by Patrick Bromley
With those four words, the 1989 horror sequel Fright Night Part 2 lays out its entire reason for being. That isn’t just a line of dialogue. It’s the movie’s mission statement.
A great number of horror sequels of the 1980s followed a very specific formula: introduce a new group of victims to be taken out by the slasher or the monster from the first film and repeat all of the same beats that had worked before. It’s true of the Friday the 13th and Nightmare on Elm Street and Halloween and Hellraiser films and so on and so on — basically, any franchise that found success during the decade did so by resetting with each film and repeating the formula as many times as the box office receipts would allow. The structures of these movies lend themselves to this kind of repetition, as they’re more about executing a scenario (killer in the woods, killer in your dreams, etc.) than about telling a story or advancing a character arc.
Halloween III: Season of the Witch several years earlier.
But Fright Night wasn’t designed for a sequel. Holland told a complete story with a beginning, middle and end. The characters all underwent major changes — the very essence of drama — and came out the other side of the story different people. The only way to sequelize the movie, then, was to reset them back to zero. And that’s exactly what Fright Night Part 2 does; though Charley Brewster had already fought and killed a real vampire in the previous film, Part 2 finds him undergoing therapy and convincing himself that vampires aren’t real. There’s the germ of an interesting idea there, as it means that he and TV host Peter Vincent (McDowell) — who now believes in vampires as a result of his experiences — have essentially swapped places. That idea is dropped fairly quickly, though, as the screenplay (by Wallace, Tim Metcalfe and Miguel Tejada-Flores) requires Charley and Peter to change their reactions to what is happening on a scene by scene basis.
So while Part 2 fails to really invert the Charley/Peter dynamic, it does succeed at making Charley less the hero and more the damsel in distress this time around. His previous girlfriend Amy is no longer in the picture (some dialogue explaining her absence was apparently cut out of the film), replaced by bookish new girlfriend Alex, played the lovely and appealing Traci Lin (sometimes credited as Traci Lind, sometimes credited as Traci Bromley). She is essentially playing the hero this time around, as she and Peter Vincent come to Charley’s rescue as he slowly succumbs to vampirism. Even the relationship conflict between her and Charley is very much the same as in the first film: he wants to have sex, she prefers to put on the brakes. The only difference between this and his relationship with Amy in Fright Night is that it seemed like by the end of that movie they were ready to sleep together. Giving him a new girlfriend resets this dynamic, too.
Like he did with Season of the Witch, director Tommy Lee Wallace at least ups the weirdness factor with his Fright Night sequel — though not too much, as Wallace was gun shy about straying too far from the original after the drubbing he unfairly took for Halloween. There are more vampires this time around; in addition to Julie Carmen’s sexy queen vamp, there’s a bug-eating henchman played by Cobra’s Brian Thompson, a super androgynous rollerskating vampire (choreographer Russell Clark) and Jon Gries’ jokey, pseudo-hippie vampire, regularly seen in some sort of hairy, partially transformed wolf/bat state. Wallace is just as much interested in the monsters as he is in the heroes, giving them a great deal of screen time and clearly enjoying the chemistry among the group. A scene in which they go bowling, scored to Wilson Pickett’s “In the Midnight Hour,” is one of the sequel’s biggest and best departures from the first film; we get to hang out with the vampires independently of what the heroes are seeing or doing. If only Wallace had been able to indulge these types of digressions more, Fright Night Part 2 might feel less like a rehash and more like its own thing.
The original Fright Night remains a truly special movie, one that feels both modern (for 1985 at least) and classical, which offers smart writing and great characters and which respects the rules of movie monsters. Most of the choices made in creating the sequel can be boiled down to “because that’s what they did in the first movie.” It’s a movie with a lot of personality. Just not its own personality.