Larry Cohen’s most popular foray into the horror genre, “It’s Alive” has, not surprisingly, lost much of its shock value in the 30 years since its original release. The real shock in viewing its long-overdue digital birth is just how effective Cohen’s narrative remains. An absorbing drama and a pointed social satire; “It’s Alive” is a powerful piece of low-budget cinema that is arguably even more relevant today than its release in ‘74.
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What is most striking when watching “It’s Alive” unfold is the solid drama Cohen delivers in spite of the absurd premise and miniscule budget. The literate script by the director and the strong performances from the leads ground the fantastic narrative. Though well respected as a writer, Cohen has never been given much credit for his directing skills. Visually his films are somewhat flat; often recalling television productions from the period. Which might explain why his contemporaries in the genre, such as Carpenter and Romero, are more highly regarded. (“It’s Alive” is shot in workman-like fashion by the late Fenton Hamilton, a long-time Cohen collaborator.) The real thrill (of his auteur work) doesn’t come from his mise-en-scene or tightly crafted suspense scenes, but the tension created by seasoned actors playing real people in often-horrific situations. His New York-based productions including “God Told Me To,” and “Q” are driven by solid, often mesmerizing, performances.
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Like many horror films in the ‘70’s, “It’s Alive” is filled with clever social commentary. Abortion, pharmaceutical side effects and the deterioration of the nuclear family are subjects that give the script a rich subtext and a timeliness that even recent horror films can’t claim. The script is also filled with sharp, human dialogue that remains believable throughout. The film is at its weakest, ironically enough, in the horror department…Horror fans looking for lots of killer baby action will be greatly disappointed, but those who appreciate the complexities of character and nuance will find much to like here.
“It’s Alive” also contains one of the last scores composed by the legendary Bernard Herrmann (he of the “Psycho” strings). Though rather antiquated (even for its time), it’s a rich, ominous orchestral score that gives the proceedings a sophisticated edge. Herrmann was originally set to write the music for Cohen’s next film, “God Told Me To,” but he died just after watching the rough cut. His last contribution to film, and one of his best, was “Taxi Driver” for which he won a posthumous Oscar in 1977.
