre, which is already showing signs of saturation. It might appeal to teenagers raised on shows like 'Dawson's Creek' or 'The O.C.' (its primary audience); conversely, it will be detested by true horror fans. It might still deserve half a point more.