In 1972, a young Steven Spielberg directed a telemovie called Something Evil, a project that served as a significant milestone in his burgeoning career. Known more for his later blockbusters, Something Evil is often overshadowed by Spielberg’s other early works like Duel (1971).
Key Points
However, this television horror film is a crucial piece of Spielberg’s cinematic evolution, offering a fascinating glimpse into his developing style and foreshadowing his later ventures into supernatural horror. With its eerie atmosphere, nuanced exploration of family dynamics, and thematic depth, Something Evil stands as a prototype for many modern horror films that followed, including Spielberg’s own Poltergeist (1982).
The Early Days of Spielberg: A Rising Star
At the time of Something Evil’s production, Steven Spielberg was just beginning to make a name for himself in Hollywood. Having already directed Duel, a tense thriller about a man being pursued by a relentless truck driver, Spielberg was recognized as a promising new talent. Something Evil marked his second venture into the horror-thriller genre and provided a platform for him to further hone his skills in creating suspense and unease. The film, though a product of its time, showcases Spielberg’s early mastery of visual storytelling and his ability to create tension through atmosphere and character-driven narratives.
Plot and Themes: A Haunted Family in Crisis
Something Evil follows the story of Marjorie Worden, played by Sandy Dennis, a painter and mother who moves with her family into a seemingly idyllic farmhouse in rural Pennsylvania. Her husband, Paul (Darren McGavin), is an advertising executive, and together they appear to be the quintessential American family. However, the tranquility of their new home is quickly disrupted by strange occurrences, leading Marjorie to believe that their house is haunted by a malevolent force.
The film’s narrative centers on Marjorie’s descent into paranoia and fear, as she becomes increasingly convinced that the evil presence in the house is targeting her and her children. This psychological unraveling is depicted with a deft touch, as Spielberg explores themes of maternal anxiety, domestic tension, and the fragility of the family unit. The haunting in Something Evil is not just a supernatural threat; it is also a manifestation of Marjorie’s internal struggles and the pressures of her roles as a wife and mother.
A Prototype for Modern Horror
One of the most compelling aspects of Something Evil is how it anticipates many of the tropes and themes that would become central to modern horror films. The film’s focus on a family in crisis, with the mother as the central figure battling an unseen evil, is a motif that would later be explored in depth in movies like The Amityville Horror (1979), The Others (2001), and The Orphanage (2007). Spielberg’s portrayal of the haunted house as a place where family tensions and psychological fears are magnified is a precursor to his later work on Poltergeist, which similarly delves into the horrors lurking within the suburban home.
The film also explores the clash between urban and rural life, a theme that Spielberg would revisit in Jaws (1975). In Something Evil, the Worden family’s move from the city to the countryside is initially portrayed as an escape to a simpler, more peaceful existence. However, this shift soon reveals underlying tensions and exposes them to new dangers. The rural setting, with its isolation and connection to old superstitions, becomes a breeding ground for the supernatural events that follow.
The Craft of Horror: Spielberg’s Emerging Style
Despite its limitations as a made-for-TV movie, Something Evil demonstrates Spielberg’s growing confidence as a director. His use of camera angles, lighting, and sound design all contribute to the film’s unsettling atmosphere. Spielberg worked with cinematographer Bill Butler for the first time on this project, a collaboration that would continue with Jaws. Butler’s cinematography helps create a sense of claustrophobia and dread, particularly in scenes where the camera follows Marjorie through the darkened, creaking house.
One of the film’s most effective sequences involves Paul watching test footage from an advertisement shoot, only to notice a pair of glowing, demonic eyes in the background. This moment is a precursor to the use of found footage and accidental captures of the supernatural in later horror films like Paranormal Activity (2007) and Lake Mungo (2008). Spielberg’s ability to craft moments of genuine fear through subtle visual cues rather than overt scares is a testament to his understanding of the genre’s power.
A Reflection on Gender and Power Dynamics
Another layer of Something Evil is its subtle commentary on gender roles and power dynamics within the family. Marjorie’s fear and paranoia are dismissed by those around her, including her husband, who represents the rational, skeptical viewpoint. This dismissal mirrors the treatment of women’s concerns and emotions in society at large, particularly during the early 1970s. Spielberg’s depiction of Marjorie’s struggle to be heard and believed adds a feminist undertone to the film, aligning it with other horror stories of the time that explored women’s experiences, such as Don’t Look Now (1973) and The Stepford Wives (1975).
The film’s conclusion, where Marjorie must confront the evil force to protect her children, can be seen as an assertion of her power and agency. Spielberg subverts the traditional horror narrative by allowing Marjorie to emerge as the hero, rather than a victim, a theme that would later be echoed in many of his other films where ordinary characters rise to extraordinary challenges.
Legacy and Influence: The Road to Poltergeist
While Something Evil may not have the same recognition as Spielberg’s later works, its influence on the horror genre and on Spielberg’s own career trajectory is undeniable. The film serves as a bridge between his early television work and his later, more famous ventures into horror and suspense. The themes and techniques explored in Something Evil would be refined and expanded upon in Poltergeist, which remains one of the most iconic haunted house films of all time.
Moreover, Something Evil is a reminder of Spielberg’s versatility as a filmmaker. Even in a genre that he did not frequently revisit, his ability to create tension, develop complex characters, and weave together psychological and supernatural elements is evident. For fans of Spielberg and horror alike, Something Evil is a fascinating film to revisit, offering insight into the early development of one of cinema’s greatest directors.
Conclusion
Something Evil is more than just a footnote in Spielberg’s career; it is a significant work that laid the groundwork for many modern horror films. With its exploration of family dynamics, psychological horror, and supernatural threats, the film remains a compelling and chilling piece of television history. For those interested in the evolution of horror cinema or the early works of Steven Spielberg, Something Evil is a must-watch that continues to resonate with themes and ideas that are still relevant in the genre today.
