Welcome to this weeks Calamity on Cinema, where we have at hand a bucket filled to the brim with rotten tomatos in case the films we watch turn out to overtly clownish, stamp our rating of approval or condemnation upon them, and then provide you with a list of films to watch over the weekend, which may or may not contain films we have condemned.
This week’s feature is Camp Hell, a 2010 horror spectacular that is less spectacular for appearing to have been shot in the 80s, and also due its more, er, disturbing OR illuminating bent, depending on your history. You’ll see what we mean when you read the review below.
Now, as Camp Hell can turn in two ways, we have opted to rate the film a solid three clowns, based on the Calamity Content Rating System: 🤡🤡🤡. It is neither terrible, nor great, but positively disturbing.
Follow this up with Heretic, a slow but calculated approach to the themes brought forth in Camp Hell. Hugh Grant, as Mr. Reed, plays a devilish character whose questions begin to unsettle a pair of missionaries, and whose actions in turn terrify them. No doubt, you’ll enjoy this Religious Double Feature.
Find the list on Letterboxd here:
This film is as campy as its name implies. Campiness notwithstanding however, this film raises important concepts with regard to the lived experiences of those in religious communities and what constitutes horror generally. There are many layers to the human experience, and thus innumerable perceptions. We whittle this down and look at it from two: that of the religious zealot and that of the outsider.
the zealot
Let us begin with the view from the zealot. The film opens with scenes depicting a religious family encouraging one another in their perceived piety, and a priest visiting a young man in a psych ward. Coming from the standpoint of someone who deeply believes in the ministry of the Christian church, these scenes are welcome, the characterizations expected, the characters’ behavior applauded. In fact, throughout most of the film, all characterizations on the side of The Community are acceptable, expected, even celebrated.
As one who was raised in a Pentecostal church, this comes with easy recognition—the church demands conformity and obedience, using hell as a mechanism to instill fear, and any who believe ardently walk this path. The Priest, Christian, the boys who fall over themselves to confess, these are no mere caricatures but a reality of the personalities existing in these spaces.
From this point of view, this film is not so much about horror, but rather a tale of caution: sin, and you invite the devil to bring harm upon your community. It is nothing short of propaganda.
Continued after the break
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A patron falls prey to the whimsical magic of a touring artist. Currently available only on Apple Books.
the outsider
On the other hand, this film steps into the genre of horror when considered from the perception of one who was not raised in the church, holds no such beliefs, or has actively deconstructed from them. From the deferment of accountability by the priest, to the gestapo-like actions of Christian, the rising theme is two-fold: oppression and repression. The children in camp are provided no privacy, with camp leadership working to direct and control the children’s very thinking. Every moment is accounted for, every word considered, every action dissected. Those who do not willingly comply are made pariahs. There is a strong undercurrent of frustration and violence in every look, every word, every gesture. The priest sees his duty as corralling a wandering herd, and is willing to use whatever means necessary to do so. It is overt fascism, as all communities built on strong religious foundations trend toward, and best expressed through Christian, whose ability to manage his repressed violent tendencies is elementary at best.
consideration
While the film summary claims demonic possession taking place within the camp, the true horror is in the recognition of the system being imposed upon a group of humans incapable of protecting themselves against it on the one hand, and the complete dismissal of honest spirituality and critical thinking by the zealots on the other. Those willful members of the system will celebrate its operation and find little fault in most of the actions taken by the characters working to fulfill the ends of The Community. Those unwilling participants, and those of us watching who hold no such beliefs or are unwilling to impose such beliefs upon others, however, watch in horror as autonomy is stripped from the children, and they are forced to conform to an ideology that seeks to control everything and everyone under the premise of salvation.
conclusion
On the surface, this is just another campy paranormal film with some relative discomfort. Upon deeper inspection, we find a film that serves as a vehicle for social commentary. Those on the outside watching the film will recognize the horror of existing in a community steeped in conformity and control. Those within will see a cautionary tale of what transpires when that conformity is broken. What you see in the film will depend on what end of this spectrum you stand, and how close to the extreme you are. Which one is the intended film? What did the director want us to see? I don’t think it matters. It’s horror any way you look at it.
It is not difficult to imagine this film being shown in youth group on a Wednesday night at Pentacostal churches over the world, as a display of caution. Interesting, isn’t it? Notwithstanding the defensive positions taken by religious advocates, creatives will continue to find ways to reveal the realities of the actions of those who claim to know the best and are willing to impose that claim upon others. It is nothing short of insidious! Let us celebrate these creatives.
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