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Sleepaway Camp is first and foremost, another summer camp slasher film. A very well-liked slasher subgenre originated with the 1980 classic Friday the 13th. Angela and Ricky are young teenagers off to camp Arawak for the summer, Ricky the likable approved type, and Angela, the calm and ‘different’ type. When all kinds of scuzzy camp regulars commence to give Angela a hard time, they launch dying rather brutally…mighty to the scare of the camp’s burnt out owner Mel (Mike Kellin) . Sleepaway Camp is a slasher film, however, it goes a bit deeper than that, what gives Sleepaway Camp its distinction, is the bizarre homosexual themes running throughout the film. Why they are there are anybody’s guess,but from the uncommon transvestite (? ) Aunt Martha, to Angela’s happy father, the truly hideous and disturbing final shot and more, Sleepaway Camp is sick, grisily, hooked, yet always bright. Of course, its not always stout, many scenes in this film are objective comical, like the melodramatic boating accident at the film’s inaugurate, or the character that wears a shirt with her name on it, and even the scenes with Chef Artie, the local camp sleazeball. Sleepaway Camp however, always manages to be charming, despite its warped themes and lurid subject matter, this one certainly isn’t for everybody, but those with a taste for something not quite the norm will score considerable to bask in here with Sleepaway Camp, a truly unusual film that stands in a tired subgenre, but stands out as a novel achievement-even if partially a fluke.
It was released on November 18 1983 opening the same week as the movie Yentl starring Barbara Streisand. Ironically, both movies shared a current thread. Gender role reversal. Yentl had Barbara Streisand portraying a woman posing as a man while Sleepaway Camp had Felissa Rose portraying a boy posing as a girl. Newspaper ads claimed persons with broken-down stomachs or women carrying unborn children shouldn’t peek Sleepaway Camp. These tactics frail to lure audiences into seeing dread films didn’t abet manufacture Sleepaway Camp a success. Only when it was released on video did the rude budget production fabricate a name for itself. Sleepaway Camp could only be considered successful if you count how many fans it has instead of how many dollars it made.
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Sleepaway Camp was originally a thesis Robert Hiltzik had written for college. Eventually it evolved into a screenplay. Most of the film’s funds were from an insurance settlement resulting in the dejected death of Hiltzik’s mother, who was killed in a gas explosion. Hiltzik’s enjoy camp experiences inspired him to write a dread tale which takes dwelling at the fictional Camp Arawak. However, the filming plot for Sleepaway Camp was anything but fictitious. Camp Algonquin, located in Argyle, Fresh York, had been an trusty Boy Scout camp. Coincidently, it was also where Hiltzik had attended camp as a boy. Shooting for Sleepaway Camp had begun soon after the camp closed down and honest as the leaves started to change color.
While analyzing the psychological and sexual aspects of the film, one often wonder’s what happened to Robert Hiltzik as a child to fabricate him gain such a seedy part of work. Homosexuality, pedophilia, rape, and child abuse are fair some of the themes you will accept in Sleepaway Camp. There is even a scene which suggests necrophilia. Not only are these “taboos” shamelessly presented with no remorse or redeeming qualities, each and every one involves children. In fact, most of the film’s cast are children. What makes the case of Sleepaway Camp even more bizarre is that it is dedicated to the film makers mother.
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Some of the characters are impartial as deviant as the myth itself. There’s Aunt Martha, an obviously mentally ill woman who is a psychiatrist no less; Artie, the head chef, who openly admits to his pedophilia and is teased by his fellow employees; Mel, the profit conscious owner of Camp Arawak, who cares more about publicity than the well being of the children he is repsonsible for; and of course, the children, all of whom fit one stereotype or another. The murders range from cliche to anything but. Victims are drowned, stabbed in the shower, attacked with wasps, shot with arrows, hatcheted, and decapitated. One death inparticular was so disturbing that actress Jane Krakowski passed the role of Judy over to Karen Fields. Even then, the scene had to be toned down for the actress to feel comfortable. It has become the most wicked death scene in the anxiety genre. A young girl is on her bed curling her hair with an iron. She is approached by the killer, punched and then as a pillow is held over her face, she is raped with the curling iron to her death.
What really saves Sleepaway Camp is the films climax. Although it’s an plan which has been conventional before in film (stare 1978′s A REFLECTION OF Awe), this probably presents it in the most frightening arrangement imaginable. The killer, believed to be a young girl, is seen sitting naked on the waterfront holding the head of another camper in her lap. A flashback ensues and once over, the girl stands up, the campers head rolls off her lap, and we peep a naked boy standing, mouth commence in a frozen set of shock and panic. Great like the one most people wear when they inspect Sleepaway Camp for the first time.
By all accounts, Sleepaway Camp should have been left on the shelf, never to be seen by the public. Perhaps if it had been released in another time, it might have been banned. Then again, maybe not. It may be honest another extreme budget alarm movie, but it acheived cult residence and has gained a fan following. Spawning three sequels, two which were filmed abet to support, and one unfinished, it has become one of the most common and saught after dismay series amongst fans.
It raises questions, provokes theories, and makes us laugh. It has held it’s believe for twenty years and has never been forgotten among the masses of dismay fans. Whether people appreciate it or abhor it, they determined as hell remember it. Sleepaway Camp has a reputation. How many movies can you say that about?
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