Upon watching this again for the first time in probably thirty years, I was struck by how European the movie feels. Perhaps it’s the color tones throughout, suggesting the patina of Italian horror cinema (both Fulci and Craven cite surrealist filmmaker Luis Buñuel as an influence). It could also be John Saxon having lead billing. Or just that it doesn’t feel like any horror cinema that was currently being made in the United States.

The real villain of this piece is not Freddy Krueger — more on him in a bit — but the parents of Elm Street who have allowed secrets and their assumed authority over their children to do unspeakable and unspoken things. All of them are haunted by it, divorced, depressed and self-medicating with over-dedication to their jobs or their addictions.

There are stories that David Warner was originally going to play Freddy, but that’s been disproven. After plenty of actors tried out and failed to win the part, it went to Robert Englund, who darkened his eyes and acted like Klaus Kinski (!) to get the part.

The other feeling I have about this movie is that it owes a major debt — as all horror movies post 1978 do –to John Carpenter’s Halloween. Much like that film, the true horror happens within the foliage of the suburbs, with shadow people showing up and disappearing. Much of the action on the final night happens within two houses. One of the main characters has the ultimate authority figure, a policeman, for a father. And the cinematography by Jacques Haitkin glides near the characters and around them, much like the Steadicam shots that start Carpenter’s film.

The film starts with Tina Gray (Amanda Wyss, who puts the events of Better Off Dead into motion by breaking up with Lloyd Dobler) waking up from a nightmare where a disfigured man chases her with a bladed glove. I loved the way this scene looks, as you could almost consider Freddy off-brand here, as his arms grow comedically long and he moves way faster than he would in the rest of the series. Yet by keeping him in the shadows, he’s absolutely terrifying.

When Tina awakens, her nightgown has been slashed and she’s afraid to go to sleep again. She learns that her friends, Nancy (Heather Langenkamp, who left Stamford University to be in this), Glen (introducing Johnny Depp) and Rod (Jsu Garcia, credited as Nicki Corri) have all been having the same dream. To console Tina, they all stay at her parent’s house overnight. But when Tina falls asleep, Krueger is waiting. Rod awakes to find Tina flying all over the room and up the walls — an astounding effects sequence in the pre-CGI era — and he flees the scene after her death.

Soon, Rod is arrested by Lieutenant Don Thompson (Saxon), Nancy’s father. Freddy now starts pursuing her, chasing her as she falls asleep in class (look for Lin Shaye as the teacher) and later in the bathtub, as his claw raises like a demented and deadly phallus between her thighs. Rod tells her how Tina dies and now she knows that the same killer is definitely after her (Garcia’s watery eyes and lack of focus made Langenkamp think he was acting his heart out; the truth is he was high on heroin for real in this scene). She tries to find the killer, with Glen watching over her, but he’s a lout and easily falls asleep. Only the alarm clock saves her, but no one can save Rod, who is hung in his sleep while rotting in a jail cell.

Nancy’s mom Marge (Ronee Blakley, who was married to Wim Wenders, sang backup on Dylan’s song “Hurricane” and is also in Altman’s Nashville) takes her to a sleep clinic, where Dr. King (Charles Fleischer, Roger Rabbit’s voice) tries to figure out her nightmares. She emerges from a dream holding Freddy’s hat to her mother’s horror. Soon, she reveals to her daughter that the parents of Elm Street got revenge on Freddy Krueger, a child murderer after a judge let him go on a technicality. In a deleted scene, we also learn that Nancy and her friends all lost a brother or sister that they never knew about.

While Nancy is barred up in her house by new security measures, Glen’s parents won’t allow him to see her. Soon, he’s asleep and is transformed into an overwhelming fountain of blood. Nancy falls asleep after asking her father to come in twenty minutes. He doesn’t listen and she pulls Freddy into our world. On the run, she screams for help until her father finally comes to her aid, just in time to watch a burning Freddy kill his ex-wife and them both disappear.

This is an incredibly complex stunt where Freddy is set ablaze, chases Nancy up the stairs, falls back down and runs back up — all in one take! At the time, it was the most elaborate fire stunt ever filmed and won Anthony Cecere an award for the best stunt of the year.

Nancy then realizes that if she doesn’t believe in Freddy, he can’t hurt her. She wakes up and every single one of her friends is still alive, ready to go to school. As the convertible hood opens up in the colors of the killer’s sweater, she realizes that she’s still trapped by Freddy, who drags her mother through a window.

In Craven’s original script, the movie simply ended on a happy note. Producer Robert Shaye wanted the twist ending so that the door was open for a sequel, something Craven had no interest in. Four different endings were filmed: Craven’s happy ending, Shaye’s ending where Freddy wins and two compromises between their ideas.

I watched A Nightmare On Elm Street at Pigeon Share FrightFest. It’s the UK’s best, brightest, and largest independent international thriller, fantasy, and horror film festival and has three major events each year in London and Glasgow. Learn more at the official site.