Title: Eaten Alive at a Chainsaw Massacre: The films of Tobe Hooper
Author: John Kenneth Muir
Price: RRP 32.00 GBP (Book Rare and Availability Scarce)

This book looks at each of Hooper’s movies from the original TCM up to the lamentable effort CROCODILE in the year 2000. The book kicks off with a well-written and curt introduction glossing over the production history and origins of each film while discussing Hooper’s influences as a child; his up-bringing living in a cinema and his fascination with EC comics. Each film is given it’s own section and are made up of the following; A short series of quotes/extracts from reviews of the time, list of cast and crew, a summary of the story and the commentary.The ‘commentary’ sections are what Muir is all about. As expected of a college graduate in film he really scrapes deep beneath the surface of the film and looks for the subtext; every nuance is analysed. It makes for fantastic reading for the film enthusiast but if there’s one criticism then it’s at times you have to remind yourself it’s a book your reading and not a college thesis.

When it comes to the movies it seems like the most time is spent on Hooper’s TCM movies. However, each film is given the same dedicated approach and is thoroughly dissected. There’s far too much detail to go into here but suffice it to say you’ll enjoy reading it even if you don’t agree with it. Even truly appalling films like THE MANGLER and CROCODILE and the underrated LIFEFORCE and THE FUNHOUSE get the same fantastic attention. It even made my re-assess his TCM follow-up, EATEN ALIVE. My two favourite allegories though are his comparison of TCM to Alice in Wonderland and Poltergeist as an attack on president Ronald Reagan’s lassez-faire domestic policies. Engrossing stuff.

Because Hooper not only works within the realm of film there are sections showcasing his work on the small screen. His biggest TV success to date, the Stephen King adaptation SALEM LOT, gets the biggest analysis. It’s fascinating to read the parallels and themes that Muir finds in this. Check it out to believe it! He then covers contributions to Spielberg’s Amazing Stories, Tales From the Crypt and nineties fare such as Nowhere Man and Dark Skies. Each makes great reading as it gives you a chance to see his work outside of the horror genre, examining his work as a storyteller.

To round off the book, amidst the usual Appendices (of which there are a canny few!) there’s a nice section which looks at reoccurring themes in his work. It’s a great little section to finish the book on, it’s just a list of films under the categories such as ‘False Sanctuary’, ‘ Partners in crime, reflections in Evil’, ‘The World Underneath’ to name but a few.

Should you buy this book? If you are a fan of Hooper, a film analyst or want to re-examine his work then this book is essential. It drips with a care and attention that would put some authors of similar material to shame. Muir’s passion for the genre, and his appreciation for Hooper, are infectious. The thing I’d say might cause a complaint, and this applies to all Muir’s books, would be the sometimes over-analytical style that can feel too heavy. That aside this is a riveting analysis of an underrated film-maker whose latest comeback movie, 70s ‘slasher’ flick remake THE TOOLBOX MURDERS, is pulling in great reviews and doing good business.

4 out of 5 chainsaws!!!

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