ABCs of Horror 2: “E” Is for The Entity (1982)

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ABCs of Horror 2: “E” Is for The Entity (1982)
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Genuinely one of the most disturbing films of its era, The Entity is an unrelenting story of a woman stalked and assaulted by an…

is a 26-day project that highlights some of our favorite horror films from each letter of the alphabet. The only criteria: The films chosen can’t have been used in our previousa 100-day project to choose the best horror film of every year from 1920-2019, nor previous ABCs of Horror entries. With many heavy hitters out of the way, which movies will we choose?

There are times when a horror film is so deeply disturbing, so genuinely steeped in malice and savagery, that it seems to vanish from the memory of genre fans not because it lacks effectiveness, but becauseis such a movie, possessing not an ounce of widespread audience appeal or salacious titillation, despite a plot that literally revolves around sex acts.

Our protagonist here has been renamed Carla , a mother of three children who first became pregnant as a teen, and we have every reason in the world to wish her the best. Unlike so many horror film protagonists, there’s no apparent divine or supernatural justice in the horrors that randomly beset her one day—she didn’t trespass where no human should have dared, or seek occult powers for her own.

Naturally, the world around Carla offers no practical help. Her absent boyfriend can’t be trusted to believe the information, and friends/family understandably suspect mental imbalances or drugs. The psychiatrist Carla meets takes an immediate interest in her case, but refuses to expand the realms of possibility to include the possibility of “supernatural stalkers.

The personal nature of the attacks makes them some of the most difficult and invasive sequences of physical violence to watch on screen that I’ve seen in recent memory, which is only amplified by Charles Bernstein’s thudding, clanking orchestral score that accompanies each of the many attacks. The music strikes with a brutal, mechanical repetition that can’t help but evoke the act itself, while pioneering FX simulate Carla’s body being caressed by invisible hands in several shocking sequences.

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