In 1995, I met a friend who was deeply immersed in the works of John Carpenter. While I hadn’t previously recognized his name, I was familiar with Halloween (the original from 1978), The Thing, and Escape From New York, all of which he directed. This prompted me to explore his filmography, and I found many to be exceptional. Of course, some were less successful, such as Escape From LA and Ghosts of Mars. However, even these contain compelling sequences, suggesting that even Carpenter’s lesser works possess redeeming qualities.
Today’s subject is Dimman, or The Fog in its original title. Released in 1980, it was the first feature film directed by Carpenter following the critical acclaim of Halloween two years prior. Carpenter conceived the idea for the film after observing a particularly dense fog bank, sparking his imagination regarding what might lie hidden within. He also aimed to create a horror film distinct from Halloween.
A small American town is abruptly enveloped by an unnaturally thick fog. It soon becomes apparent that the fog conceals more than just moisture, and venturing outdoors becomes increasingly perilous, as the town harbors a secret about to be revealed.
Dimman occupies an interesting space within Carpenter’s filmography. It adopts a deliberate, slow-burn approach, gradually escalating the tension. Once the narrative momentum builds, the film accelerates rapidly. The cast features several prominent actors, including Jamie Lee Curtis and her mother, Janet Leigh (of Psycho fame), in significant roles. Curtis sought a departure from her “innocent” character in Halloween, and her role in Dimman offers a stark contrast. The lead role is portrayed by Adrienne Barbeau, who was married to Carpenter during the film’s production.
Dimman establishes a pervasive, eerie atmosphere and incorporates several jump-scare moments, though its overall presentation is relatively restrained. As a film from the early 1980s, certain elements have aged noticeably, which unfortunately dates the film to some extent.
The Blu-ray edition, however, offers a positive viewing experience, presenting a sharp and stable image that effectively showcases cinematographer Dean Cundey’s exceptional work. The dark scenes featuring light within the fog, and the contrasting dark figures, are particularly impressive. The audio quality is adequate, considering the source material. However, there is an inaccuracy in the menu: while it indicates Dolby 5.1, the disc actually features a 2.0 track. The cover correctly specifies Dolby 2.0 and DTS 2.0. This same error was present on the Studio S edition of Cutthroat Island. This is a minor detail but reflects a regrettable lack of attention to detail. Fortunately, the disc compensates with a wealth of supplementary material, including several well-produced and informative documentaries and other features.
In conclusion, while Dimman may not be the most cutting-edge or terrifying film available, it provides enjoyable 80s-era entertainment. Coupled with the quality of this edition and the comprehensive extras, it merits a recommendation.
