Ginger Snaps (Canada/2000), directed by John Fawcett
Review written by Gauntgirl, May 29th, 2001.
As I'm sure many horror fans can relate, I've reached a point where an over exposure to disappointingly bad horror has left me cynical and skeptical. For this very reason, I nearly completely overlooked Ginger Snaps. In a sea of low budget horror crap, Ginger Snaps is a true gem that risks being swallowed up by waves of trendy teen exploitation slashers. Ginger brings a breath of fresh air to the teen horror genre with its biting wit, intelligent script, and downright scary atmosphere.
Sixteen-year-old Ginger (played by Katherine Isabelle) and fifteen year old Brigitte (Emily Perkins) are sisters with a disturbing, if not enviable, bond. Their sibling connection runs deep and they share an understanding that is totally unique from the world they live in. Although their existence is a dark one, they live in a world that is truly of their own creation. And the only thing that stands to destroy their bond is the monstrous (literally) effect that puberty has on Ginger.
Ginger and Brigitte are both late bloomers, and when Ginger finally gets her first period, events are set into motion that will ultimately tear the sisters apart. As the girls are hunting up trouble late one night, the scent of Ginger’s first blood attracts a vicious werebeast, and the attack that ensues is more than subtly suggestive of the violent changes that take place in the bodies of all pubescent girls.
Far from being just another teen slasher, Ginger Snaps is a movie about familial bonds, social exclusion, and the very real horrors of adolescence. The film’s examination of menstruation and female sexuality are brave, to say the least, and honest. The metaphorical “curse” that is menstruation is intelligently explored through the development of Ginger’s more bestial characteristics. This film is one of the only horror films that I would hazard to call “feminist horror” (which both excites me and saddens me because I was hoping that one day I would invent the feminist horror genre). And even though the scriptwriter is a woman (Karen Walton to be precise), I am constantly blown away that Ginger was directed by a man, John Fawcett. I say this because there are many subtleties of the female adolescent condition that are apparent throughout this film (but, this is probably a subject best left for one of my future analytical film critiques).
I hope that this talk of menstruation and feminism doesn’t turn off our male readers. Ginger Snaps is also masterfully hysterical. I dragged the boyfriend to see Ginger with me the first time and we were both rolling in the isles. I wouldn’t call Ginger a comedy, per se, but the dialogue is more often than not darkly comical and bitingly sarcastic, not to mention witty and intelligent. Also worth noting are the special effects. Ginger’s budget was measly by Hollywood standards so don’t expect to see any amazing CG monsters. Instead, you can expect to see a return to the good old days of animatronics, silicone, and light tricks. Personally, I’m glad to see it. The film feels altogether more organic thanks to the sf/x choices. It is interesting to note that the design for the werebeast cannot be adequately described in terms of the werewolves that most of us are used to. The feel is much more feline, more feminine than your typical werewolf - furthering the film's theme of the animalistic female.
In my opinion, Ginger Snaps is a revolutionary film in the werewolf genre. I've read articles that compared this film to A Company of Wolves (and if that helps to convince you to see it, then great) but I would be reluctant to compare this film to any other. It truely stands in a class of its own.
