Death Scenes: Five of the Best
Frankenstein, 1931 (Child-Drowning)
Show this to a youngster and I’m sure they’d laugh. “Was that considered scary?” But what this old scene lacks in gore it more than makes up for in context. The innocence of little Maria, and the lack of understanding on the Monster’s behalf, turns a chance interaction into a mother’s worst nightmare. It also has the unique distinction of creating sympathy for the offender as he scurries of having learnt she did not float like the flowers.
Freaks, 1932 (Human Duck/Chicken)
Okay, so this is not technically a death scene. You could say it’s the death of one person and beginning of another. There is another problem here. The ‘freaks’ are in fact the heroes of this film – the ending registers as just retribution for the way Cleopatra and Hercules treated them. Even still, I feel the very last scene has great impact as the main story begins and ends with the sideshow barker, so when the camera finally pans down to see what’s inside the box, whether you believe what he just said or not, there is no denying the existence of this half woman, half-chicken thing which is pretty disturbing…even if she was an asshole.
Alien, 1979 (Chest-Bursting)
The late John Hurt had more than one memorable role on the big screen but there is no dispute when it comes to his most shocking. Alien’s chest-bursting scene is a masterclass in both disgusting an audience while introducing a monster. I think everyone has witnessed someone have a coughing fit when food or liquid went down the wrong pipe. Using that as a reference point this scene awfully unfolds with a great supporting cast who go from trying to help to freaking out. In particularly, Hurt’s whimpering as he begins to convulse is rather disturbing…and then the unforgettable crescendo.
Don’t touch it!
Zombie, 1979 (Eye-Splinter)
Every death scene in this film is memorable. That is why it’s one of the best zombie films ever made. Lucio Fulci’s offerings may appeal to a more select group of horror fans who can pardon cheesy acting but I defy any horror critic to dismiss the gore in this film. My choice for the standout scene will come as no surprise. Paola seems to have got some distance between herself and an uninvited guest banging away at a door, but that doesn’t stop a rotted arm smashing its way through, grabbing her hair and pulling her towards one of the splinters. Numerous shots between the splinter and her eye give you an idea of how this one is going to end and the coup de grace is a thing of beauty – one guaranteed to make you squint.
Ringu, 1998 (Ryūji didn’t make a copy)
Hideo Nakata’s The Ring or Ringu was an ingenious play on the fear of technology. It spawned a lot of rip-offs, particularly that aesthetic of girls with long, face-obscuring dark hair. A video tape, a phone call, seven days and then you die – it sounded pretty naff, something Scream-eqsue, but beneath the surface level is a moving backstory – domestic abuse, dead horses and scattered relatives. It had a genuine ‘real life case’ feel to it and the deeper the protagonists dig the more rumour becomes reality until poor Ryūji is home alone. And then Sadako comes for him, through the screen of his television and into his longue. No quick moves are needed, no yelling or bearing of teeth. Her creepy, slow advance perfectly communicates that it’s too late now.
