‘April Fool’s Day’ Is the Rare Horror Film That Works in Spite of a ‘Gotcha’ Twist Ending
On today’s date in 1986, the iconic horror picture April Fool’s Day was released in theaters. Given the film relies so heavily on a ‘gotcha’ twist ending, the flick could have easily been forgotten in the years since its theatrical exhibition. But instead, April Fool’s Day has become a cult classic and an annual tradition for many horror fans. A strong screenplay, a winning cast, a claustrophobic atmosphere, and a dark sense of humor make the film stand out after all these years.
Muffy St. John (Deborah Foreman) invites a group of college pals to her family’s secluded island estate over spring break. At first, Muffy seems like the perfect host. But with the passing of time, her behavior becomes more erratic. Not to mention, her guests have an unfortunate tendency to turn up dead.
As I mentioned previously, the film hinges upon a twist. If you haven’t seen April Fool’s Day, please bookmark this piece and finish reading once you’ve watched it!
Spoilers abound from here on out.
At the end of April Fool’s Day, we learn that the characters who have been ‘killed off’ actually haven’t been murdered at all. No, it seems Muffy has been hard at work planning a murder mystery experience and her guests just so happen to be unknowing participants in a trial run of the festivities. Each is clued in on the elaborate prank after their perceived demise.
I often struggle to rewatch films that revolve around a ‘gotcha’ twist. In so many cases, repeat visits are rendered unnecessary after all is revealed. But that’s simply not the case with April Fool’s Day. There are a number of reasons for that. Perhaps the biggest reason I’m so eager to look past the twist and rewatch the film every April 1st is because the reveal at the end makes perfect sense within the context of the narrative.
The characters begin playing pranks on one another mere moments after being introduced since the proceedings are appropriately set on the one day of the year when pranks are expected and encouraged. So, the reveal feels justified when taking all of that into account. Additionally, there’s a sense of goodwill in knowing that Muffy is conducting a trial run to see if she can pull off the kind of immersive experience she’s setting out to provide paying guests.
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Muffy’s altruistic intentions make it easy enough to forgive her deceit and wish her the best. The feat she pulled off proves her to be resourceful, enterprising, and clever. On that basis, it’s kind of nice to see her succeed. Now, don’t get me wrong, I think the film would have worked even better if Muffy weren’t a privileged aristocrat with more money than God. But I think Foreman goes a long way toward making the character accessible despite her profound privilege.
The picture benefits from a great cast of likable characters beyond the leading lady. The supporting players are enjoyable to spend time with prior to their presumed demise. The likability of the cast takes some of the sting out of the twist. At the point the viewer realizes they have been duped, they simultaneously realize that the characters they enjoyed spending time with are alive and well. If the cast had been portrayed as bratty and obnoxious, as was often the case in ‘80s horror, the twist could easily have been frustrating. Yes, some of the characters have grating qualities. But screenwriter Danilo Bach doesn’t script them as cannon fodder. They come across like real people. And that goes a long way.
Also working in the film’s favor is the great atmosphere established by director Fred Walton. The camerawork, score, and editing lend an ominous air to the proceedings that keeps first-time viewers on edge as they try to figure out what the hell is happening. Additionally, stranding the characters on an island lends a claustrophobic quality to the proceedings that really serves to up the ante.
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Another effective flourish comes by way of Kit’s (Amy Steel) outraged reaction to the elaborate prank. As the would-be final girl, Kit beats the viewer to the punch. She is rightfully angry and feels duped. But that almost serves to circumvent the viewer’s inclination to feel similarly. When Kit eventually manages to see the humor in the ordeal and cracks a smile, it works like a subconscious cue for the viewer to do the same. What she endured is unfortunate but also comical in a sadistic way.
In short, April Fool’s Day pulls off the impossible. The film functions as a thrilling horror effort without the benefit of a body count. Moreover, the film sells an outrageous twist ending that should feel like a letdown but instead works as a pleasant surprise.
Categorized:Editorials
