"He's after me Marvin; he's trying to kill me! He killed Nancy!"
Amy (Caitlin O'Heaney), manic in the morgue, in "He Knows You're Alone."

The 1970's were an exciting period for independent film; especially for horror thrillers. Young filmmakers who had the talent and the drive could produce a low-budget film and, if the stars were in alignment, actually receive some kind of theatrical distribution. Years before the "google plex" and home video forced them into the indie ghetto, films such as "Last House on the Left" would play for years on outdoor screens and 2nd run houses. In 1978 John Carpenter's "Halloween" lifted low-budget exploitation films out of the drive-in and grind house circuit and made them a legitimate, if not prestigious, way for studios (major and minor) to make fast money. Its simple narrative and micro budget was a formula that, at least on paper, seemed easy to duplicate. When "Halloween" finally hit number one at the box office in the fall of 1979 (after a year of continuous platform releases), everyone wanted in on the next big horror hit. This was before the term "slasher film" was introduced into the film vocabulary. At the time the maniac-on-the-loose was simply the favored horror flavor. Soon every major studio was either producing a slasher film in-house or buying one already on the market. Paramount purchased "Friday the 13th" Fox, "Terror Train" Columbia "Happy Birthday To Me" and MGM "He Knows You're Alone."

Directed by Armand Mastroianni in late 1979, "He Knows" is one of the more slavish slahers to brandish a knife in the shadow of "Halloween." It's also one of the more enjoyable. Burdened with a terrible title and a poor ad campaign Mastroianni's film is remembered primarily for two things: the movie debut of a young Tom Hanks and the creepy opening sequence where a woman is stabbed in a movie theater. But this efficient, often suspenseful, little exploitation film deserves more than mere footnote status in this often-derided subgenre.

After a bride-to-be is stabbed through her seat while watching a horror movie, Detective Gamble (Lewis Arlt) grows concerned that it might be the work of a long dormant serial killer. A psycho who murdered Gamble's own fiancé just hours before their wedding. Sure enough, it turns out that Ray Carlton (the menacing Tom Rolfing) has returned from obscurity to begin killing brides and anyone associated with the wedding party. Fresh off the bus from nowhere, Ray sets his sights on Amy (Caitlin O'Heaney), a bride-to-be in the final planning stages of her wedding. While her fiancé is off on a wild bachelor party (and her parents conveniently away) she busies herself with dress fittings and lingering doubt about her upcoming marriage. Her best friends Nancy (Elizabeth Kemp) and Joyce (Patsy Pease) keep her company while she watches her younger sister and flirts with ex-boyfriend Marvin (Don Scardino). All the while she is followed by the wide-eyed stalker, who begins to slice up everyone associated with her upcoming wedding.

There are several aspects of Mastrianni's film that set it apart from the typical slasher film from this era. Shot on Long Island, the cast is filled with talented New York actors; many Broadway and soap opera vets. O'Heaney, previously seen in 1979's ugly, misogynistic "Savage Weekend" makes a likeable, if somewhat neurotic, heroine. Scardino who stared in Jeff Lieberman's "Squirm"in 1976 gives another "charming goofball" performance as Amy's spurned beau. Kemp (looking very Laurie Strode-like) is also very appealing as Nancy the girlfriend who sets her sights on a young jogger (Hanks). Much has been made about the future Bosom Buddies star in this film. In what constitutes as little more than a cameo, Hanks is fine as a psych student who gives a short spiel on the nature of fear. Thank the film gods they didn't use his photo on the DVD cover (it's been relegated to the back.) The late Rolfing is appropriately menacing as the stalker, though some of the awkward staging renders his character a bit clumsy. Writer Scott Parker embellishes the derivative story with just enough characterization for the actors to hold on to. Giving the scant dramatic elements a nuance not typically found in the slasher genre. The solid performances also give the suspense sequences an added sense of urgency.

"He Knows" can often be quite intense, especially during the climax set at a morgue. There are few films from this era that are actually suspenseful; most of which substituted thrills for extreme violence and gore. "He Knows" eschews much of the violence predominant in the genre, relying more on implied, off screen bloodletting. The Long Island location and late fall backdrop also give the film an isolated, chilly sense of place. Its lush fall aesthetic elevating much of the workman-like cinematography by Gerald Feil (who would go on to shoot "Friday the 13th Part 3Ó).

Though "He Knows" is in many ways a superior thriller, especially when considering its budget and 15-day shooting schedule, it remains one of the more blatant reactions to the success of "Halloween." Action set-pieces, characters and even music borrow liberally from the John Carpenter film." It also lacks the cinematic skill and innovation that made that watershed film so memorable. In the engaging commentary with Mastroianni and Parker, they mention Carpenter's film only once; odd when you consider how much they relied on his formula for success. In their defense, much of the "kitchen sink" horror brought back into fashion by "Halloween" was around well before its landmark release. The "old dark house" with the specter in the shadows goes back to the thrillers of the '30's. Pressure was also imposed upon the filmmakers by producers who insisted on more of the formulaic aspects - like the nude shower scene. And in a bit a slasher film irony, a few of the set pieces that occur in the climax of "He Knows" turned up a year later in "Halloween 2." While no one would accuse Carpenter of stealing from Mastroianni's film, it's interesting how certain film genres tend to overlap and recycle - intentional or not.

This DVD release from Warner's Home Video is a great gift to fans of this overlooked film. The beautiful transfer is presented in its original aspect ratio; the first time since its theatrical release. It also appears that the print was struck from the original negative; dark scenes that appeared murky on video and cable are now sharp and clear. The Dolby Digital sound is a serviceable mix with little distortion apparent. The special features include the original trailer and, best of all, commentary by Mastroianni and Parker. Their behind-the-scenes reminiscing might not be the most eagerly anticipated DVD audio track this year, but to kids who grew up reading Fangoria, this "special feature" truly is one.

Issue #9 of Fangoria, with its iconic image of a chainsaw wielding pig, featured a cover story on "He Knows." (A photo of Rolfing grabbing at O'Heaney is pictured just underneath the saw.) Any kid who purchased that issue in the fall of 1980 will certainly want to get of copy of this film. It's an entertaining artifact from a high point in exploitation history.