The Initiation of Sarah
aka En lo más profundo de la mente
Director: Robert Day
Starring: Kay Lenz, Shelley Winters, Morgan Fairchild, Morgan Brittany, Tisa Farrow
Running time: 96 minutes
Genre: horror, thriller
Whenever you see the word “tact,” replace it with “bitchery.” Two lovely girls–sorry, one mousy girl and one stunning girl–kick it at the beach during what appears to be an eclipse (I have no idea how else to explain the simultaneous brightness and darkness in this scene [Bill: Day for night shooting and a blue filter on the camera? Fisty: All I know is it’s even worse than the opening scene of Dirty Harry.]), listening to some groovy tunes. It’s the last party of the summer, and the mousy blonde frets over going off to college on the morrow. A faceless dude comes up and offers to help our stunning brunette with her breaststroke, and they traipse off into the water, where he proceeds to grope and gnaw her, presumably leading to eventual rape in the ocean in full view of the party. Mousy girl watches in mingled fear and fury, before shrieking “Stop!” as Faceless Rapist falls on his ass into the water. While our stunner gets away, he can barely crawl out of the water. Wait, what just happened?
No matter. It’s the next day now, and our two girls are preparing to drive off to college on a beautiful day that glows in a way only days in the Seventies can. Mom dispenses some advice to the brunette beauty about impressing sorority bitches, gushing over what a wonderful time she wants her to have. “Oh, and you too, Sarah,” she adds. It’s now that we learn that the pair are the Goodwin sisters, half-sisters that is, somehow of the same age. They share a dad, so it’s a safe bet there were some shenanigans about eighteen years ago. The blonde is Sarah, a shy introvert, and the brunette is Patty, who has the world by its tail. That tail starts wagging as soon as the pair arrive at the picturesque liberal arts college campus of Waltham College, where Patty instantly enchants beautiful Bobbie Adams and OH MY GOD, IT’S MORGAN “TURKEY’S DONE” FAIRCHILD. Oh yes, there will be blood.
Bobbie reappears in the “freshman dorm” (apparently a quad inhabited by a dozen girls) to explain that tonight’s the big night: All the freshman girls get to go around and introduce themselves at the sorority houses. Once the girls are invited to join a house, they’ll make their choice of one, move in and go through a probationary period before a final Hell Week and initiation. It seems awfully early for that sort of thing–and why even have freshman dorms if practically everyone just moves right into sorority houses?–but I’m not complaining.
Outside the Alpha Nu Sigma house Patty hesitates, wondering whether maybe they shouldn’t forget the whole thing. Is it a sense of foreboding? Whatever, Sarah points out that they’ll just end up living in a dorm if they don’t check it out–oh, so they DO get lived in!–and they enter the Temple of Doom. Morgan Fairchild immediately introduces herself as “Jennifer Lawrence” (nice try!), and though Patty makes an effort to include Sarah, it’s clear that Jennifer is admiring only Patty’s good looks and antecedents. She bears Patty off to meet some actives while minion Kathy shepherds Sarah over to the refreshment table no-man’s-land and abandons her. Seeing Patty surrounded by the Chosen Ones, Sarah makes her way through the crowded room, a goldfish in a school of neon tetras, and awkwardly insinuates herself into the group. As Patty and Sarah excuse themselves, an ANS tactfully suggests they check out PED–Phi Epsilon Delta–a house Jennifer tactfully calls both very old and “intellectual,” then demonstrates yet more tact by “forgetting” Sarah’s name. Once the sisters leave, the ANS girls declare that they’ve got themselves a winner AND a loser. Ouch.
Outside the PED house, the girls are suddenly menaced by a barking Doberman. While Patty cringes in abject terror, Sarah gives it a meaningful glare, accompanied by intense close ups of her eyes, and the confused canine runs off. The music reaches a crescendo, and we understand that Something has Happened. Inside PED, we find a much different scenario from that of ANS. Though the house is massive, there only seem to be three girls living there: twitchy Mouse, sardonic Allison, and orally-fixated Barbara. When Patty mentions this, Barbara declares that “rushing’s not [their] thing,” and that the others are all out … or busy … or something. Patty demonstrates some ANS-worthy tact by declaring the visit “interesting,” and drags Sarah out, but only after Mouse makes a meaningful connexion with Sarah.
As you might guess, Patty is invited to pledge three sororities, and chooses ANS, while Sarah’s lone invitation is to PED. Though until now Patty has made a determined effort to boost Sarah’s ego, the girls are on their own at this point, with everyone from Mrs Goodwin to ANS promoting the divide. Though Sarah finds real friends in PED, and makes nice with her Psych 101 TA, she’s also hurt by the way ANS forces Patty to disown her, even to announcing, “I will not associate with pigs, elephants, or dogs” right to Sarah’s face. Matters are complicated by Sarah’s growing awareness of her own powers and the involvement of crazy housemother Mrs Hunter, who encourages Sarah to strengthen them, but Sarah has her doubts. Tensions mount, with Sarah and Jennifer facing off publicly. When Sarah comes off the winner, she is motivated to encourage her PED sisters to really become a sorority again. But Jennifer plots to humiliate Sarah, and Patty is torn by her loyalty to her sister and her desire to remain pretty and popular. Mrs Hunter’s machinations, which may have killed a girl once twenty years before, bring this soup to a roiling boil of Mean Girl tact and downtrodden dork uprising with Satanism and witchcraft for some extra goodness.
An Imitation of Carrie? In the Seventies, you hardly had to see a movie in the theater, because sooner or later one of the networks would release a copycat right onto the airwaves for free. The Initiation of Sarah was ABC’s answer to Carrie, and remains a memorable example of that Seventies boom. Populated by pretty faces of the day (the dueling Morgans and Kay Lenz), featuring the late, great Shelley Winters, and helmed by capable director Robert Day, TIoS is a nifty little knock off that reminds you just how cool made for TV movies could be before Lifetime and Syfy cornered the market on them.
Bill: The Bermuda Depths, Don’t Go to Sleep, The Day After, Don’t Be Afraid of the Dark, Satan’s School for Girls, The Initiation of Sarah… Man, the ’70s and ’80s kicked some made-for-TV ass. They used to pop out some fun little thrillers. The closest we get to quality TV flicks like those now are shitty TV remakes, whatever “mega reptile versus giant amphibian” movie Syfy can find a desperate enough has been to star in, and, of course, Lifetime movies starring Markie Post. I mean, I love the shitty Syfy originals and there’s occasionally something good that comes out around Halloween on, say, ABC Fam (who premiered the “reimagined” TIoS) but they are never quite as great as they used to be in pre-cable TV days. It’s a shame, because I love the format. There’s just something so dramatically perfect about the music-cued fade to black followed by a fade in, book-ending the commercial breaks. Even without the commercials, they’re just perfect, like reaching the end of a chapter in a book and turning the page.
Fisty: And speaking of books, you left out Stranger in Our House, aka Summer of Fear, by the queen of Seventies/Eighties YA girl horror, Lois Duncan. (Note that Stranger was directed by Wes Craven and starred Linda Blair!) That’s a big fat FUCK YEAH because no one does scary for pre-teen girls like Duncan: Summer of Fear, I Know What You Did Last Summer, Stranger with My Face, Daughters of Eve, Killing Mr Griffin, Down a Dark Hall, the list just goes on and on. Seriously, you ought to check them out. Maybe it’s the adaptation of several of her suspense novels into tv movies, or maybe it’s just that overall spooky Seventies vibe, but TIoS has a distinctly Lois Duncan feel to me, which helps it to stand out as not just another piece of Carriesploitation.
Also great about made for TV movies are the familiar faces, from television stalwarts to new up and comers. In TIoS you’ll find Shelley Winters reprising her blowzy dame role as the creepy Mrs Hunter, the antithesis of cheerful tippler Mrs Mac in Black Christmas, blithely planning ritual sacrifices to SATAN. We’ve also got two of the most beautiful and famous faces of the Seventies, Morgan Fairchild and Brittany Morgan, the former demonstrating her usual porcelain bitch-goddess character, while the latter is just luminous as the has-it-all-yet-is-sensitive-too Patty. Also familiar are TV movie and show staples Talia Balsam and Nora Heflin, Airplane!‘s Robert Hays–oh! And did we mention TISA FUCKING FARROW? You know, Anne from Zombie?!
Farrow, by the way, is nearly unrecognizable as Mouse, whom she plays very twitchy and high-strung. And lest we forget, Sarah herself is played by Kay Lenz, who somehow buries her own usual radiant, if Gelfling-like beauty behind Sarah’s diffident loner mannerisms. Kay Lenz was absolutely a star in the television firmament, bringing home two Emmys and marrying the likes of David Cassidy (when he was all that and a bag of chips), not to mention her appearance in House. What does this all mean? In a nutshell, we’ve got an experienced cast who really sell their roles, every one of them, from the most silent ANS minion to the frat boy girl raters. It also means we’ve got some of the prettiest faces ever all collected in one neat package. I’d kill for Morgan Brittany’s hair. IT’S SO BOUNCY.
Bill: Robert Hays! He’s so great. It was nice that his character actually had a conscience, too. He totally faced that bitch Jennifer, and walked away rather than let her lead him around by the johnson.
All I know about frats and sororities, I learned from watching movies. They can’t really be like that, can they? No one short of Joan Collins can bitch it up like Fairchild and she makes this Jennifer Lawrence person so cunty as to be near inhuman. Why would anyone want to be “sisters” with her?! Ugh. I’d much rather hang with the
Omega Mu Phi Epsilon Delta girls, especially Barbara. Hellooooo, Barbara! Are TV movies supposed to be so obviously erotic? But, yes… Why would anyone want to be an ANS? Blah. Though, as we saw in the opening near-rape, Patty can be pretty naive. I mean, she all but climbed onto a pinball machine and did a Jodie Foster impersonation. If Sarah hadn’t been there … So, I suppose I can see her buying into Jennifer’s “charm.” It’s kind of funny that Sarah, who is supposed to be the socially awkward of the two, seems to have a much better idea of the nature of the people she meets than Patty. She even seems to try to shield Patty from the reality of how snooty the ANS girls are, knowing that that sorority means a lot to her.
Fisty: See, what’s so great about La Fairchild as Jennifer Lawrence is that she actually DOES fake being human sometimes, like when she offers a pseudo-heartfelt apology to Sarah. Most movie sorority bitch stock characters wouldn’t bother, but she can and does. She knows that the only way to maintain a high level of bitchdom is to fake humanity. It’s easy to imagine her being super nice–as long as you’re not ugly and don’t cross her. That’s one of the nice things about what the writers for TIoS did with it, they really created solid characters from classic examplars of high school and college movies, from our beautiful mean girl Jennifer to rejected introvert Sarah. Day and Ingalls et alia focus on these strong characters and the atmosphere and story–without relying on clunky exposition, we never do quite get how the Goodwin family dynamic formed, and it’s only implied that Mrs Hunter is *ahem* more than she seems with respect to Sarah–rather than effects-driven scares, a strength that makes TIoS still a damn effective little movie thirty-odd years later.
Now, speaking of Carrie … though Brian de Palma’s film really laid out the foundations of the downtrodden-nerd-rises-up-and-has-revenge-with-possibly-tragic-consequences genre, none of the imitators have ever really come close. And not because it’s a perfect film (it’s not), but in part because of the intensity of the awfulness, the real tragedy of the story, they pale in comparison. That doesn’t mean they’re terrible (they’re not), and sometimes they’re much more, well, real in a weird way. In TIoS, Sarah isn’t really an outcast. Yes, she’s a shy loner, and her mother doesn’t really like her, but she isn’t the victim of unceasing torment and humiliations like little Carrie White. (Which, incidentally, cheapens the rip-off Carrie moment when Sarah is pelted with mud and garbage.) She’s not popular, but she does have friends in the PED girls, especially Mouse, but most importantly in Patti. Where TIoS is strongest is in the relationship between Patti and Sarah, a story as old as any in the Judeo-Christian world–after all, are not siblings born to squabble? With sisters, too, you always have the hot versus the not, the smart versus the dumb’; we love to dichotomize sisters (or brothers), to separate and pigeonhole into neat little categories. And it sometimes damages both individuals. Yet these two are close; Patti does her best to look out for Sarah and care for her, and if her love is tinged by pity, it is still love. And that Carrie White never, ever had.
TIoS is at its best when it’s about their relationship, which is tested by their entry into a foreign, adult world of college. And if Patti does something shameful, well, she isn’t alone in that. Who doesn’t have something for which they are ashamed? It’s an understandable mistake on her part, she wants to be accepted by her new ‘family,’ and by strangers, to prove her worth in the outside world, and Sarah is a vestige of her childhood. But in the end it comes back to the love between them. Sisterhood in general is central to TIoS, though. Sarah’s acceptance in PED, the way she ultimately strengthens their ties to one another, and the juxtaposition of their sorority to the toxic relations of ANS, the pretty hate machine all serve as the central motifs of Sarah’s story. And lest we forget, the longing glances shared between Mouse and Sarah speak of yet ANOTHER sisterhood.
Bill:Yes, it’s a damn effective little flick, but not perfect. I agree about the great way they handle the less-is-more style, like with the Goodwin-Hunter backstory you mentioned, and the is-Mouse-gay? subtext. (She is REALLY into Sarah, and that might explain her suicidal history. And there are a lot of longing glances getting thrown around between these girls.)
But then there are a few silly moments of irrational behavior and general WTFness that could have an excitable person yelling at their screen. I refuse to believe anyone would actually let that creepy Mrs Hunter teach any class, let alone a class on Ritualistic Magic Among Primitive Peoples. Sometimes it seems like none of these people ever even go to classes. Or do any school work. I also doubt the guys hoisting a piano up on a string are going to be stupid enough to let people just wander around under it, much less loiter under there, looking like fucking Tanooki Mario pulling his statue routine. How retarded is Patty?! She just stands there with Damocles’ Piano hanging over her head, waiting on her sister to psychic that shit down on her. Everyone does that! They just stand still and wait as Sarah psycho-stares them in the face. She’s not scanning them. No heads are going to explode. She’s not exactly Carrie, who didn’t have to stare at something for 5 minutes to get an effect, so anyone that knows about her power, like, say, HER SISTER, could just step out of the way when she’s aiming her psycho-glare. And why does no one except Mrs Hunter react to this girl’s power? You’d think Jennifer, having been forcefully knocked through the air by an invisible force after pissing Sarah off, would then cut her some slack rather than seek revenge and humiliate the girl that has deadly super mind powers.
Fisty: Yeah, there’s definitely too much standing and waiting for those powers to get going. I love that piano gag, though, because it’s right up there with guys carrying an giant glass pane across a street: SOMEONE is going through that glass, just like SOMEONE’S gonna be under that piano. So dumb, but so funny. It’s not just people affected by Sarah, though, it’s Sarah too. Like when she’s getting humiliated outside the PED house–why doesn’t she just run back in? No, she just stands there screaming like a banshee. Nobody does that.
And the fresh meat playing backgammon in the first dorm scene? I have never in my life seen ANYONE play a game of fucking backgammon, nevermind any eighteen-year old girls on their first night at college. The whole college thing is pretty unrealistic–these writers were going on some aging Fifties memories, I’m guessing. I’m not sure how much of that is clumsiness, and how much is perhaps deliberate anachronism, with that peculiar love for the Fifties they had in the Seventies. But I won’t argue with with Mrs Hunter’s class, which I have totally seen in course catalogs. I’m just not sure why she’d be teaching it since she doesn’t even have a doctorate, unless it were Waltham Community College. Those are some pretty minor quibbles, though, and they even lend to a certain enjoyment of the film. (Bill: Amen. I only “quibbled” at all so that no humorless, stick-in-the-mud can say we misrepresented the movie in our review.) I can revel in that sort of silliness, while also enjoying its good qualities. (Bill: “We,” Fisty, “We can revel in it!”) TIoS is really kind of a perfect nostalgia flick–even for a time I never experienced.
Unfortunately, due to the ephemeral nature of television commercials (trailers for made for TV movies falling straight into that category), we’ve been unable to locate a trailer for The Initiation of Sarah. Rather than head into questionable territory by linking to scenes up on YouTube (they’re there if you look, or you can catch the whole thing on Netflix Watch Instantly), here are some authentic commercials from January 1978, just before TIoS premiered, to get you in the mood. You never saw cotton-reinforced crotches looking so good.