Starring: Robert Englund, Mark Patton, Kim Myers
JESSE – “Grady, do you ever remember your dreams?”
GRADY – “Only the wet ones.”
At the time, Jack Sholder didn’t know he was making a gay movie. As far as he was aware, he was simply making a sequel to A Nightmare On Elm Street, which had been a huge box office success the previous year. It was only when the film started getting recognition and critical praise from the gay media that he slowly realised he may have unwittingly created the greatest homosexual film of the early ’80s.
Freddy’s Revenge tells the tale of Jesse (Mark Patton), an effeminate young chap who’s new in town and already trying to win over his new high school lady friend Lisa (Kim Myers, looking remarkably like a young Bette Midler). The problem is, Jesse’s family have unwittingly moved into1428 Elm Street, the house where Nancy lived in the previous movie, and in doing so have provided Freddy with new victims to stalk.
As Jesse sleeps at night, he dreams about Freddy. Rather than killing him though, Freddy wants to take over Jesse’s body so he can come into the real world and kill all the teenagers in Elm Street. Jesse tries to resist, but finds himself unable to control his body. He goes into his little sister’s room wearing a Freddy glove and only just manages to stop himself attacking her. He sprouts a huge demon tongue while he’s getting down and dirty with Lisa but manages to hide it and leave without her seeing. Freddy’s taking over his body and there’s not much he can do about it.
Of course, as far as the cast and crew of the movie were concerned (well, most of them at least – nowadays Mark Patton, himself a gay actor, claims he knew all along what was happening), this was nothing more than a straight sequel (in every sense of the word) to the previous year’s big horror blockbuster. That wasn’t how the gay community saw it, however. In their eyes, Freddy’s Revenge was a film about a young man struggling to accept his own sexuality and trying to fight it. The funny thing is, if you watch the film with the assumption that Freddy is supposed to be Jesse’s gay side, it’s hard to argue with them.
Everything Freddy does to Jesse can be interpreted as an attempt to bring out his gay side. The aforementioned tongue scene is Freddy’s attempt to stop him being intimate with a woman. At one point, Jesse runs to a male friend’s house, climbs through his bedroom window and tells him there’s someone inside of him he’s trying to get out. Every time Jesse kills someone (while under Freddy’s control), he lets out an incredibly high-pitched scream. When Freddy finally completely takes over Jesse’s body, the only way Jesse can be freed is for Lisa to kiss Freddy, essentially killing off his homosexual side.
All these are mere foreplay, however, compared to the scene in which a sleeping Jesse, under Freddy’s control, walks to the nearest gay S&M club and finds his gym teacher there wearing a tight leather outfit. The teacher takes Jesse back to the school and makes him run laps in the gym, but afterwards Jesse, as Freddy, ties him up with skipping ropes in the shower, strips him, whips his bare arse with a towel then gives him the old fingerknives in the back (penetrating him from behind, if you will). If the cast and crew genuinely weren’t trying to make a gay movie, you have to wonder what the hell they were thinking here. I’m not just making this up, you know, here’s an entertaining behind-the-scenes video with the film’s cast admitting they had no clue. They’re incredibly honest and stunned at how gay they made the film. It’s a must-watch!
Either way, the homosexual subtext is neither here nor there – Freddy’s Revenge is simply an odd film however you take it (so to speak). Odd, unexplainable things happen throughout the film, each doing their bit to undo the “rules” and mythology laid out by Wes Craven in the wonderful first film. Jesse’s house suddenly becomes incredibly hot for some reason, to the extent that his pet budgie goes mental, attacking Jesse’s sister and then spontaneously combusting into a tiny explosion of flames and feathers.
Then there’s the part where Freddy freely comes into the real world, something that was a big no-no in Craven’s original (only Nancy could bring him out of her dream). This leads to a ridiculous scene at a pool party where Freddy confronts 50 or so teens, most of whom are taller than him and could probably kick his arse.
In a series famous for its bizarre moments and bending of reality, for Freddy’s Revenge to somehow feel a bit off is something of an achievement. It’s entertaining enough however you choose to interpret it, but it’s by no means one of the better entries in the Nightmare saga.
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