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A Nightmare on Elm Street (1984)

R  |   |  Horror  |  16 November 1984 (USA)
7.5
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Ratings: 7.5/10 from 126,254 users   Metascore: 78/100
Reviews: 634 user | 238 critic | 6 from Metacritic.com

Several people are hunted by a cruel serial killer who kills his victims in their dreams. When the survivors are trying to find the reason for being chosen, the murderer won't lose any chance to kill them as soon as they fall asleep.

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Title: A Nightmare on Elm Street (1984)

A Nightmare on Elm Street (1984) on IMDb 7.5/10

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Cast

Cast overview, first billed only:
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Rod Lane (as Nick Corri)
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Joseph Whipp ...
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Mimi Craven ...
Nurse (as Mimi Meyer-Craven)
Jack Shea ...
Ed Call ...
Sandy Lipton ...
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Storyline

On Elm Street, Nancy Thompson and a group of her friends including Tina Gray, Rod Lane and Glen Lantz are being tormented by a clawed killer in their dreams named Freddy Krueger. Nancy must think quickly, as Freddy tries to pick off his victims one by one. When he has you in your sleep, who is there to save you? Written by simon_hrdng

Plot Summary | Plot Synopsis

Taglines:

Sleep Kills See more »

Genres:

Horror

Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

16 November 1984 (USA)  »

Also Known As:

Les griffes de la nuit  »

Box Office

Budget:

$1,800,000 (estimated)

Opening Weekend:

$1,271,000 (USA) (9 November 1984)

Gross:

$26,505,000 (USA) (31 May 1985)
 »

Company Credits

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Technical Specs

Runtime:

| (Extended Version)

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Robert Englund cut himself the first time that he tried on the infamous Freddy glove. See more »

Goofs

Throughout the movie, along with all the sequels, Freddy's "razor" glove is on his right hand. When Freddy is chasing Tina, there is a quick shot of him jumping out from behind a small tree and his glove is on his left hand. See more »

Quotes

[first lines]
Freddy Krueger: Tina.
See more »

Connections

Referenced in Blood Ties: Blood Price (2007) See more »

Soundtracks

Nightmare
Performed by 213
Written and Produced by Martin Kent, Steve Karshner, Michael Schurig
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Frequently Asked Questions

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User Reviews

 
You'll never want to fall asleep again
24 October 2005 | by (Baltimore, MD) – See all my reviews

While I love horror films, I am not a big fan of the slasher genre, which has come to dominate and indeed practically to define horror since the late 1970s. While I do love the original "Psycho," most slasher films follow a different, and far more predictable, formula. The idea of a faceless killer going around stabbing teenagers just doesn't frighten me a whole lot, though some of these films do fill me with disgust--a rather different sort of emotion.

I am far more frightened by films that deal with distortions of reality, where it's hard for the characters to tell what's real and what's not. Admittedly, that genre isn't always so lofty either. Dreams are one of the most overused devices in the movies, having a whole set of clichés associated with them. We are all familiar with the common scene in which a character awakens from a nightmare by jerking awake in cold sweat. This convention is not only overused, it's blatantly unrealistic, for people waking up from dreams do not jerk awake in such a violent fashion. Moreover, these scenes are usually nothing more than little throwaway sequences designed to amuse or frighten the audience without advancing the plot.

What makes "Nightmare on Elm Street" so clever is how it creates an entirely new convention for representing dreams on screen. The dreaming scenes are filmed with an airy, murky quality, but so are many of the waking scenes, making it very difficult to tell whether a character is awake or asleep. Indeed, the movie never shows any character actually fall asleep, and as a result we are constantly on guard whenever characters so much as close their eyes for a moment. In crucial scenes, it is impossible to tell whether what we are seeing is real or happening only in a character's mind. But the movie ultimately suggests that the difference doesn't matter. The premise of the movie, in which a child-killer haunts teenager's dreams and has the capability of killing them while they're asleep, turns the whole "It was all just a dream" convention on its head: in this movie, the real world is safe, and the dream world is monstrously dangerous.

The movie finds a number of ways to explore this ambiguity, including a bathtub scene that invites comparisons with the shower scene in "Psycho" without being a cheap ripoff. My personal favorite scene, and one of the scariest I've ever seen in a movie, is the one where Nancy dozes off in the classroom while a student is standing up in front of the class reading a passage from Shakespeare. The way the scene transitions from the real classroom to a nightmarish version of it is brilliantly subtle.

The director, Wes Craven, understood that the anticipation of danger is usually more frightening than the final attack. There are some great visual shots to that effect, including one where Freddy's arms becomes unnaturally long in an alleyway, and another where the stairs literally turn into a gooey substance, in imitation of the common nightmare where it is hard to get away from a pursuer. The movie continually finds creative ways to tease the audience, never resorting to red herring, that tired old convention used in almost all other slasher films.

Despite the creativity in these scenes, "A Nightmare on Elm Street" is still a formula movie, with relatively one-dimensional characters and no great performances. This was Johnny Depp's first role, as Heather Langenkamp's boyfriend, and although he does get a few neat lines of exposition (his speech about "dream skills"), his personality is not fleshed out, and there is no sense of the great actor Depp would go on to become.

Within the genre, however, "A Nightmare on Elm Street" is a fine work. My main criticism isn't its failure to transcend the formula, but its confusing and obtuse ending, apparently put there in anticipation of sequels, but managing to create a mystery that the sequels were unable to clear up. The climactic confrontation between Freddy and Nancy is weakly handled. The crucial words she says to him are surprisingly clunky, and her father's muted behavior during that scene is almost inexplicable. It has led me to consider an alternative interpretation of the scene, but one that feels like a cop-out. The scene that follows, and where the movie ends, is anticlimactic and unnecessary. These clumsily-made final two scenes come close to ruining the movie, and it is a testament to the film's many good qualities that it still stands as an unusually effective horror film that invites repeat viewings.


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