The Fascinating History and Horror Legacy of NIGHT OF THE COMET

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As a cinephile and a student of the history of cinema, I can’t help but feel a deep admiration for directors like Thom Eberhardt who have managed to create such enduring works as “Night of the Comet.” Born and raised in Hollywood, Eberhardt has been immersed in the world of film since his earliest days. The fact that he directed this charming B-Movie gem is a testament to his talent and vision.

As a devoted fan, I can’t help but share my fondness for the 1984 sci-fi horror comedy gem, “Night of the Comet.” This film has earned a special place among cult classics of its decade. The story unfolds with Reggie and Sam, two ordinary girls living in a valley, who find themselves in an extraordinary situation: waking up to an almost empty world following a comet’s passage. Los Angeles, their home city, now stands eerily deserted, save for the occasional bloodthirsty zombie.

Initially, let’s journey back to the period when the movie was made, a time marked by challenges. As Thom Eberhardt penned the script for Night of the Comet, he looked back at the science-fiction films of his youth. He was particularly captivated by stories where characters woke up to find themselves as the only inhabitants in a vast, seemingly deserted city. “I’ve always been fond of movies set in empty cities,” he shared on the Jed Talks podcast. More specifically, he found inspiration from a 1954 film titled Target Earth. “The opening ten minutes are thrilling,” he stated. “They filmed in downtown LA city streets, and this young woman wakes up to find no one around, causing a sense of dread about where everyone has gone.

Eberhardt skillfully employed techniques he referred to as “student filmmaker tricks” to maximize the impact of the $700,000 budget for Night of the Comet. Remarkably, they managed to create numerous scenes depicting a hauntingly vacant Los Angeles without requiring street closures, which was beyond their financial capabilities.

In “Valley Girls at the End of the World,” Stewart recalls that they started filming early on Christmas morning. They chose this time because it was quiet and secluded, which enhanced their performances as it felt somewhat eerie. Eberhardt points out a specific wide-angle shot of the city as especially fortunate. Due to budget constraints, Arthur Albert, the cinematographer, shared a hotel room with the camera equipment. Remarkably, he captured an excellent sunrise shot through his hotel window at dawn.

David B. Miller, the makeup effects designer, reminisces about designing and creating all the prosthetics and character designs for the zombies in the movie from his small one-car garage. The filmmakers behind Crawford and Lane’s previous production, Valley Girl, had splurged a significant portion of their budget on licensing popular tunes. However, Night of the Comet needed to replicate that trendy atmosphere economically. Music supervisor Don Perry collaborated with several musicians to generate 19 original tracks for the movie and also created a cover version of Cyndi Lauper’s “Girls Just Want to Have Fun.

He expressed great pride in the caliber of artists and their music, but was disheartened that we couldn’t strike a deal with a big record label. Despite this, he believes our song ‘Learn to Love Again‘ could have been successful with widespread distribution, which he shared on the Night of the Comet Facebook group.

Although Night of the Comet utilized a guerrilla filmmaking style, the production process appeared to run rather smoothly. As Miller mentioned in the documentary short Curse of the Comet, working with Thom Eberhardt was enjoyable because he remained composed. In contrast to other directors I’ve worked with who became stressed when things didn’t go as planned, Eberhardt stayed cool and professional throughout everything.

If the production process ran smoothly, it didn’t guarantee that their post-production phase would be free from some unexpected hurdles. In fact, during the Iconicon 2021 event, producer Maroney revealed a creative dilemma: “At one point, we were contemplating whether to make it a serious horror film or maintain its original, more humorous tone.

Eberhardt argues that Atlantic Releasing was consistently apprehensive about the film’s blending of various genres, believing this might complicate promotion. He described their view as it being a “fatal curse”. However, he intended the film to be a tribute to the B-movies he enjoyed in his youth, a concept he believes his producers failed to comprehend. Fortunately, there was no budget for reshoots, so they were compelled to work with what he provided.

Despite not reaching the same level of acclaim as other sci-fi films from the 1980s, Night of the Comet wasn’t a flop. It grossed $14.4 million at the box office, which was impressive considering its low production costs. In reality, the main hindrance to Night of the Comet‘s success wasn’t related to the film itself. Unfortunately for it, it was released two and a half weeks after The Terminator, a groundbreaking sci-fi classic that dominated the genre, leaving little room for other films in the same space. As Eberhardt put it, “It played on double bills with Terminator at drive-ins. You can guess which film was on the bottom half of the bill.

Eberhardt stated about the movie, “I thought it had vanished into oblivion around the ’80s, but I guess it was just overlooked.” However, the film received favorable reviews from critics, with Siskel and Ebert featuring it on their 1984 episode of “At the Movies”. Siskel, in particular, expressed affection for the movie, despite his general disinterest in science fiction. He described it as a “true joy” and a “hidden gem” that would attract new fans in the future.

Siskel’s comment ended up being right on the mark, because Night of the Comet has developed a cult following over the years that never fails to stun its stars. “I loved it very much, but if you were to tell me, ‘OK, it’s going to be 2023 and you’re going to be talking about Night of the Comet all the time’…I would not have believed you,” Maroney told The Nightwatch Zone.

The film experienced a second life on cable TV, introducing it to a fresh audience, followed by its presence on the internet. When asked about its renewed appreciation, Eberhardt speculated, “Perhaps people watch it for its campy appeal.” He added, “It’s heartening to believe that the movie’s innocence is appealing, as at its core, it’s a genuinely sweet and sincere film.” The influence of Night of the Comet can be traced in modern culture, particularly in its portrayal of the horror genre’s final girl archetype. Samantha, now an iconic figure in her cheerleader attire, serves as a model for Buffy from Buffy the Vampire Slayer. Laughing, Maroney remarked, “Walking down Hollywood Boulevard back then, I saw that [Buffy] ad on a bus and thought, ‘They’ve copied me!’

The enduring popularity and cultural influence of the movie is evident in the ongoing speculation about a potential new Night of the Comet film or TV show for many years now. Interestingly, Eberhardt claims he was contacted by the Fox Family Channel to remake Night of the Comet for television, unaware that he had actually been the director of the original production.

“I wondered if there was an agreement with the original creator regarding follow-ups like sequels or remakes. They replied that they believed they could persuade him to leave and take over instead. However, Stewart expressed concern about potential remakes at Iconicon 2021, stating that they would never live up to the original. He explained that what makes ’80s movies endearing is their innocence and relatability. Instead, a remake might involve superhero girls battling zombies, which misses the point entirely. Similarly, Eberhardt felt that the quirky charm of Comet comes from its funkiness and tackiness, and couldn’t imagine anyone investing heavily in something like Comet II.

The idea for a fresh take on the “Night of the Comet” movie is still lingering, as Orion Pictures hired Roxanne Benjamin to start working on a potential screenplay for a remake back in 2018. Interestingly, this project seems to be neither completely active nor dormant; it’s in a sort of strange intermediate state. In an interview with Slashfilm, Benjamin shared that the initial script she submitted won’t proceed, but the idea itself remains in a peculiar limbo – it’s still floating around out there.

Regardless if more films or TV shows are ever added to the Night of the Comet franchise, it continues to be an iconic representation of the captivating B-movies from the 1980s. Its influence is deeply cherished by director Thom Eberhardt. As he reflects in the film’s audio commentary, “On my deathbed, surrounded by friends and family, just as everything starts to fade, I imagine hearing a voice from the back of the room saying, ‘Hold on—he directed Night of the Comet!’

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2024-11-16 17:03