Between Joker: Folie a Deux, In A Violent Nature, Pearl, and even Wicked, it would be easy to link the current cinematic trend of lead-villain-as-victim with the narcissistic violence of today’s culture. It would be equally easy to blame film violence for making the world a more violent, dangerous place. Easy, because it’s lazy. And convenient. And for me to espouse this sentiment would make me a hypocrite, as I’ve written my share of charming killers.
It isn’t new for the dangerous and delusional in society to latch onto fictitious bad guys, just like it isn’t new for the media to blame fiction for being a bad influence on “the impressionable.” This dance has been going on since before the Penny Dreadfuls and will surely endure my reproach.
But here’s the thing: cinema is the reflector of the times, not the projector. And it is also one of the most powerful tools for increasing empathy. When bad people do evil things in this world we naturally want to understand “Why?” So we make movies about it. Peering into the mind of someone who is capable of being truly deviant is more than just a titillating taboo, it presents a contrast that allows us to question our own morality and deepen our understanding of the spectrum of human behavior. This is why the villain’s perspective is valid art and worthy of discussion.
So, if you like these films and want to go deeper into the subject, I’ve got a list for you.
Don’t enjoy the villain’s perspective? That’s cool. Check out the list anyway, you might accidentally discover something you like!
And no, I’m not going to bore anyone with another article about how the aesthetics of Taxi Driver and The King of Comedy make up Joker’s cinematic D.N.A. We’ll just skip those movies and jump into…
Seven films about villains that deserve your attention
PEEPING TOM (1960)
Released the year after Hitchcock’s masterpiece Psycho, this lurid technicolor tale of a serial killer compelled to film his victims’ murders effectively ended the career of the great Michael Powell (The Red Shoes, Black Narcissus) and would have been lost to time if not for the efforts of Powell’s widow, three-time Oscar-winning editor Thelma Schoonmaker. The movie is a fascinating indictment of both filmmaker & audience as voyeur, and is as visually lush as it is harrowing.
SERIAL MOM (1994)
Any number of John Waters films could make the list — his cinematic oeuvre is dedicated to deviants — but Kathleen Turner’s embodiment of the murderous Beverly Sutphin is something to behold. Sure, the film is lighter-than-air, but there is a lunatic fire in Turner’s eyes and a sadistic glee in her performance that makes this one special. But seriously, watch everything by John Waters.
HENRY: PORTRAIT OF A SERIAL KILLER (1990)
John McNaughton’s unflinching film is hard to watch. Michael Rooker is absolutely terrifying as the titular killer and the film never lets you off-the-hook for engaging with it. It’s about as grimy as I am willing to go with cinema. It’s not for everyone, but it’s undeniably powerful.
THE CRUSH (1993)
This trashy, 1990s sexual thriller is as much a cautionary tale (guys, don’t be Carey Elwes!) as it is a dive into the psychopathy of a 14-year-old girl. Alicia Silverstone chews up the scenery as Adrienne as she easily predicts and manipulates Elwes’ sleazy, stupid behavior. She’s competent beyond her years in a way that makes us want to root for her, even though we know she’s bad. Is she the lead? Not technically, but she’s the title character, so I say this qualifies. If tabloid stories are your thing, this one’s for you.
BEHIND THE MASK: THE RISE OF LESLIE VERNON (2006)
This reinvention of the slasher film creates an internal mythology that retroactively makes even lesser slashers appear smarter and deeper, which is nothing short of a cinematic miracle. Nathan Baesel is incredibly charismatic as an aspiring serial killer who glides between hero and villain as breezily as director Scott Glosserman switches from documentary footage to widescreen cinematic set-pieces. This is a must-see for all horror fans.
FALLING DOWN (1993)
Michael Douglas made a career out of playing morally murky characters, which is why it’s easy to mistake his recently-fired defense contractor for an anti-hero, but his performance here is a meditation on true, human villainy. He thinks he has a moral code. He thinks he’s been wronged. He thinks the world owes him something, which is what makes him such a dangerously unhinged bad guy. Heavy-handed? Sure, it’s a Joel Schumacher film, that’s what he does. Bonus points for being a sweaty L.A. film. I love those.
WEST OF ZANZIBAR (1928)
I know, I know. You don’t want to watch a silent movie but trust me! This flick’s over-the-top brutality is worth your time. Starring whom I consider the greatest actor of all time, Lon Chaney, and directed by the master of dark cinema, Tod Browning (Dracula, Freaks), it’s the tragic story of a magician who… I don’t want to spoil it for you! Just know that it involves a deeply cruel, long-game revenge plan followed by a soul-shattering comeuppance during which Chaney goes through the wringer of human emotions. It’s an all-time favorite of mine.
Honorable mentions to American Psycho, First Reformed, both iterations of Maniac, and The Bad Seed.
