Over 140 credits, an insanely lucrative franchise, a handful of iconic roles, and a fan base that many would sell their souls for. It’s good to be Robert Englund. Years from now, when the man’s time on this earth has expired and new Robert Englund feature films have ceased to see release, genre fans will continue to praise his work.
And rightfully so. No amount of time can erase a legacy of this caliber. Here’s the deal, plain and simple: Robert Englund is a certified stud with some absolutely amazing performances under his belt. Here’s a look at 10 of his best genre characters, which should serve as a fine reminder of how amazing and divergent the man truly is.
Professor Gordon Crowley (Jack Brooks: Monster Slayer): Talk about characters that experience radical transformations! very few undergo the extreme change that Professor Gordon Crowley experiences in the extremely underrated monster movie Jack Brooks: Monster Slayer (seriously, this is an incredible movie). Robert shows up dressed like a true professor, but it doesn’t last long. By the time the final credits roll, Mr. Englund has had the time to showcase his skills as a driven teacher, an horrific monster, and every physical alteration made between the two. This is an entertaining character in an entertaining film that more fans should be discussing. I’m still waiting on the sequel.
Doc Halloran (Behind the Mask: The Rise of Leslie Vernon): The only problem with Englund’s rendition of Sam Loomis (which is essentially what this character is)? He doesn’t have enough screen time. Make no mistake, Englund invests in the project and we get some quality sequences in which he stands front and center, but there just aren’t enough of those shots to leave fans feeling fully gratified. He deserves more, and if Scott Glosserman ever gets to make his planned spreequel (as he calls the proposed pic Before the Mask), one can only hope that his finds a way to work Englund back into the story. Though fairly scant in participation in the first film, the character feels truly compulsory. We need him back.
Mayor Buckman (2001 Maniacs): Bat-shit crazy and stuffed full of intentionally risky decisions, 2001 Maniacs is awesome because it isn’t a film that emits any perceived desire to conform to an ideal mold. It isn’t supposed to be a perfect film; it’s supposed to be a flawed film, and director Tim Sullivan makes sure we all recognize that. Englund is particularly over the top as the animated mayor of a mysterious town of cannibalistic ghost freaks. Just saying that forces me to face the truth, and the truth is, it doesn’t make a lot of sense when you really examine the story. But if you sit back with an open mind and a willingness to just laugh, this one kicks ass, as does Englund’s maniacal depiction of the mayor.
Professor William Wexler (Urban Legend): We got so fucking ripped off by Urban Legend. On the surface the movie looks like just another Scream ripoff. Then you peel the layers away and learn you’ve got a surprisingly fair shocker that brings historical American pop culture to the forefront of the narrative. It’s clever in a few moments, and it also has a handful of cool appearances from a myriad of familiar genre contributors. Danielle Harris is in the film. So is Julian Richings, Loretta Devine, Brad Dourif, and of course Robert Englund. But only Devine earns respectable screen time. The rest, Englund included, are featured in a small handful of brief scenes that leave us yearning for more. It’s a damn shame as it’s awfully entertaining watching Englund play a straight-edge college professor (yeah, another one) who is totally and completely controlled in his delivery. An additional 10 to 15 minutes of character exploration would have been welcomed warmly.
Ian (Zombie Strippers!): One of the more deceptive products on this list, Zombie Strippers! is a silly romp with some preposterous performances. But it’s also a big commentary piece, believe it or not. Director Jay Lee certainly hammers home a few opinions, and he does so without venturing into overly preachy territory. Don’t fret, however; any sociopolitical statements are nearly muted by the fact that the flick lives up to its title. There are actually zombie strippers in this, and Robert Englund has the chance to deal with them firsthand. How in the world can you possibly not love that kind of role?
Sampson (Hatchet): Hatchet is a bit like Urban Legend in the sense that it doesn’t afford Englund much to work with, and it should have. Sampson is a total douchebag who comes across as the sort of fellow who couldn’t be polite if his genitals were on the line. He can’t even extend a little decency to his pansy ass son. Given his connection to Victor Crowley – Hatchet’s focal villain – there’s potential for some wildly violent exchanges between the two. But those do not have the chance to be realized, as Sampson is a corpse in a matter of minutes. It’s another polarizing character that unfortunately we never really had the chance to know thoroughly.
Raymond Beaumont (Wishmaster): A smooth collector of fine artifacts, Raymond Beaumont was destined to cut his own lifespan short in Wishmaster. Those who share company with the mighty Djinn tend to fall, but the greedy… well, they flat out kamikaze. This is one of those rare moments in which Englund approaches a smaller supporting role, and it’s perfectly measured. Beaumont’s time in the story is perfectly played, gifting viewers just enough time to really get a feel for the fellow before the impulse to make a wish sets in.
The MC (“Dance of the Dead”): Showtime’s “Masters of Horror” can be argued as the finest contemporary anthology series in existence. Don’t get me wrong; there are some quality shows out there that utilize similar structuring, but few impress as consistently as “MOH”. A fine example of a scintillating installment is “Dance of the Dead,” a supremely twisted tale featuring Robert Englund as the axiomatic Master of Ceremonies. And he’s damn good with the microphone in his hand, overseeing one hellacious party. It’s a chance for Englund to be big and bold (he makes a damn fine leader) without being overtly hokey. It’s definitely a unique role for the man, but he doesn’t disappoint in the slightest. If you missed this “MOH” installment, go track it down!
Robert Englund (Wes Craven’s New Nightmare): Surprised to see this pick? You shouldn’t be. While a piece of the Nightmare on Elm Street franchise, Wes Craven’s New Nightmare is certainly a departure from the norm. If you’ve forgotten the film, Englund actually plays himself in a seriously meta movie before meta was, well, meta. It’s hard to say exactly how much of Englund is really in the role and how much is strictly manufactured script, but I’m inclined to believe Craven sought out sincere performances by taking a somewhat liberal approach to the script and improvisation. Regardless, whether this is an accurate portrayal of Englund himself is irrelevant. What is relevant is the fact that New Nightmare is an extremely refreshing franchise film that still stuns today, 20 years after creation.