Brian De Palma’s Carrie qualifies as the first Stephen King story – his debut novel – to reach the screen, and nearly 50 years later the film still ranks among the best adaptations of the prolific author’s works. Carrie White (Sissy Spacek), kept isolated and woefully ignorant by her fundamentalist mother (Piper Laurie), is already a pariah in her high school when she
experiences her first period while showering after gym class. Carrie lacks any knowledge of menstruation, and she becomes increasingly distraught as blood begins to flow. Far from offering comfort, her merciless classmates poke relentless fun, pelting Carrie with tampons and sanitary pads. This catalyzing act of bullying creates repercussions that only grow throughout
the film, thanks to the evil machinations of mean girl Chris (Nancy Allen) and her cat’s-paw boyfriend (John Travolta), the sympathetic efforts of would-be ally Sue (Amy Irving), and the telekinetic powers that manifest whenever Carrie feels stress. Spacek, who effortlessly manages the difficult transformation from ugly duckling to beautiful swan to avenging angel, and
Laurie, who gives a terrifyingly intense performance as Margaret White, both earned well- deserved Oscar nominations. A potent example of De Palma’s grand-guignol mix of humor and horror, Carrie also features a swooning romantic interlude during the climactic prom that makes its eventual descent into expressionistic mayhem all the more effective.

Note: the 7PM screening will be introduced by Cliff Froehlich. If you wish to attend the screening and lecture please select the 2PM ticket.

This presentation is part of the film & lectures series HOLLYWOOD FILMS OF THE 1970s in partnership with St. Louis Oasis. Every film will be followed by a discussion of 45-60 minutes led by Cliff Froehlich, retired executive director of Cinema St. Louis and former film critic for The Riverfront Times. 

During the period from 1967-80, a remarkable body of work was created in Hollywood. The chaotic state of the studios in the late 1960s opened up room for the film-school generation — young and unabashed movie enthusiasts equally in love with and influenced by the cinemas of classic Hollywood and Europe — and expanded the freedoms of older directors and an underappreciated middle group of filmmakers who began in theater, comedy, television, and criticism. This class will include key works of the period, with screenings held at the Hi-Pointe Theatre at 2 pm on a Wednesday each month.