April Fool’s Day
aka Week-end de terreur
aka Die Horror-Party
aka A Noite das Brincadeiras Mortais
Director: Fred Walton
Starring: Deborah Foreman, Thomas F. Wilson, Griffin O’Neal, Mike Nomad, Deborah Goodrich, and Clayton Rohner
Running time: 83 minutes
Genre: slasher, comedy
It’s gotta be bloody unforgettable: Preparing for the arrival of her friends at her island home, Muffy St John (Deborah Foreman) prepares the house, happening upon an old jack-in-the-box in the basement. While opening it, she recalls receiving it as a birthday present, and how the little monster inside scared the bejeezus out of her while all the adults laughed.
Ready for some Spring Break, Muffy’s friends wait for the ferry to pick them up. The company includes the serious A-couple Kit (F13P2 Final Girl Amy Steel!) and her boyfriend Rob, sex maniac B-couple Nikki and Chaz, and Chaz’s BFF Arch. Unknown quantities are
wetblanket shy girl Nan who does theatre with Muffy, the ambitious Hal who’d like nothing more than to make good with Muffy’s wealthy father, and Muffy’s fine-ass cousin Skip. On the ferry over, insta-buddies Skip and Arch smartly play a game that involves throwing knives (yes, exactly what your parents warned you NOT to do), but the fun and games take a turn for the worse when Skip takes a knife to the stomach and falls overboard. Rob and townie crewman Buck leap into the water to save Skip, only to discover that it was an elaborate prank involving a trick knife belt. After all, it’s April Fool’s Day! Oh, you kidders!
But then as the ferry is arriving at the St John dock, Buck, who stays in the water attempting to hook the boat up from below, is crushed and horribly maimed between the ferry and the dock. He’s carted off to the hospital by the ferryman, screaming imprecations at the group, who are also roundly chewed out by the local constabulary, who warns them not to leave the island until the matter is sorted out. Suitably chastened, they repair to Muffy’s secluded mansion.
The girls talk sex while heating up beans n’ franks for dinner, and the boys goof around outside, but Skip stews over the accident and Buck. At dinner, Nan is mortified by sitting on a whoopie cushion, while Arch is somersaulted by his trick chair. Nan drippily offers a toast in appreciation of college chums, only to be outshone by Muffy, who quotes Boswell’s Life of Johnson. (You really cannot go wrong with Dr Johnson or Boswell, kids.) A touching moment. As the guests raise their glasses to their hostess, Muffy looks on smirking, enjoying the wine dribbling down everyone’s chins. “April Fool,” she says archly. That isn’t the end of the gags, though. As everyone settles in for the evening, each room’s occupant stumbles upon more yet more pranks. Some of the pranks are innocuous–exploding cigars, trick faucets, lights that won’t turn off–but others seem aimed at dark secrets: clippings about questionable deaths, drug paraphernalia, S&M gear, and more.
Even Muffy seems off-kilter when they come down in the morning, looking unusually frowzy and acting totally out of it. Despite the previous night’s minor contretemps, everyone spends the day relaxing and trying to enjoy their vacation. At least until Kit and Rob sneak off to the boathouse for some nookie, and catch a glimpse of what appears to be Skip’s body floating past. Rob, Chaz, and Arch investigate and find Skip’s trick knife covered in blood, and speculating on a connection to Buck’s accident, the three split up, intending to search for either Skip or the possible maniac. Only, Arch doesn’t come back.
Reassuringly, Muffy offers to make tea, because that’s definitely what’s needed in times like these. Discovering that the water main is broken, Nikki and Hal go out to the well where they discover Arch’s head and Nan’s body and flip their shit. When the constable calls that evening, he assures them that he’s been with Buck all day, but that he’s on his way to the island with some important information. While they wait, the group battens down the hatches, locking doors and windows. Everyone but Muffy hangs tight in the den, where they speculate on how odd Muffy’s been acting–and looking. As they discuss the pranks from the night before, tempers flare and suspicions are raised.
What exactly is going on at the St John house, and will anyone survive?
An essential lack of seriousness: Despite initial low returns at the box office (due in large part to a crap advertising campaign), April Fool’s Day ended up a cult classic due to success as a staple on late-night television and as a video rental. It is a perfect blend of comedy and horror featuring a quintessentially ’80s cast, and directed by Fred Walton who helped kick the whole slasher craze off with ’79s When a Stranger Calls. It’s a lighthearted mid ’80s slasher that manages to pay homage to the antecedents of the genre while epitomizing the decade in which it was made.
Bill: Writing reviews in the two person format we’ve chosen here at PB&G can sometimes be a pain. With a single voiced review, you can just bang it out whenever you feel like it, but with a partner, you sometimes find yourself hostage to your “co-anchor’s” schedule, health, even mood, and sometimes your desire to crank one out gets stomped on by your 2nd voice’s (my) laziness. Such was the case with last week’s review of French Sex Murders. I slacked off and we didn’t finish on time. Because of that and because I love April Fool’s Day, I figured I’d surprise Fisty by having this review all primed, synopsis written, and ready to go, so we could turn this mother out and start on our next, The Initiation of Sarah. …but I got sidetracked. By the time I was ready, she’d already done most of the work and been waiting on me. My response upon seeing this, being as I’m a jerk, was not, “Wow! You’ve been busy. Good work. Let’s get into this.” It was, “Aw. You already did the synopsis for AFD. I was going to do that.” Now, since Fisty isn’t talking to me (this has happened before – it’s temporary) and this review has to be done by tomorrow, I get to review April Fool’s Day all by myself. Prepare to be underwhelmed!
First thing I want to talk about is the cast. As our crew of possible killers and would be victims arrives, ready to ship on out to friend Muffy’s island for the week, you’ll notice a lot of faces that any child of the ’80s will recognize. Ginny from Friday the 13th Part 2, Larry the narcoleptic male stripper from Summer School, Biff motherfucking Tannen, the wholesome girl from the S&M scene in Waxwork, um … the boyfriend from I, Madman … and … others. I wish Fisty were here. She’d love to talk about these folks and their ’80s pedigree.
Fisty: Mr Passive Aggressive, you forgot to mention the hot, popular girl in Just One of the Guys AND Rick, the made-over nerd into cool dude also from Just One of the Guys! Plus Stu Charno, from BOTH Friday the 13th Part II AND Just One of the Guys! And last, but certainly not least, that truly dazzling Julie chick from Valley Girl! Totally trippindicular fer sher!
Bill:Fisty! I am NOT passive aggressive. And I’m pretty sure the Julie girl from Valley Girl is the sweet girl from Waxwork, but I’ve still never seen Valley Girl, so… Hey, did you know the guy that played Buck was in Jason Lives? He was the stunt coordinator on that, too. That movie ties with The Final Chapter for my favorite Friday the 13th movie.
Fisty: BILL! Yes! I know that! Actually, he’s also Thornton in Jason Lives, which is why he’s got his own category. Nyah. That’s how we roll here, by the way; we have categories for every actor, director, sometimes FX or composers or writers, that you might possibly find in another movie we might conceivably write about one day.
On topic, this movie is chock-a-block with familiar faces from myriad other classics of the Eighties, which is one of the reasons it’s so fun. Even Aristotle would agree. Also agreeable in that they satisfy certain expectations are the genre conventions that April Fool’s Day upholds, then transposes. Like gialli before it, AFD takes a murder mystery–in this case, one of the ur-mysteries, Agatha Christie’s And Then There Were None–and applies the slasher formula, slowly picking off pretty young things in inventive ways.
Bill: AFD is a lot closer to its gialli forebears than most slashers. In ways I think it resembles Bay of Blood even more than Friday the 13th does, with all the mystery and talk of inheritance, the possibility of sinister local boatmen, the missing bodies, scheming for money (by Hal), and the wooded setting. It even slightly resembles 5 Dolls for an August Moon, even if that is mainly due to the island setting and the healthy sense of humor. I love that it feels so akin to a giallo or straight up mystery.
I also love that it’s successful at being damn funny (that sense of humor I just mentioned.) Chaz and Arch are the primary funny men, and they are great as the class clown types. The girls’ sex quiz talk is genuinely funny, too, but Muffy’s pranks, childish as they are, are the best. Whether it’s dribble glasses, whoopee cushions, trick chairs, rigged faucets, whack-a-mole lighting or whatever, it all gets at least a smile. Most of these actors have had some comedic experience as well, and they know how to sell the sense of merriment you feel whenever you see someone get gotten. It really makes the first half of the film super fun to watch. It also creates a sense of total uncertainty. From the very beginning of the movie, everything is a joke. You’re never quite sure when something is real or just another trick. When the mischief begins to darken to the point of upsetting people, you don’t know if you’re seeing actual clues to the real mystery, genuine malice, or just more jokesterism going a bit too far. This carries on through the whole film, so that even in the very last moments, you can’t be sure where things will go.
Fisty: Walton creates and sustain tension beautifully throughout the movie, right from the beginning, which has a “found footage” feel. Perhaps this is a metamodernist interpretation (since Cannibal Holocaust was really the only such genre film before it), but Chaz’s video footage gives the feeling that it’s the only surviving testament to their weekend, that perhaps no one survived. And that’s from the very first frame! The creepy boatman that Bill mentioned, the accident, the isolated setting, and the possibly malicious pranks–Walton harps on all of them to keep heightening the tension, and then lessens it with moments of good humor and gregariousness as the narrative rolls on. By the time people really start disappearing, the mood is well-established, and Walton never lets it up right until the finale. But he couldn’t do any of it without the superstrong (mutant strong?) cast.
As noted above, pretty much everyone in the cast was a regular on the psychotronic scene by the time they hit AFD, and their combined experience–particularly in working together previously–lent a genuine camaraderie to their acting. The first part of AFD is very much an ensemble piece, depending on those actors to create likeable, real people, and they get it right. As does Walton’s direction, and even more, Danilo Bach’s script, of course. Though they’re all spoiled preppies–they (mostly) attend Vassar, and Muffy OWNS an ISLAND, for crying out loud–they’re still not just walking, talking stereotypes, nor do we get Twenty Minutes with Jerks. They’re just ordinary, if over-privileged, young people, concerned with their nearing entry into the post-collegiate adult world, with very real concerns like career-planning, “what will I do with my life” nerves, and whether to do anal or group sex. This weekend, they might have their choice.
Now, I don’t know anything about Bach, other than that he also wrote Beverly Hills Cop, and it makes me curious about his agenda with AFD. Because seriously, there is no other pre-Scream slasher that has anywhere near as much gay subtext as does AFD. It’s not even all subtext; we’ve got the subliminal, the liminal, and the superliminal! So we’ve got Vassar students–a college renowned for its resistance to heteronormativity–and we’ve got at least three men who are very comfortable playing dual roles with their sexuality. Chaz plays bottom to Nikki’s top and camps it up with his New Wave look. Arch, despite vowing to bed multiple women over the course of the weekend, also indulges in a lot of mincing, and is comfortable rolling around on a bed with not only his BFF Chaz, but gets up close and personal with Skip, whom he’s only just met.
Rob is kind of a nonentity, but he does like to prance around in half-shirts and short-shorts, displaying his wares for men and women alike. With the women, we have first Kit, who like Rob is the control, though she is fond of mannish attire (contrasting with his slutty togs?). Next we have Nikki, a mostly confident and sexually adventurous young woman, who is comfortable experimenting though she might sometimes feel insecure. And then there are Muffy and Nan, our Vassar theatre girls. There is definitely something going one with those two; not only is Nan completely out of place with the group, she’s also unreasonably upset when she thinks Muffy may have betrayed her secret. Her toast celebrating the particular importance of college friends seems to hint at the particular importance Muffy has for her, and notice her role at the end? Very telling! My interpretationof their relationship casts Nan in the role of Serious Sapphist, maybe new to it, but sprung on Muffy, while Muffy is a bit of a playgirl–maybe she’s just experimenting, maybe she’s an honest to goodness bi Ethical Slut. Muffy is a bit of an odd fish, with her past with
Biff Arch; contrast that with her interactions with Nan and Nikki, and she comes off as very much as smooth operator, a genuinely self-assured coquette, even a femme fatale of sorts. Deborah Foreman OWNS Muffy, and she OWNS this movie. Hats off to Amy Steel for another outstanding Final Girl, but it’s Foreman who gets the standing ovation here. No other Val girl can touch her.
Bill: Speaking of homo-subtext, I really would’ve loved to see Muffy get it on with Nikki. Or even just see Nikki get her kit off. (See what I did there?) Man, Nikki was hot. There’s no nudity in AFD, however, and less gore than you’d expect, a certain boating accident’s victim being the main exception. Even the three – count ’em THREE! – severed heads aren’t particularly gruesome. Believe it or not, I’M NOT COMPLAINING! This a movie that doesn’t need any more red than it has, would, in fact, suffer by its inclusion. This is a movie that needs a bit of mystery to the kills for it to work. You have to be kind of uncertain about what happened and how. Is someone just missing or are they dead? Where did they go? Who startled them? Are they kidding? Is it just a joke or did something terrible happen? The less you know, the more tense it gets.
Charles Bernstein’s music adds to that intensity. He’s done plenty of horror scores before, for movies like The Entity, Cujo and, of course, A Nightmare on Elm Street, but there’s something different going on in the music for AFD. There’re no discordant sounds meant to disorient you. It’s not about some unrelenting chase theme or crazy stinger. It gets at you the most during calm, quiet scenes. It’s simple and serene. It sounds like secrets and childhood. It reminds me a little of the music from Poltergeist, but even more so, it reminds me of the opening of Tales from the Darkside. It makes me feel like I did when I was a kid, when it was so easy to be scared. It makes me think of the opening sequence of Darkside, where everything looked nice and sunny and pretty, but you knew there was something else, something you couldn’t see, that needed to be feared. I don’t know much about music, but I know when it’s effective and the music in April Fool’s Day really creeps me out.
So, we dig the cast, the music, the direction, the tone, the writing… What do we have to bitch about in this movie? I know the most common complaint thrown at it and I suppose we can address that after this…
SPOILER WARNING! SPOILER WARNING! SPOILER WARNING!
Do not read past this point unless you’ve seen the movie!
Fisty, what do you have to say about the people that hate the twist ending of April Fool’s Day?
Fisty: Well Bill, they’re fools. I’ll admit it, the very first time I saw AFD back in high school (after years of admiring the VHS cover), I was like, “Wait, WHAT?” I can understand the shock, really, I can. But any long-standing ire or complaint is completely unwarranted. It’s just so cleverly done, so much misdirection and hinting–with very few stretches of imagination–that you just have to applaud. And it’s so fucking funny, too. Kit’s reaction when she runs into the parlour, and everyone silently pretends to ignore her, is fucking priceless. It’s absolutely perfect. And poor Rob! Still locked in the pantry while Kit’s getting the lowdown, wailing and pounding on the walls–oh, I may just faint. Hilarious. Absolutely worth it.
Bill: Damn right, they’re fools! I watched this A LOT when I was younger and I can’t really remember my very first reaction to the twist, but I imagine I must not have had a problem with it, since I went on to watch it so many more times. As it is now, I love it. It’s a slasher movie with a truly happy ending. How often does that happen? Everything about the reveal is perfect. Even better, Walton did such a great job of keeping you on your toes and questioning everything in the movie (even when you hear a dog howl in the dark, it turns out to be one of the guys getting drunk outside) that you doubt the happy ending. The denouement reveals everyone to be ok, it was all a big joke, they partied down and had a good time and, yet, you, as the viewer, can’t relax. You’re still expecting something horrible at any moment. So great.
Fisty: And you do get a final jump scare, one of my favorites!
Now that we’re in Spoiler Town, let’s touch on how AFD handles those slasher tropes, shall we? Attractive young people: check. Any questions? Remote location: check. There’s no boat back to the mainland till Monday. Stalking victims into an And Then There Were None scenario: check. AFD is relentless and creepy about it. Nil authority figures: check. Our constable is the only one, and he’s only nominally involved, long enough to disappear. Bodies disappearing so that no one knows what happened to them: check. It’s essential to the plot. Inventive deaths & Poetic Justice: check. We’ve got F13P2’s caught in a Looney Toons trap, Hall’s trussing, the Chaz bondage mask murder, and Skip’s being stabbed with his own prank knife all fit. Holiday theme: check. It’s the whole gimmick of the movie! Yes, yes, these qualities are all in line with what we expect from our slashers. What’s different?
As mentioned above, the characters aren’t two-dimensional assholes, and we’re not rooting for any of them to die. We also don’t have any expendables, people who wander onscreen long enough to die and show what a Terrible Horrible No Good Very Bad Day the Real victims are going to have. The Psychotic Evil Twin of Happy Birthday to Me and Blood Rage is inverted not only by being not a psychotic evil twin, but by being a fraternal twin, not Buffy but Muffy. And then there’s Death By Sex: Doesn’t happen. Yes, all of our characters are sexually active, but the first to “die” is the most morally upright and virginal-seeming, Nan. Darling Nikki is the last girl–barring our Final Girl–to go, and she and Chaz were getting it on all weekend. Our Final Girl Kit herself is a pretty ordinary, non-virgin type: monogamous, but not with the guy she lost it to, gregarious, happily participating in the sex quiz. She and Rob even sneak off for some midday booty without being impaled in the middle of it. The guys are all pretty similar; Arch and Hal are both intent on getting some, while Rob and Chaz actually are. Now if only the many slasher imitators had had the brains to be similarly original, then perhaps the slasher genre wouldn’t have peaked and devolved into self-parody quite so quickly, effectively murdering the horror genre for years.
THUS ENDETH THE SPOILERS! SPOILERS HAVE ENDED THUSLY!
You may resume reading. Or just go watch the movie and come back, jerk.
Bill:So, no real complaints about April Fool’s Day at all. It’s a solid flick. I’d put it right up there with Friday the 13th, The Burning and Halloween as one of the best. Do yourself a favor and watch it, if you haven’t already.
And thank you, Fisty, for forgiving me and being the consummate pro that you are. I couldn’t do this without you.
PSYCH! I got this shit, man. I got it by the ass! HAHAHAHAHAHA! April Fools, sucka!