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Henry: Portrait of a Serial Killer. Henry: Portrait of a Serial Killer. Original film poster. Directed by. John Mc. Naughton. Produced by.
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Lisa Dedmond. Steven A. Jones. John Mc. Naughton. Written by. Richard Fire. John Mc. Naughton. Starring. Music by. Ken Hale. Steven A.
Jones. Robert Mc. Naughton. Cinematography. Charlie Lieberman. Edited by. Elena Maganini.
Distributed by. Greycat Films. Release date. Running time. Country. United States. Language. English. Budget$1. 10,0. 00. It stars Michael Rooker as the nomadic killer Henry, Tom Towles as Otis, a prison buddy with whom Henry is living, and Tracy Arnold as Becky, Otis's sister. The characters of Henry and Otis are loosely based on real life serial killers Henry Lee Lucas and Ottis Toole.
Henry was filmed in 1. It premiered at the Chicago International Film Festival in 1. Following successful showings during which it attracted both controversy and positive critical attention, it was rated . It was subsequently picked up for a limited release in 1. It was shot on 1. Henry is a drifter who murders scores of people - men, women and children - as he travels through the country. He migrates to Chicago, where he stops at a diner, eats dinner, and kills two waitresses.
Otis, a drug dealer and prison friend of Henry's, picks up his sister Becky, who left her abusive husband, at the airport. Otis brings Becky back to the apartment he shares with Henry. Later that night, as Henry and Becky play cards, Becky asks Henry about the murder of his mother, the crime that landed him in prison. He tells her he stabbed his mother because she abused and humiliated him as a child, though he later claims he shot her. Becky reveals that her father raped her as a teenager.
The next day, Becky gets a job in a hair salon. That evening, Henry kills two prostitutes in front of Otis. Otis, though shocked, feels no remorse. He does, however, worry that the police might catch them.
Henry assures him that everything will work out. Back at their apartment, Henry explains his philosophy: the world is . Henry says that every murder should have a different modus operandi so the police will not connect various murders to one perpetrator.
He also explains that it is important never to stay in the same place for too long; by the time police know they are looking for a serial killer, he can be long gone. Henry tells Otis that he will have to leave Chicago soon. The pair then slaughter a family, while recording the whole incident on their video camera, then watch it back at their apartment. Becky quits her job so she can return home to her daughter.
Otis and Henry argue after their camera gets destroyed while Otis is filming female pedestrians from the window of Henry's car. Otis gets out of the car and goes for a drink, while Henry returns to the apartment. Becky tells Henry her plans, and they decide to go out for a steak dinner.
After, she tries to seduce him, but he seems scared of her advances. A drunken Otis enters and asks if he's interrupting anything. Embarrassed, Henry leaves to buy cigarettes. He returns to find Otis has raped Becky and is strangling her. Henry kicks Otis off her and a fight ensues. Otis gets the upper hand and smashes a bourbon bottle onto Henry's face.
Otis is about to kill Henry when Becky stabs Otis in the eye with the handle of a metal comb. Henry stabs Otis, forcing him to bleed out and dismembers his body in the bathtub, telling Becky that calling the police would be a mistake. Henry and Becky dump Otis' body parts in a river and leave town. Henry suggests that they go to his sister's ranch in San Bernardino, California, promising Becky they will send for her daughter when they arrive. In the car, Becky confesses that she loves Henry.
They book a motel room for the night. The next morning, Henry leaves the motel alone, gets into the car and drives away. He stops at the side of the road to dump Becky's blood- stained suitcase (strongly implied to be containing her dismembered corpse) in a ditch, shortly before driving off again. Production. Ali of Maljack Productions (MPI) hired a former delivery man for their video equipment rental business, John Mc. Naughton, to direct a documentary about gangsters in Chicago during the 1.
Dealers in Death was a moderate success, and was well received critically, so the Ali brothers kept Mc. Naughton on as director for a second documentary about the Chicago wrestling scene in the 1. A collection of vintage wrestling tapes had been discovered, and the owner was willing to sell them to the Ali brothers for use in the documentary. However, after financing was in place, the owner doubled his price and the brothers pulled out of the deal. With the documentary cancelled, Waleed and Mc.
Naughton decided that the money for the documentary could instead be used to make a feature film. The Ali brothers gave Mc.
Naughton $1. 10,0. Mc. Naughton decided to film a fictional version of Lucas's crimes.
Jones onto the project as a producer, and Jones hired Richard Fire to work as Mc. Naughton's co- writer. With the producer, writer, and director in place and with the subject matter decided upon, the film went into production. During filmmaking, costs were cut by employing family and friends wherever possible, and participants utilized their own possessions. For example, the dead couple in the bar at the start of the film are the parents of director John Mc. Naughton’s best friend, while the bar itself is where Mc.
Naughton once worked. Actress Mary Demas, a close friend of Mc.
Naughton’s, plays three different murder victims: the woman in the ditch in the opening shot, the woman with the bottle in her mouth in the toilet, and the first of the two murdered prostitutes. The four women Henry encounters outside the shopping mall were all played by close friends of Mc. Naughton. The woman hitchhiking was a woman with whom Mc. Naughton used to work.
The clothes Michael Rooker wears throughout the film were his own (apart from the shoes and socks). The car driven by Henry belonged to one of the electricians on the film. Art director Rick Paul plays the man shot in the layby; storyboard artist Frank Coronado plays the smaller of the attacking bums; grip Brian Graham plays the husband in the family- massacre scene; and executive producer Waleed B.
Ali plays the clerk serving Henry towards the end of the film. Rooker remained in character for the duration of the shoot, even off set, not socializing with any of the cast or crew during the month- long shoot. According to the costume designer Patricia Hart, she and Rooker would travel to the set together each day, and she never knew from one minute to the next if she was talking to Michael or to Henry as sometimes he would speak about his childhood and background not as Michael Rooker but as Henry. Indeed, so in- character did Rooker remain, that during the shoot, his wife discovered she was pregnant, but she waited until filming had stopped before she told him. For example, in the scene where Becky emerges from the subway, two men can be seen standing at the top of the stairs having a heated discussion. These men were really having an argument, and when the film crew arrived to shoot, they refused to move, so John Mc. Naughton decided to include them in the shot.
Mc. Naughton himself sent copies of the film to prominent film critics, hoping to attract attention and thus a distributor. Vestron was the first distributor to show an interest in the film, but they pulled out over home video distribution disputes with MPI and fears of a potential lawsuit due to the film's use of real names. Following this, Henry: Portrait of a Serial Killer premiered at the Chicago International Film Festival on September 2. In 1. 98. 8, MPI hired Chuck Parello, who worked to get the film in theaters. The film played at several festivals throughout 1. This culminated in positive attention from Roger Ebert at the Telluride Film Festival in 1. Atlantic Entertainment Group expressed interest in releasing the film theatrically but mandated that it have an MPAA .
The MPAA responded with an . In Roger Ebert's review of the film, he writes that the MPAA told the filmmakers that no possible combination of edits would have qualified their film for an R rating, indicating that the ratings issue did not simply involve graphic violence. He also went on to say that the film was an obvious candidate for the then- proposed A rating for films that were for adults- only which were non- pornographic.!
Tie Me Down!, were the instigation for the creation of an adults- only rating for non- pornographic films, NC- 1. Due to the rating, Atlantic pulled out. Following further controversy over the rating, Greycat Films picked up the film for distribution after it screened at the Boston Film Festival in 1. Its theatrical premiere, a limited release, was on January 5, 1. Mc. Naughton credited the MPAA's refusal to accept any cuts as giving him the opportunity to release it uncut, as he would have made cuts had they requested it. Further censorship.
Electric Pictures had performed this edit themselves without the approval of director John Mc. Naughton. The film was classified '1. April 1. 99. 1, after 2. Otis gropes the mother’s breasts both prior to killing her and after she is dead). Total time cut from the film: 6.
In 1. 99. 2, Electric Pictures submitted the pre- cut theatrical print of the film to the BBFC for home video classification, once again missing the shot of the dead girl. In January 1. 99.
BBFC again classified the film '1. Board also removed four seconds from the scene where the TV salesman is murdered, meaning a total of 4. However, BBFC director James Ferman overruled his own team and demanded that the family massacre scene be trimmed down to almost nothing, removing 7. Additionally, Ferman re- edited the scene so that the reaction shot of Henry and Otis watching TV now occurred midway through the scene rather than at the end.
Total time cut from the film: 1. The BBFC waived the four seconds cut from the murder of the TV salesman, and 6.
The Killer Shrews (1. IMDb. Quotes. . The shrew feeds only by the dark of the moon. He *must* eat his own body weight every few hours - or starve.
And the shrew devours *everything*: bones, flesh, marrow.. In March, first in Alaska, and then invading steadily southward, there were reports of a new species: the giant, *killer* shrew.