The close up has been a powerful device in horror …
A Nightmare On Elm Street
Visually, A Nightmare on Elm Street is a real treat hovering somewhere between gothic, supernatural imagery and the typical 80’s slasher fare. Cinematographer Jacques Haitkin’s work here is innovative and atmospheric, capturing a malevolent mood with light and shadow, most notably in the surrealistic basement scenes set around the furnace.
Wes Craven intended Nightmare to be an exploration of surreal horror as opposed to just another stalk-and-slash horror movie, and not only did Nightmare offer a wildly imaginative, inspired concept, but it was a solid commercial genre entry for the dating crowd. Elm Street was New Line’s first genuine mainstream cinematic venture (after Alone In The Dark), and made the company a huge pile of money. The film was shot in 30 days at a cost of roughly $1.8 million, but it made back its figure and then some on opening weekend. New Line Cinema was saved from bankruptcy by the success of the film, and was jokingly nicknamed “the house that Freddy built.” Perhaps the most influential horror film of the ’80s, Craven’s 1984 slasher about a quartet of high school kids terrorized in their dreams by a torched boogeyman in a fedora hat and dusty pullovers spawned countless sequels and even a TV series.