Rob Zombie has been one of the most polarizing figures in the horror community since making the leap from musician to filmmaker. He made his feature writing and directorial debut with House of 1000 Corpses in 2003 — after being purchased by Lionsgate when its original studio, Universal, shelved it three years prior due to […]
Rob Zombie has been one of the most polarizing figures in the horror community since making the leap from musician to filmmaker. He made his feature writing and directorial debut with House of 1000 Corpsesin 2003 — after being purchased by Lionsgate when its original studio, Universal, shelved it three years prior due to fears of it receiving a dreaded NC-17 rating.
Corpses fell victim to many issues faced by first-time directors — Zombie was seemingly unsure if he’d ever get the opportunity to make another movie, resulting in an anarchic mélange of ideas and influences — but the end result remains potent all these years later. Despite the troubled production and a largely unfavorable critical response, the film turned a healthy profit, giving Zombie the sinister urge to make a sequel as his sophomore effort.
Released 20 years ago today, The Devil’s Rejects is decidedly more grounded in reality than its heightened predecessor. The follow-up shares more in common with 1970s exploitation cinema than horror, although the genre is still present along with elements of western, road movies, and even comedy. Zombie’s refined approach allows him to blend the tones more smoothly this time around.
The Devil’s Rejects kicks off with a literal bang. Set in 1978, the savage Firefly clan — collectively responsible for more than 75 deaths — have been tracked down by vindictive Sheriff Wydell (William Forsythe, The Rock), whose brother fell victim to the merciless killers in Corpses.
A shootout between the family and state troopers ensues, with Baby (Sheri Moon Zombie) and Otis (Bill Moseley) narrowly escaping. They meet up with Baby’s estranged father, local celebrity Captain Spaulding (Sid Haig), who helps them flee from the law. The fugitives’ ruthless reign of terror continues on the lam.
Zombie creates a fascinating dichotomy with his characters, challenging the notion of protagonist and antagonist. Although the Fireflys’ actions are reprehensible and Wydell’s vengeance is justified, the former villains are presented as antiheroes for whom the audience is encouraged to root. It comes to a poetic climax with a shootout boldly set to Lynyrd Skynyrd’s “Free Bird” — one of the most effective uses of a popular song in cinema.
Captain Spaulding is still a vulgar curmudgeon but spends most of the movie sans his iconic clown makeup, as the desperate times have forced him to assume the role of patriarch. No longer the gangling albino introduced in Corpses, Moseley delivers a career-best performance as Otis, a bearded madman in the mold of Charles Manson. Baby’s sweetly sadistic tendencies are also presented in a more grounded manner. Tiny (Matthew McGrory, who passed away shortly after the film’s release) doesn’t have much screen time but plays an important role in the story.
In addition to the characters evolving, several changes were made on the casting side between the two films. Most notably, Leslie Easterbrook (Police Academy) replaces cult favorite Karen Black as Mama Firefly after the former reportedly wanted too much money to reprise the role. While Black’s unhinged magnetism is impossible to match, Easterbrook admirably sinks her teeth into the deranged matriarch.
The hulking Rufus was recast from one former professional wrestler to another, as Tyler Mane (who went on to play Michael Myers in Zombie’s Halloween films) took over the role originated by Robert Mukes. Grandpa Hugo was written out of the script following the death of actor Dennis Fimple prior to production. Walter Phelan returned as the mad Dr. Satan in a gory scene that was deleted because Zombie astutely recognized that the character was incongruous to Rejects‘ tone.
As he’s become known to do, Zombie populated the cast with cult actors in roles both large and small, including such recognizable faces as Ken Foree (Dawn of the Dead), Michael Berryman (The Hills Have Eyes), Elizabeth Daily (Pee-wee’s Big Adventure), Priscilla Barnes (Three’s Company), Geoffrey Lewis (Double Impact), comedian Brian Posehn, Danny Trejo(From Dusk Till Dawn), wrestling legend Diamond Dallas Page, Dave Sheridan (Scary Movie), P.J. Soles (Halloween), Mary Woronov (Chopping Mall), and adult film star Ginger Lynn.
Rejects embraces a gritty realism that makes the violence cut deeper. Cinematographer Phil Parmet’s (Zombie’s Halloween) documentary background proved useful for emulating the cinéma vérité aesthetic. Zombie is careful to balance the brutality — such as the intensely uncomfortable motel scene, which initially earned the picture an NC-17 rating — with levity. Supporting characters are the primary sources of comedic relief, but even the Firefly family members earn a few laughs (“Tutti fucking fruity!”).
Zombie has continued to make interesting, if divisive, choices as a filmmaker, but The Devil’s Rejects remains his strongest work on the whole. It’s a relentless and emotionally draining yet entertaining and endlessly quotable experience. In striking that unique tonal balance, its characters were cemented as bona fide horror icons.
While Rob Zombie undermined his own efforts with 2019’s superfluous sequel 3 from Hell, The Devil’s Rejects showcased a filmmaker as free as a bird on this day twenty years ago.
