And so we reach the final Scream within the original trilogy. Was it always meant to be three? I’m not sure. I know that Kevin Williamson submitted the first script with a treatment for at least one sequel. Later, however, I heard him say that he always envisioned this being a trilogy. True or not, that’s what the franchise originally became and, even though Williamson was unable to write the script for the third film, we were lucky enough that Wes Craven returned to direct Scream 3 (thank you, Meryl Streep, and your lovely violins).
First, the two elephants in the room. As already mentioned, Kevin Williamson did not write the script for the third movie. That task went to Ehren Kruger (which is the most perfect last name for a movie directed by Wes Craven, amirite?). At the time, Kruger had written only three things, but he would go on to write a couple genre fiction favorites, IMHO, like the American remake of The Ring and The Skeleton Key. Of course, he’s also been behind those Transformer movies, so take it all with a grain of salt and a large margarita. Williamson would later state that he had a completely different idea for the direction of the third film, which ultimately he kind of did with Scream 4. Honestly, though? His original idea sounds really hokey. I mean, I’m sure that the original idea for the first film might sound hokey as well if reduced to one line, but this? Eh.
Second, there was a lot of push-back in Hollywood at the time that Dimension finally started gearing up to make the third film. Columbine happened the previous year, and of course, in a mad dash to find one simple explanation for something horrifically inexplicable, everyone wanted to blame the movies. Therefore, a lot of people wanted to completely disconnect the third film from its origin story and its two murderous high school students as well as scuttle Williamson’s original idea for the third film. It was Craven, however, who fought the hardest against white-washing Scream‘s history. He ultimately “won” against those who wanted to reduce the importance of the original story, but his price was the blatant increase in slapstick, nonsensical humor throughout this version. It’s the most purposefully silly of all the Scream films, which was both disappointing and distracting (which was the purpose, so well played there, guys).
So there are the two reasons that a lot of people usually bring up to point out why this is the worst of the Scream films and the weakest link in the trilogy. Do I feel this way? No (except about the Jay and Silent Bob cameo, because that was just pointless). To be fair, I did feel as though this was the weakest of the original trilogy when I first saw it. I thought it started out really well, carried a solid pace, but lacked the scares that I was anticipating and at times did play like a live-action version of Scooby Doo (which, honestly, I don’t really mind all that much. Because Scooby). Also, I found the ending to be the most anticlimactic of all the trilogy.
However, revisiting the film over the years, especially for this series, I’ve turned a more critical eye to the direction and the focus of this film. I honestly think that, if you look at this from the thematic perspective of Sidney as the keystone, take into consideration Randy’s admonishment to return to the beginning, and recall how beautifully and consistently Craven has interwoven reality and fantasy (particularly of the cinematic variety) throughout the trilogy, then this final entry into the original triumvirate indeed stands alongside the other two as a strong entry and ultimately a satisfying conclusion to the trilogy.
Now I’m finally going to go back to the beginning myself and talk about one of those points, which I wanted to save until now rather than reiterating in each review. Williamson’s original script was, at its heart, a love letter to the horror genre, particularly to John Carpenter’s original Halloween. Who wouldn’t want to write a love letter to that film, though, right? In the first film, we’ve got all these self-aware horror-cliched characters roaming about, spouting the knowledge they’ve gleaned from films like Halloween. They’re also using what they’ve learned to perpetrate their own horror films in real life. The line that separates those worlds for most people have blurred into non-existence for these characters, leaving them with the viewpoint that both realms are as real or as fake as they wish them to be. What better way to visually and aurally represent this than in the scene in which Dewey is searching Stu Macher’s house while we can hear the musical cues from Halloween playing in the background?
For a film that had been overlapping and interweaving reality and cinematic fantasy throughout the entirety of its run time, something so small as syncing that scene with the original score from Carpenter’s classic was a tiny slice of brilliance, if you ask me. It perfectly captured that surrealistic blending while using the audience’s knowledge of one element to increase the suspense and tension of the other element. Plus, the fact that nothing actually happens to Dewey while the action is reaching its denouement in the film playing in the background is a nice touch by Craven of, “Ha, you might know what’s going to happen there, but I’m not going to let you see my hand quite that quickly. You’re just going to have to wait.”
Of course, this same blending continued in Scream 2. I did talk about two of those moments: Maureen Evans’s death at the beginning of the film, committed right in front of a crowded theater of people who at first cheer before realizing that what they are witnessing is not part of the promotional pretending; and the dress rehearsal scene in which Sidney thinks the Ghostface Killer is among the masked members of the Greek chorus. Additionally, we get to see “scenes” from the movie-within-the-movie Stab, in which Craven and Williamson take collective swipes at how Hollywood can oftentimes bend the reality of a “true story” in ridiculous and trite ways.
As for this film? Well, this one ramps up the blending to a new level, by bringing the central action right onto the set of the latest Stab film and using as the central characters the cast from that movie. In doing this, we not only see the continuation of the blending of reality and fantasy, especially when we get the treat of watching the two “Gale Weatherses” interact, but we also realize that this is truly how we are going to go back to the beginning in two surprising ways. We also hit upon the “Sidney is the keystone” aspect since one of the focuses of the Ghostface Killer in this film is to bring Sidney out of hiding.
[Loba Tangent: I don’t want to go on about the casting much for this film since I have so much else to write, but can I just say Parker Posey is brilliant? Her interactions with Courteney Cox throughout this film are fantastico.]
As I noted in my review of Scream 2, Neve Campbell was only available to film for something like 20 days for this movie. Therefore, Sidney’s role needed to be pared back, which was a decision that admittedly saddened me but also one that I think worked perfectly for this story. I had noted in my review of the preceding film that Sidney’s hold on reality was starting to come under question by those around her. The moment during dress rehearsal in which she panics over believing that she has seen the killer among the other actors on the stage with her was the moment that truly slammed this into our brains.
With this third film, however, we must wonder right away if all that Sidney has survived hasn’t finally shredded her increasingly tenuous hold on reality. She has sequestered herself away from everyone, with only her father and Dewey knowing where she is. She lives behind locked gates and bolted doors and security systems with only a Golden retriever as a constant companion. It’s no surprise, then, that when reports of the latest round of murders starts to reach Sidney that she starts having nightmares, which turn into one of the most satisfying scares from the entire trilogy. The sequence with Maureen Prescott’s ghost calling to Sidney:
Sid… come here… Mother needs to talk to you… Everything you touch, Sid, dies. You’re poison.. you’re just like me… you’re just like me… [she lowers herself to the ground leaving bloody streaks on the window] What have they done to me? They’ll do it to you… they’ll do it to you…
First off, Craven’s setup of this scene plays as perfectly unnerving, not just because of the obvious creep factor but also because this is the first real view we get of Maureen Prescott beyond photos. And, sadly, this how she lives in her daughter’s mind: A haunting, terrifying figure who gives voice to all the fears that Sidney has been carrying within her since her mother’s murder