Friday the 13th: A New Beginning (1985) - Prologue

I guess out of all the Friday films, A New Beginning (1985) is the one I’m okay with never writing about again the most for the blog. This is the one I was looking forward to getting out of the way. And yet over the years I’ve watched it a lot more than I ever thought I would when I first saw it in the early 90s. I remember how my brother and I reacted to it: that isn’t Jason, what is this?! I guess franchise fans know what they want and if you stray too far from the usual formula that is the kind of reaction to be expected. Whatever the case, over the last ten or so years I do admit to liking certain aspects; although, A New Beginning is still one of my least favorites in the series. Like other Friday films in the series, a cult built and developed specifically for A New Beginning. Its trashier, raunchier, sick and twisted side, complete with foul language, greater and more extended nudity, and some of the most corrupt/sleazy/sexual characters in the series, A New Beginning gained fans over the last 35 years, embracing the salacious and gratuitous content.

I’ll try to distill my final thoughts for the blog in what I like and dislike:

I Like

• Yes, although absolutely unnecessary, Debisue’s totally nude body on a sheet in the middle of a clearing in the woods after sex with John Robert Dixon, relaxed and satisfied, I admit to liking it. Anyone that has had some really great sex can relate to her smile. Her total abandonment of inhibition, laying on the sheet, looking into the sky above, without a care in the world, just embracing her naughty side. Young and loving the sexual freedom that can get her in trouble—Dixon and Debisue often frolic and fuck on the property of a crude, cursing loudmouth by the name of Ethel (Locatell)—Debisue couldn’t be more content.

• Reggie, the Reckless, is a kid I always connected with when I was young. It was nice to also have a kid in a Friday film, and a likeable one who actually comes to the rescue of Kinnaman, the assistant director of the mental health “reentry to society” operation ran by Matt (Richard Young), driving a forklift right into Roy, the Paramedic. His moments with Miguel A. Núñez Jr. (as big brother, Demon, clad in black leather, battling those “damn enchiladas”) are sweet, including his flirting with Jeré Fields.

• I’ve always had a sweet spot for Kinnaman, as Pam. I just liked that a woman is the “final girl” this go-around, perhaps the most underrated of the “surviving females” (unless you accept the ending of the film’s proposal that Tommy is about to knife her while behind a hockey mask), although when she falls to the ground and can’t seem to find her footing, Pam looks like a dolt. Maybe it is just lust. I just think she’s a beautiful woman. And, I agree with her when she brought up how well she looked in her shirt once it was drenched in Hollywood rain.

• The song, “His Eyes”, and Violet’s (Tiffany Helm) robot dance are 80s delights I am always up for.

• Núñez in the john trying to shit while Fields “Ooo, baby” harmonizes and shakes the metal hotbox until found with her throat slit (the best effect in the film along with a brief ax to the torso of a fallen diner waiter, Lana (Rebecca Wood)) as Roy jabs through with a metal rod is maybe the freakiest kill to me. Because I’ve always had that fear of being caught with my pants down in an outhouse by some no-good interrupter. And having nowhere to run, awaiting the next stab through the wall to be the final hurrah, adds a claustrophobic effect that impacts me.

• I’ve already mentioned Shepherd’s performance in a previous blog post.

• I do like dark comedy, and there is really a warped sense of humor permeating throughout the entire sequel. Such as the other repulsive, gum-chewing paramedic requesting Roy to get his hands dirty or the talk of “piggy” being chopped up by Ethel who is preparing a chicken for Junior’s stew. It is distasteful and the sheer volume of creeps will leave many wanting to turn this film off.