John Carpenter is our favourite filmmaker and a masterful storyteller known for his unique blend of horror, science fiction, and action. His films often interwove topical socio-political concepts, hidden within their subtexts. For me personally, JCs films alongside comics like 2000ad and music like Punk and Rap has definitely informed my own political beliefs.
These days, we often see an outpouring of criticism on social media about the so-called ‘wokeness’ of films or TV. It seems that this word has become the battle cry of the reactionary conservative, who use it solely to discredit people or ideas they disagree with. I think the psychology of this kind of attitude is interesting. Most people are political, but when they are confronted by political views that contrast with their own, they are forced to question their own attitudes. Yet, instead of taking some time to reflect on these issues or having a conversation they become defensive and choose outrage and anger instead.
If you ask me, in most cases, its not so-called ‘wokeness’ that people are really complaining about, but bad writing! Art of any kind is a form of self-expression and, whether its films, TV, music or modern art, it has always been used to express views and deliver socio-political commentary, whether that’s criticism or simply a talking point. So, I thought I would examine the socio-political content hidden within the subtexts of films from the Master of Horror - John Carpenter.
Carpenter’s films typically subverted traditional filmmaking tropes, creating narratives that were both entertaining and thought-provoking. Here, I have picked a handful of my personal favourite Carpenter films to highlight the way in which he often satirised aspects of mainstream society, raising questions about attitudes and perceptions that often go unnoticed by viewers who hadn’t considered the subtext. Is John Carpenter ‘woke’? Well, if having an opinion that differs from yours is ‘woke’ then yes. But if ‘woke’ is being a bad writer definitely not!
Assault on Precinct 13 (1976): Urban Decay, Social Breakdown, and Racial Tensions
"Assault on Precinct 13" reimagines Howard Hawks' "Rio Bravo" in a modern urban setting, while simultaneously evoking the spirit of Romero’s “Night of the Living Dead”. The film's premise is simple yet effective: a diverse group of people, including police officers and criminals, are trapped in a decommissioned police station besieged by a violent gang. The casting of Auston Stoker in the lead is noteworthy, not only for the fact that he is black, in a time where Hollywood rarely cast black actors in lead roles, but for the fact that his ethnicity is never mentioned or referenced directly. Carpenter uses the setup of the film to comment on urban decay and social breakdown. The gang members are ethnically diverse, which was unusual for the time, reflecting the racial tensions and the racialization of American society in the 1970s. This diversity suggests a deeper comment on societal fragmentation and how marginalized groups are often vilified in the narrative of urban crime and decay.
It’s also worth noting how Lt. Ethan Bishop (Stoker) collaborates with Napoleon Wilson (Darwin Joston) who is a violent criminal, who may have been misunderstood by the authorities and proves himself to be anything, but the one-dimensional depiction of criminality often seen in films of the time. The film also features a great turn from Lauri Zimmer as Leigh, a female detective who’s tough, stoic exterior is the mirror of Stoker’s more emotive Bishop.
The film's depiction of a multiracial gang attacking a symbol of law and order speaks to the anxieties of an era grappling with civil rights movements and the fight for racial equality. By presenting the gang as a unified yet diverse force of chaos, one might argue that Carpenter is commenting on the fear of a racially integrated society breaking down societal norms. The siege of the precinct can be seen as a metaphor for the perceived encroachment of minority groups into traditionally white-dominated spaces, challenging the audience to reconsider their own biases and fears.
Halloween (1978): Suburban Complacency, Sexual Morality, and the Return of the Repressed
"Halloween" is a seminal slasher film that revolutionized the horror genre. Carpenter’s portrayal of Michael Myers as "the Shape" — an embodiment of pure, inexplicable evil — serves as a critique of suburban complacency. The film's setting in the seemingly safe suburban town of Haddonfield contrasts sharply with the horrific violence that unfolds. Myers’s random and motiveless killings shatter the illusion of safety and normality that the suburbs are supposed to represent.
A notable aspect of the film is how Myers appears to punish anyone who engages in sexual activity. Laurie Strode (Jamie Lee Curtis), who, it is implied, is a virgin, survives, while her friends who have sex are killed. This dynamic raises questions about the film’s stance on sexual morality. On one level, it can be interpreted as a criticism of sexual liberation, reflecting conservative attitudes of the time. Myers’s killings could be seen as a form of puritanical retribution, enforcing traditional moral codes.
Conversely, the film can also be read as a mocking of those same conservative attitudes. The exaggerated punishment of sexually active characters may be Carpenter’s way of highlighting the absurdity of conservative fears surrounding sexual expression. Laurie subverts the typical final girl trope, surviving, due to her vigilance and resourcefulness rather than her chastity and suggests that moral purity alone is not what ensures survival. Instead, it is her ability to face the horror head-on and fight back that saves her, making a more complex statement that perhaps points to female agency and resilience.
The Fog (1980): Historical Guilt and Retribution
"The Fog" (which is one of Carpenter’s most underrated films, in my humble opinion) tells the story of a coastal town haunted by vengeful spirits from its past. The town of Antonio Bay harbours a dark secret: its founders murdered a group of lepers to steal their gold and establish the town. The arrival of the fog brings the spirits back to exact revenge. Carpenter uses this supernatural tale to explore themes of historical guilt and retribution.
The fog serves as a metaphor for the past enveloping the present, suggesting that the misdeeds of history cannot be easily forgotten or ignored. The spirits’ return to claim vengeance possibly reflects the idea that societies must reckon with their past injustices. Carpenter critiques the way communities often bury their dark histories, only to have them resurface with destructive consequences.
This theme is particularly relevant to discussions of colonialism and the exploitation of marginalized groups. The victor gets to write the history they wish to remember. The Fog’s narrative could be seen as an allegory for how the sins of the past continue to haunt the present, forcing contemporary society to confront and atone for historical wrongs. The characters’ struggle against the supernatural fog mirrors the broader societal struggle to acknowledge and rectify past injustices (such as slavery). Let us also mention the great performances by the film’s stars Andrienne Barbeau, Jamie Lee Curtis and ever reliable Tom Atkins. Once again, Carpenter chose to have strong female protagonists, this time there are two ‘final girls’, one of which is a single mother, the smoky voiced Stevie Wayne (Barbeau). This is a character that would typically have been portrayed as sinful or in need of rescue by mainstream Hollywood. But Wayne is more than capable of taking care of herself.
Escape from New York (1981): Dystopian Authority and the Anti-Hero
"Escape from New York" presents a dystopian future where Manhattan Island has been converted into a maximum-security prison. The film’s protagonist, Snake Plissken (Kurt Russell), is a cynical anti-hero reminiscent of Clint Eastwood’s "man with no name" character. Carpenter uses Snake to critique authoritarianism and the political establishment. The government's draconian measures and the lawless prison island reflect contemporary fears of urban decay and state overreach.
Snake’s distrust of authority and his survivalist ethos embody a rejection of the establishment, making him a symbol of individualism in the face of oppressive systems. His mission to rescue the President, not out of patriotic duty but as a means to secure his own freedom, underscores his anti-establishment stance. This subversion of the traditional hero trope challenges the audience’s expectations and critiques the glorification of authority figures.
The film’s depiction of a decayed and lawless New York is a dystopian vision of what happens when society abandons its citizens and resorts to extreme measures to maintain order. Carpenter critiques the ineffectiveness and moral bankruptcy of such measures, suggesting that true security and stability cannot be achieved through authoritarian control. Instead, the film seems to advocate for individual autonomy and resistance against oppressive systems.
Yet, despite his anarchistic individualism, Snake has to employ the help of some ‘friends’ in the form of Brain (Harry Dean Stanton), Cabbie (Ernest Borgnine) and Maggie (Adrienne Barbeau). So maybe the real message is that the people need to unite to defeat the oppressive authority?
I feel that Isaak Haye’s villain The Duke, is a gaudy, ostentatious and clearly psychotic mirror image of the president himself (played by Donald Pleasance) who is anything but honourable or honest in his motivations. Duke is, in essence, a simplistic and deeply cynical depiction of how the character perceives the political establishment, looking up from the basement of a hierarchy that limits social mobility.
The Thing (1982): Paranoia and the Fear of the Other
We have made no secret of our obsessive fondness for "The Thing". This is a remake of the 1951 film "The Thing from Another World," set in an Antarctic research station (Outpost 31). The alien organism that can assimilate and imitate any living being seems to serve as a metaphor for Cold War paranoia and the fear of the other (a classic ploy of the conservative right to promote fear and paranoia to maintain control). Carpenter’s depiction of the scientists' growing distrust and isolation critiques the era's pervasive suspicion and the breakdown of communal bonds.
The film’s shocking and groundbreaking practical effects – created by the masterful Rob Bottin – give the body-horror a sense of grotesque that feels tangible. Meanwhile the dark humour found in the characters’ interactions underscores the absurdity of their situation. Carpenter subverts traditional horror tropes by focusing on the psychology of mistrust rather than just physical threats. The fear of not knowing who is human and who is the alien reflects broader societal anxieties about infiltration and the breakdown of social cohesion.
Carpenter’s use of the isolated Antarctic setting amplifies the characters’ paranoia and sense of entrapment, possibly mirroring the claustrophobic atmosphere of Cold War politics. The film’s ambiguous ending, with the fate of the characters left uncertain, reinforces the idea that paranoia and mistrust can never truly be resolved, leaving the audience to ponder the lingering threat of ‘the other’.
Prince of Darkness (1987): Science, Religion, and Cosmic Horror
"Prince of Darkness" blends science fiction and supernatural horror, focusing on a group of scientists and theologians investigating a mysterious cylinder containing the essence of Satan. Carpenter uses the narrative to explore the tension between scientific rationalism and religious belief, questioning humanity's understanding of reality and the nature of evil.
The film questions traditional authority figures in both science and religion, maybe suggesting that neither has all the answers. The apocalyptic tone and cosmic horror elements highlight humanity's insignificance in the face of greater, unknowable forces, subverting the typical resolution-driven narratives of both sci-fi and horror genres. The film’s depiction of the scientists’ futile attempts to understand and contain the evil substance could be seen as questioning the hubris of human attempts to control and rationalize the supernatural.
Carpenter’s use of dreams and premonitions as narrative devices blurs the line between reality and nightmare, emphasizing the limits of human perception and understanding. The film’s unsettling atmosphere and ambiguous ending leave the audience with a sense of cosmic dread, suggesting that some forces are beyond human comprehension and control. Although one might suggest that there is more to it than that. The fact that the essence of pure evil is held within the basement of an old church could suggest that Carpenter is implying that the true threat is the authoritarian institutes of organised religion. Perhaps the real question is one of faith and that The Prince of Darkness is a metaphor for the way the Catholic church has weaponised faith in order to justify many deeds of great evil throughout its history.
Big Trouble in Little China (1986): Cultural Parody and Genre Subversion
"Big Trouble in Little China" is a unique blend of action, fantasy, and comedy. The film follows truck driver Jack Burton (Kurt Russell), who becomes embroiled in a mystical battle in San Francisco's Chinatown. Although perceived as the protagonist, Burton might actually not be the main hero; that role is held by his "sidekick" Wang Chi (Dennis Dun). Carpenter subverts the traditional action hero trope by presenting Burton as a light-hearted, arrogant and slightly inept version of John Wayne, whereas Wang is the true competent hero of the story.
This dynamic allows Carpenter to parody American cultural imperialism and the trope of the white saviour. The film's mix of genres and its humorous take on traditional action-adventure narratives spotlights Western attitudes towards Eastern cultures and the oversimplified heroism often depicted in Hollywood films. You might say that this is a film told from the point of view of the sidekick (Burton) as he helps the ’hero’ (Wang) save the girl.
The film’s depiction of Chinese mythology and mysticism, though exaggerated for comedic effect, also serves as a celebration of Eastern culture and a critique of Western ignorance and stereotypes. Carpenter’s playful approach to genre conventions and cultural representation encourages the audience to question the dominant narratives and recognize the richness and complexity of other cultures. Yes, you could argue that these depictions often drift into stereotyping, but every character in this film is a stereotype and, at-least, Carpenter cast actual Asians in Asian roles, unlike many mainstream Hollywood films over the decades.
They Live (1988): Consumerism and Media Manipulation
"They Live" is one of Carpenter's most overtly political films, critiquing consumerism, media manipulation and the neo-liberal corporate state. The film follows Nada (Roddy Piper), a drifter who discovers that the elite ruling class are aliens controlling humanity through subliminal messages embedded in media and advertising. Carpenter uses the film's premise to highlight economic inequality and the pervasive influence of corporate power. The message is not subtle at-all. In 80s Reagan-era America if you want to succeed and reach the top you can, but you have to sell out to the ‘elite’.
The iconic scene where Nada puts on sunglasses to see the hidden messages — such as "Obey" and "Consume" — is an epiphany. Nada finally sees the world as it is, everything is a lie and a means of control to protect the corporate state and suppress the majority of people in society. The film's blend of sci-fi horror and dark humour underscores the absurdity and chaos of a society driven by these consumerist values. Carpenter critiques the passive acceptance of media and advertising, suggesting that it perpetuates social inequality and stifles critical thinking. Today we see that manifest in the form of lazy journalism which boils down to little more than screen shotting random opinions on Twitter.
"They Live" also addresses issues of class struggle and resistance. Nada's discovery of the truth and his subsequent fight against the alien overlords reflect the struggle of the working class against oppressive neoliberal systems. The film’s portrayal of the aliens as wealthy elites manipulating society for their own gain serves as a biting satire of capitalist exploitation and the dehumanizing effects of consumer culture.
Conclusion
John Carpenter's films all feature social commentary, but their message is hidden within the subtext. You can enjoy his films for the scares, the effects, the laughs and the, often, larger than life characters. But should you look beneath the surface you will find criticisms of authority, the political establishment, conservative tradition, sexism and social inequality. Whether through the urban decay of "Assault on Precinct 13," the suburban horror of "Halloween," the historical retribution in "The Fog," or the consumerist critique in "They Live," It’s fair to say that Carpenter creates narratives that invite the audience to reflect on these societal issues, and I think that is important – the audience is not being smashed in the face with Carpenter’s personal politics.
Carpenter’s films have cultivated a cult following, resonating with audiences, while offering a powerful commentary on the human condition and the societal structures that shape our lives. Carpenter's work remains relevant and thought-provoking, cementing his legacy as a filmmaker who not only entertains but also provokes critical thought about the world we live in.