Ginger Snaps (2000) Movie Info
| Field | Details |
|---|---|
| Movie Name | Ginger Snaps (2000) |
| Director | John Fawcett |
| Screenplay Writer | Karen Walton |
| Based on Novel by | — (Original screenplay) |
| Lead Actors | Emily Perkins, Katharine Isabelle |
| Cast | Emily Perkins, Katharine Isabelle, Kris Lemche |
| Genre | Horror, Drama |
| Release Date | December 11, 2000 (Canada) |
| Duration | 1h 48m (108 minutes) |
| Budget | ~$4.5 million |
| Language | English |
| Country | Canada |
| Box Office (Worldwide) | Cult horror success |
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Brigitte (depressed Trent Reznor look-a-like Emily Perkins) and Ginger (Katharine Isabelle) are your typical doom, gloom and death obsessed teen outsiders. They are alienated by their schoolmates (and like it that way) and spend most of their free time creating fake murder, suicide, death films and photos while contemplating how to end it all, “United against life as we know it”. But things are changing.
Brigitte is deeper into loathing life in general because she feels alienated from society more due to the fact people find her far less attractive than her older sister. Ginger, despite the angst and anger she outwardly projects, is noticing the fact she is becoming attractive to boys, a fact she actually finds more and more appealing. As menstruation arrives in Ginger’s life another difference opens up between the sisters, as Brigitte is now being physically left behind by her sibling as well.
Breathing a welcome breath of fresh air into the near-dead carcass of the Werewolf film, Canadian movie Ginger Snaps is now classed (after an initially small scale and staggered worldwide release) as a high water mark for modern horror and was embraced by hungry Horror fans because it provided intelligence, strong characters and subtext without skimping on good old fashioned bloodshed and shocks.
Despite the strong female standpoint that writer Karen Walton approaches the story from, the film never dips into anti-male rhetoric or tired ‘Earth Goddess’ flights of whimsical fancy. Walton carefully (and cleverly) crafts the plot so that it appeals to both sexes while still offering the often ignored female Horror fan much to get their teeth into, delivering a film with strong female themes, portrayed via strong female lead characters essayed by strong female lead performers.
The werewolf aspect of the story is obviously a metaphor for the onset of puberty, but this is never put over in a pretentious manner, instead it’s delivered via playful but dark comedy sequences and via serious, achingly emotional scenes of the two Sisters slowly drifting away from each other.
Their dizzy, ever*optimistic mother (a wonderful turn by Mimi Rogers) is overjoyed to see her girls growing up and happily discusses the natural changes a girl goes through, including periods and cramps, at the dinner table and still gives the same hippie, trippy advice even when she is unknowingly discussing the far more unnatural changes that Ginger’s body is going through.
This link between natural changes and supernatural ones is brilliantly cemented in a funny sequence where the school nurse explicitly tells the girls about menstrual bleeding and the appearance of hairs, little knowing the more and more confused sisters have very different blood and hair worries.
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