The Hellraiser Films and Their Legacy by Paul Kane

Author:Paul Kane
Language: eng
Format: mobi, epub
Tags: Film & Video, Performing Arts, History & Criticism, General Fiction
ISBN: 9780786477173
Publisher: McFarland
Published: 2013-06-20T05:00:00+00:00

Christopher Lee as Dracula (Hammer Studios).

Another reason why we can never write Pinhead off as merely a slasher villain is the Shakespearian-like speeches he gives when imprisoned inside the Pillar of Souls. At this stage in the proceedings he has neither the freedom nor the strength to rebel, so is forced to use the “softly, softly” approach of his former self. As Elliott warns Joey, “He can be very persuasive ... and very inventive.” These virtual monologues written by Atkins are what elevate the movie beyond the fright flick it could so easily have been. Unbound as he is, Pinhead is still Pinhead and cannot be distorted that much. Thomas Harris did this with the famous characters of Hannibal Lecter and Clarice Starling in Hannibal (1999), ending the novel with them living happily ever after together, a climax that was changed considerably when Ridley Scott made the film version in 2001. Even with these indulgences, the main crux of what made Pinhead so appealing is definitely still present in Hell on Earth.

The Church of Pinhead

We cannot end this analysis without looking at the religious implications of Hellraiser III, and what some might call blasphemous scenes involving Pinhead. The first time he appears, Monroe uses Christ’s name to indicate his surprise and panic, which Pinhead seizes upon. No, he is not Jesus—but later in the film he mocks the Christian belief system by holding a black mass in a church. Joey seeks refuge in here during the chase sequence, and tells the priest that demons are after her. “Demons? Demons aren’t real. They’re parables, metaphors....” Right on cue, Pinhead steps through the doors and Joey points and says, “Then what the fuck is that?” He proceeds to shatter all the stained glass windows and melt a cross that the priest is holding. “Thou shalt not bow down before any graven image,” states Pinhead, ridiculing one of the Ten Commandments. Going even further, he takes two nails out of his head and pushes them through the palms of his hands. Spreading his arms out wide, he tells them, “I am the way.” (This was nicely prefigured by the sign on Joey’s bus at the start which reads: “Prepare for the second coming.”) The flames on the altar candles rise higher and the window behind him shatters. Pinhead then forces the priest to eat some of his flesh in a warped take on Holy Communion.

At first sight this is controversial in the extreme. But what the casual viewer must understand is that in the context of Hellraiser’s mythos accepted religions hold very little sway. The Hell Pinhead belongs to is not the Christian one; as far as he is concerned that doesn’t exist. Logically then, he doesn’t believe in their God, either. Furthermore, this is Pinhead “unbound.” He is no longer even listening to his own dark god, Leviathan, so why should he respect the one Christians worship? In addition, Elliott has already told us that, for him, God fell at Flanders, too. The War made him question his faith in religion, and this drove him into the waiting arms of Hell.

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