A reimagining of the classic horror tale about Carrie White, a shy girl outcast by her peers and sheltered by her deeply religious mother, who unleashes telekinetic terror on her small town after being pushed too far at her senior prom.
Carrie White is a lonely and painfully shy teenage girl with telekinetic powers who is slowly pushed to the edge of insanity by frequent bullying from both classmates at her school, and her own religious, but abusive, mother.
A young couple move into a new apartment, only to be surrounded by peculiar neighbors and occurrences. When the wife becomes mysteriously pregnant, paranoia over the safety of her unborn child begins controlling her life.
Carrie White is a shy young girl who doesn't make friends easily. After her class mates taunt her about her horrified reaction to her totally unexpected first period one of them takes pity on her and gets Tommy Ross, her boyfriend and class hunk to invite Carrie to the senior prom. Meanwhile another girl who has been banned from the prom for her continued aggressive behaviour is not as forgiving and plans a trick to embarrass Carrie in front of the whole school. What she doesn't realise is that Carrie is ... gifted, and you really don't want to get her angry. Written by
Mark Thompson <firstname.lastname@example.org>
Bernard Herrmann, who had been nominated for an Oscar for the music to De Palma's previous film Obsession (1976), was slated to compose this score but passed away the December before the film was completed. Hermann's four note violin theme from Psycho (1960) is used over and over in this film. See more »
At the beginning of the movie playing volleyball, the far side team has 6 players (one is Carrie) and the near side team has 7 players plus 1 additional player serving (out of camera range). See more »
It is a classic offbeat horror-melodrama merging harmoniously the family Gothic extravaganza, supernatural power, and a woman's movie of a peculiar kind It remains the cinema's best adaptation of a Stephen King novel
The film initiated De Palma's inclination for surprise diverts between playful imagination and reality, as in the opening, which swifts from a soft-core porn fantasia of girls taking a shower in the locker room to the fact of Carrie's menstruation for the first timethe first sign of "otherness" that will reserve her as an horrifying monster from her small-minded colleagues
All the oppression that Carrie undergoes both at home (with a bible beating maniacal mother played by scary Piper Laurie who develops twisted bizarre ideas) and at school to suppress tension which takes the shape of super telekinetic power, the ability to move objects with the strength of her mind We observe with ambivalence as Carrie's insatiable revenge jumps the line into uncontrolled mass murders ever filmed
Sissy Spacek is amazing as the mocked, helpless girl pushed over the edge Her face and body twist like a living special effect to unleash her pent up rage, as well as her character's alarming progress from painfully shy high-school teenager to Angel of Vengeance
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