Death trash plot1/23/2024 ![]() It plays a few times throughout the film and evokes the gendered and familial dynamics between the story's two female antagonists and the man they hold hostage and torture. ![]() Most famous is perhaps the "1.2… Freddy's coming for you" chant in The Nightmare on Elm Street, but even as far as back as Jack Clayton's The Innocents there's been a fascination of using children's songs, often thought to be innocent and evoking joy, as the siren for incoming dread and death.īut Death Game's song is not just a cute little sing-along for the credits. For much of their existence, horror films have incorporated children and eerie nursery-rhyme songs to evoke a strangely offputting feeling. "Good Old Dad," a song by Iris Rainer and Jimmy Haskel, is sung by The Ron Hicklin Singers while we get a montage of crayon drawings of a family, a house, the sun, and generally happy scenes. One of the first striking and ultimately important foreshadowing elements of Death Game is its opening credit sequence. The movie's various delirious sequences feature a chaotic and, at times, post-modernist editing style, especially in the jacuzzi scene, that lends to a dream-to-nightmare arc in the story, which descends from a male fantasy sex-romp into a night of pure psychological anguish. I don't even think there was a wrap party at the end, we all just said 'we made it' and went our separate ways!" Worth's contributions to the production make a huge statement in the new 4K restoration, with the layout and editing of the film closely resembling his original intention. ![]() We worked sixteen hours a day because we were always trying to catch up with what needed to be done and to get it done on time and under budget. In an interview with Daily Grindhouse, he mentions, "The whole thirteen days was a big challenge. Worth was brought in with thirteen days left to film, basically to patchwork a movie that was fully coming off the rails. He had his lines dubbed by editor and cinematographer David Worth, who would later become more well-known for Bronco Billy and Bloodsport. Cassell verbally and physically fought with Traynor and ended up leaving the production without doing ADR. His direction was unfocused and undetailed, which led to Locke and Seymour Cassell directing themselves in many scenes. This didn't sit well with established actress Sondra Locke who became frustrated with Traynor's aloofness on set. Peter Traynor, the film's director, was a California real-estate mogul and essentially entered into his first and only directing gig with nearly no experience.
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