FAVORITE FRAMES: TOBE HOOPER

 

 

In FAVORITE FRAMES, we’ll be doing some art appreciation for fine filmmakers. Here’s a collection of side-by-side screenshots of Tobe Hooper movies, along with some frames that he might have influenced (or taken inspiration from.) Come to your own conclusions about these recurring motifs in the director’s filmography.

 

 

  1. THE FAT LADY SINGS – final scenes from two Hooper films.

Top: THE FUNHOUSE (1981)

Bottom: THE TEXAS CHAINSAW MASSACRE PART 2 (1986)

 

 

 

  1. STUDYING THE SHAFT – heroes investigate “the other.”

Top: THE FUNHOUSE (1981)

Bottom: LIFEFORCE (1985)

 

 

 

  1. THE EYES HAVE IT – a single bloodshot eye looks on.

Top: THE TEXAS CHAIN SAW MASSACRE (1974)

Bottom: THE FUNHOUSE (1981)

 

 

 

  1. ELECTRIFIED – a man gets zapped.

Top: THE FUNHOUSE (1981)

Bottom: “DANCING WITH MYSELF” music video (1982) directed by Tobe Hooper.

 

 

 

  1. RED IN THE FACE – two villains in crimson light.

Top: EATEN ALIVE (1976)

Bottom: THE TEXAS CHAINSAW MASSACRE PART 2 (1986)

 

 

 

  1. DON’T OPEN THAT DOOR – researchers open the door.

Top: POLTERGEIST (1982)

Bottom: LIFEFORCE (1985)

 

 

 

  1. FULL MOON ENTERTAINMENT – two moons in opening/closing credits.

Top: EATEN ALIVE (1976)

Bottom: SALEM’S LOT (1979)

 

 

 

  1. THE VAMPIRES AWAKENS – two bloodsuckers pop open their eyes.

Top: SALEM’S LOT (1979)

Bottom: LIFEFORCE (1985)

 

 

 

  1. SIZZLIN’ MAN – heroes barely surviving.

Top: SPONTANEOUS COMBUSION (1990) dir. Tobe Hooper

Bottom: THE ‘BURBS (1989) dir. Joe Dante

 

 

 

  1. SAY AAAHH! – swapping smoke and life force.

Top: LIFEFORCE (1985) dir. Tobe Hooper

Bottom:  8 ½ (1963) dir. Federico Fellini

 

 

 

  1. SHE WALKS ALONE – a lady walks into terror.

Top: THE TEXAS CHAINSAW MASSACRE (1974) dir. Tobe Hooper

Bottom: THE BAD NEWS BEARS IN BREAKING TRAINING (1978) dir. Michael Pressman

 

 

 

Let us know what you thought of this new feature — if you dug it, we’ve got more brewing!

 

 

 

 

 

 

 

 

 

 

Kevin Maher
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