Henry: Portrait of a Serial Killer

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Henry: Portrait of a Serial Killer is a 1986 film directed by John McNaughton about the random crime spree of a serial killer who seemingly operates with impunity. It stars Michael Rooker as the nomadic killer Henry, Tom Towles as Otis, a prison buddy with whom Henry is living, and Tracy Arnold as Becky, Otis’ sister. The character of Henry is loosely based on real life serial killer Henry Lee Lucas.

The film was shot on 16mm in less than a month with a budget of only $110,000. The film was ranked #2 on Bravo's 13 Scariest Movie Moments

Origins

In 1984, executive producers Malik B. Ali and Waleed B. Ali of Maljack Productions hired a former delivery man for their video equipment rental business, John McNaughton, to direct a documentary about gangsters in Chicago during the 1930s. Dealers in Death[1] was a moderate success, and was well received critically, so the Ali brothers kept McNaughton on as director for a second documentary, this time about the Chicago wrestling scene in the 1950s. A collection of vintage wrestling tapes had been discovered, and the owner was willing to sell them to the Ali brothers for use in the documentary. However, after financing was in place, the owner doubled his price and the brothers pulled out of the deal. With the documentary cancelled, Waleed and McNaughton, decided that the money for the documentary could instead be used to make a feature film. The Ali brothers gave McNaughton $110,000 to make the film, with the provisos being that it was to be a horror film with plenty of blood.

McNaughton knew that with the budget he was to be working, there would be no way he could make a horror movie about aliens or monsters, and he found himself stumped for a subject matter until he saw an episode of the TV show 20/20 about the serial killer Henry Lee Lucas. It was then that McNaughton decided the subject for the film would be a flesh and blood human.

In the meantime, the Ali brothers brought Steven A. Jones onto the project as a producer, and Jones hired Richard Fire to work as McNaughton's co-writer. With producer, writer and director in place and with the subject matter decided upon, the film went into production.

Truth from fiction

With the film's influence derived from the real life case of Henry Lee Lucas, the character of Henry shares many biographical concurrences with Lucas himself. However, as the opening statement makes clear, the film is based more on Lucas' violent fantasies rather than the crimes he was convicted of. Similarities include:

Henry Lee Lucas became acquainted with a drifter and male prostitute named Ottis Toole, whom he had met in a soup kitchen in Jacksonville, Florida. In the film, the character's name is "Otis" and the two met in prison.
Henry Lee Lucas became the lover of Toole's 12-year-old niece, Frieda Powell, who lived with Lucas and her uncle for many years. As in the film, Frieda Powell preferred to be addressed as "Becky" rather than her given name. However, in the film Becky is Otis' younger sister and is considerably older than the 12-year-old Frieda Powell.
As in the film, Lucas' mother was a violent prostitute who often forced him to watch her whilst she had sex, and occasionally dressed him in girl's clothing. Also in the film, Lucas' father also lost both his legs after being struck by a freight train.
In prison, Lucas confessed to over 600 murders, claiming he committed roughly one murder a week from 1975 to 1983. The vast majority of these claims turned out to be false as Lucas was simply confessing to every unsolved murder brought before him. Doing so ensured better conditions for him, as law enforcement officers would offer him incentives to confess to crimes he did not commit. Such confessions also increased his fame with the public.

In the end, Lucas was convicted of eleven murders and sentenced to death for the murder of Frieda Powell. His death sentence was later commuted to life in prison by the then Governor of Texas George W. Bush in 1998. Lucas died in prison of heart failure on March 13, 2001.

Production

Henry was shot on 16mm in only 28 days for $110,000. During filmmaking, costs were cut by employing family and friends wherever possible, and participants utilized their own possessions. For example, the dead couple in the bar at the start of the film are the parents of director John McNaughton’s best friend, whilst the bar itself is where McNaughton once worked. Actress Mary Demas, a close friend of McNaughton’s, plays three different murder victims: the woman in the ditch in the opening shot, the woman with the bottle in her mouth in the toilet, and the first of the two murdered prostitutes. The four women Henry encounters outside the shopping mall were all played by close friends of McNaughton. The woman hitchhiking was a woman with whom McNaughton used to work. The clothes Michael Rooker wears throughout the film were his own (apart from the shoes and socks). The car driven by Henry belonged to one of the electricians on the film. Art director Rick Paul plays the man shot in the layby; storyboard artist Frank Coronado plays the smaller of the attacking bums; grip Brian Graham plays the husband in the family-massacre scene; and executive producer Waleed B. Ali plays the clerk serving Henry towards the end of the film.

Actor Michael Rooker remained in character for the duration of the shoot, even off set, not socializing with any of the cast or crew during the month long shoot. According to the costume designer Patricia Hart, she and Rooker would travel to the set together each day, and she never knew from one minute to the next if she was talking to Michael or to Henry as sometimes he would speak about his childhood and background not as Michael Rooker but as Henry. Indeed, so in-character did Rooker remain, that during the shoot, his wife discovered she was pregnant, but she waited until filming had stopped before she told him.

Because the production had so little money, they could not afford extras, so all of the people in the exterior shots of the streets of Chicago are simply pedestrians going about their business. For example, in the scene where Becky emerges from the subway, two men can be seen standing at the top of the stairs having a heated discussion. These men were really having an argument, and when the film crew arrived to shoot, they refused to move, so John McNaughton decided to include them in the shot.

After filming was finished, there was so little money left that the film had to be edited on a rented 16 mm flatbed which was set up in editor Elena Maganini's living room.

Henry and the censors

Although the film was made in 1986, it was not released until 1989 partly due to repeated disagreements with the MPAA over the movie's violent content, partly due to the executive producers not knowing how to market it, and partly their not thinking it was a very good film. The film was given an X rating by the MPAA but ultimately released in the United States without a rating.

In the United Kingdom, the film has had a long and complex relationship with the BBFC. In 1990, distributor Electric Pictures submitted the film for classification with 38 seconds already removed (the pan across the hotel room and into the bathroom, revealing the semi-naked woman on the toilet with a broken bottle stuck in her mouth). Electric Pictures had performed this edit themselves without the approval of director John McNaughton because they feared it was such an extreme image so early in the film, it would turn the board against them. The film was classified 18 for theatrical release in April 1991, but only if 24 seconds were cut from the family massacre scene (primarily involving the shots where Otis gropes the mother’s breasts both prior to killing her and after she is dead). Total time cut from the film: 62 seconds.

In 1992, Electric Pictures again submitted the film to the BBFC for home video classification, again with the initial 38-second edit. In January 1993, the BBFC again classified the film 18, waiving the 24 seconds they had cut from the theatrical release. Instead however, they cut four seconds from the scene where the TV salesman is murdered, meaning a total of 42 seconds were supposed to be removed from the home video release. However, BBFC director James Ferman overruled his own team and demanded that the family massacre scene be trimmed down to almost nothing, removing 71 seconds of footage. Additionally, Ferman re-edited the scene so that the reaction shot of Henry and Otis watching TV now occurred midway through the scene rather than at the end. Total time cut from the film: 113 seconds.

In 2001, Universal Home Entertainment submitted a completely uncut version of the film for classification for home video release. The BBFC waived the four seconds cut from the murder of the TV salesman, and 61 of the 71 seconds from the family massacre scene (they refused to reinstate the 10 seconds of the scene where Otis molests the mother after she is dead). Additionally, they partly approved the 38 second shot of the dead woman on the toilet, but they demanded that the last 17 seconds of the shot be removed. Based upon this, Universal decided to remove the shot entirely. Total time cut from the film: 48 seconds.

In 2003, Optimum Releasing again submitted a fully uncut version of the film for classification for home video release. In February 2003, the BBFC passed the film completely uncut, and in March 2003, the uncut version of the film was officially released in the UK for the first time.