Henry: Portrait of a Serial Killer is a 1986 American independent psychological horror film directed and co-written by John McNaughton about the random crime spree of a serial killer who seemingly operates with impunity. It stars Michael Rooker in his film debut as the nomadic killer Henry, Tom Towles as Otis, a prison buddy with whom Henry is living, and Tracy Arnold as Becky, Otis's sister. The characters of Henry and Otis are loosely based on convicted real life serial killers Henry Lee Lucas and Ottis Toole.
The film was shot in 1985 but had difficulty finding a film distributor. It premiered at the Chicago International Film Festival in 1986 and played at other festivals throughout the late 1980s. Following successful showings during which it attracted both controversy and positive critical attention, the film was rated "X" by the MPAA, further increasing its reputation for controversy. It was subsequently picked up for a limited release in 1990 in an unrated version. It was shot on 16mm in less than a month with a budget of $110,000.
The original poster artwork was a painting by Joe Coleman. It was considered too extreme and, after being withdrawn, was replaced by the current official poster.
Plot Henry is a psychopathic drifter who indiscriminately murders scores of people – men, women, and children – as he travels throughout America. He migrates to Chicago, where he stops at a diner, eats dinner, and later murders several women and the elderly proprietors of a liquor store.
Otis, Henry's prison friend, picks up his sister Becky at Midway International Airport and brings her back to the apartment that he shares with Henry. Later that night, Becky asks Henry about the murder of his mother, the crime that landed him in prison. Henry tells her that he stabbed his mother (which contradicts his other statements, in which he claims to have shot her or killed her with a bat) because she abused and humiliated him as a child, often having sex in front of him. Becky reveals that her father raped her when she was a child. Henry forms a seemingly protective bond with Becky when Otis makes an incestuous pass at her, and Henry violently threatens him. Becky indicates a romantic interest in Henry, but he seems uneasy by her overtures.
The next day, Becky gets a job at a salon. Henry and Otis go out that night and pick up two prostitutes whom Henry murders by breaking their necks. Otis is disturbed and confronts Henry about his murderous lifestyle. Henry invites him to adopt his philosophy of murder, trying to convince him of a relativistic nature of killing.
After Otis destroys his old TV out of frustration, Henry takes him to a fence to buy a new one. The man ridicules them for having little money and berates them for refusing to buy his black-market goods. Henry stabs the fence repeatedly with a soldering iron. When the man fights back, Otis grabs an electrical cord and chokes him. Henry then smashes a TV onto his head. At Henry's urging, Otis plugs in the damaged TV, electrocuting the man. They then steal a high-end TV and a camcorder and return home undetected.
When Otis is punched by a teenage boy whom he tries to sexually assault while selling him marijuana, he complains to Henry that he wants to murder the boy. Henry convinces Otis to abandon the grudge for fear of being caught if he were to harm the boy, since he has been seen near the boy before. Bolstered by the thrill of their previous homicide, the two embark on a killing spree. They set a trap for drivers on Lower Wacker Drive, faking a broken-down car, then fatally shooting a man who pulls over to help. Henry advises Otis to employ a different modus operandi for each murder so that the police will not connect them to one perpetrator. He also explains the importance of being on the move; by the time that police realize that they are looking for a serial killer, he can be long gone. Henry says that he will have to leave Chicago soon. Later, they watch a recording of a home invasion in which they murdered a suburban family of three, with Otis beginning to sexually molest the mother's corpse until Henry objected.
Becky quits her job in order to return home to her daughter after hearing that her ex-husband has been jailed for murder. Otis and Henry argue after their camera gets destroyed while Otis is filming female pedestrians from the window of Henry's moving car. Otis goes for a drink while Henry returns to the apartment. Becky tells Henry her plans, and they go out for a steak dinner. Afterward, she tries to seduce him, but they are interrupted by Otis. Henry leaves to buy cigarettes and get some air. On his way back, he encounters a woman walking her dog and is tempted to murder her but abandons the idea. When he returns to the apartment, he finds Otis raping and strangling Becky. Henry fights Otis, who gets the upper hand. As Otis prepares to kill Henry, Becky stabs him in the eye with her comb. Henry grabs the comb and murders Otis with it, then dismembers the body in the bathtub.
Henry and Becky dump trash bags containing Otis's body parts into the river and leave town. Henry suggests that they go to his sister's ranch in San Bernardino, California, promising Becky that they will send for her daughter when they arrive. In the car, Becky confesses that she loves Henry. "I guess I love you too," Henry replies. They book a motel room for the night. The next morning, Henry leaves the motel, gets into the car, and drives away without Becky. He stops to dump her blood-stained suitcase in a ditch, implying that her remains are inside, then drives away.
Cast
Production
Development and filming In 1984, executive producers Malik B. Ali and Waleed B. Ali of Maljack Productions (MPI) hired John McNaughton, a former delivery man for their video-equipment-rental business, to direct a documentary about gangsters in Chicago during the 1930s. Dealers in Death was a moderate success, and was well received critically, so the Ali brothers kept McNaughton on as director for a second documentary about the Chicago wrestling scene in the 1950s. A collection of vintage wrestling tapes had been discovered, and the owner was willing to sell them to the Ali brothers for use in the documentary. However, after financing was in place, the owner doubled his price and the brothers pulled out of the deal. With the documentary canceled, Waleed and McNaughton decided that the money for the documentary could instead be used to finance a feature film. The Ali brothers gave McNaughton $110,000 to make a bloody horror film.
McNaughton knew that the budget would be too small for a horror film about aliens or monsters and was unsure how to proceed until he saw an episode of 20/20 about the serial killer Henry Lee Lucas. McNaughton decided to film a fictional version of Lucas's crimes.
In the meantime, the Ali brothers brought Steven A. Jones into the project as a producer, and Jones hired Richard Fire to work as McNaughton's co-writer. With the producer, writer and director in place and with the subject matter decided, the film went into production.Henry: Portrait of a Serial Killer: Director's Commentary R2 UK Full Uncut Edition DVD. 2003.
Henry: Portrait of a Serial Killer was shot on 16mm in only 28 days in 1985. The film cost $110,000 to produce, and costs were cut by employing family and friends whenever possible and having those on screen use their own possessions. For example, the dead couple in the bar at the start of the film are the parents of director John McNaughton's best friend, while the bar itself is where McNaughton had once worked. McNaughton's close friend Mary Demas plays three different murder victims: the woman in the ditch in the opening shot, the woman with the bottle in her mouth in the toilet and the first of the two murdered prostitutes. The four women whom Henry encounters outside the shopping mall were more of McNaughton's close friends. The woman hitchhiking was a woman whom McNaughton used to work with. The clothes that Michael Rooker wears throughout the film were his own (apart from the shoes and socks). The 1970 Chevrolet Impala that Henry drives belonged to one of the film's electricians. Art director Rick Paul plays the man shot in the layby, storyboard artist Frank Coronado plays the smaller of the attacking bums, grip Brian Graham plays the husband in the family-massacre scene and executive producer Waleed B. Ali plays the clerk serving Henry toward the end of the film.
Rooker remained in character for the duration of filming, even off set, not socializing with any of the cast or crew during the month-long shoot. According to costume designer Patricia Hart, she would not know from one minute to the next if she was talking to Rooker or to Henry, as he would sometimes speak about his childhood and background as if he were Henry. When Rooker's wife discovered that she was pregnant, she waited until filming had stopped before she told him.
Because the production had so little money, the producers could not afford extras, so all of the people in the exterior shots of the streets of Chicago are simply unknowing pedestrians going about their business. For example, in the scene in which Becky emerges from the subway, two men at the top of the stairs are in a heated discussion; the men were really arguing and refused to move, so McNaughton included them in the shot.
After filming was finished, there was so little money left that the film had to be edited on a rented 16 mm flatbed that was set up in editor Elena Maganini's living room.
Release MPI did not plan a theatrical release for Henry: Portrait of a Serial Killer. McNaughton sent copies of the film to prominent film critics, hoping to attract attention and thus a distributor. Vestron was the first distributor to show an interest, but it pulled out over home-video distribution disputes with MPI and fears of a potential lawsuit because of the film's use of real names. The film premiered at the Chicago International Film Festival on September 24, 1986.
In 1988, MPI hired Chuck Parello, who worked to have the film be released in theaters. The film played at several festivals throughout 1988 and 1989, where it attracted increasing amounts of attention, and Roger Ebert wrote positively of it at the Telluride Film Festival in 1989. Atlantic Entertainment Group expressed interest in releasing the film theatrically but mandated that it have an MPAA "R" rating. The MPAA rated the film "X," which was popularly associated with pornographic films at the time. Because of the "X" rating, Atlantic pulled out.
In Ebert's review of the film, he writes that the MPAA told the filmmakers that no possible combination of edits would have qualified their film for an R rating, indicating that the ratings issue did not simply involve graphic violence. He also said that the film was an obvious candidate for the proposed "A" rating for non-pornographic films intended for adults. Ultimately, the film, along with Peter Greenaway's The Cook, the Thief, His Wife & Her Lover and Pedro Almodóvar's Tie Me Up! Tie Me Down!, were the impetus for the creation of an adults-only rating for non-pornographic films, NC-17. Following further controversy over the rating, Greycoat Films picked up the film for distribution after it was screened at the 1989 Boston Film Festival.
The film's theatrical premiere occurred on January 5, 1990 in Boston, where it grossed $50,504 over the weekend. On March 30, it opened at the Angelika Film Center in New York and in Austin, Texas, grossing $17,888 for the weekend. In its theatrical run, the film eventually grossed $609,000, in part because of the continued controversies. McNaughton credited the MPAA's refusal to accept any cuts as his opportunity to release it uncut, as he would have made cuts had the MPAA requested them.
Further censorship