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2000 horror film “Ginger Snaps,” directed by John Fawcett, follows death-obsessed sisters Ginger (Katharine Isabelle) and Brigitte (Emily Perkins) Fitzgerald. Refreshing the werewolf genre, “Ginger Snaps” parallels puberty with lycanthropy. It’s darkly comedic, ripe with originality, and well acted, the formula for a contemporary werewolf romp.
The death-consumed Fitzgerald sisters form a pact to die together: “out by 16 or dead on the scene, but together forever.” It’s an attempt to eschew the juggernaut of adulthood. Both late having their periods, 16-year-old Ginger finally begins menstruating. “Our little girl is a woman now,” their excitable mother (portrayed in a delightfully kooky manner by the phenomenal Mimi Rogers), offers over dinner. Their hometown, Bailey Downs, has lately been plagued by a string of brutal dog killings, blamed on the mythical Beast of Bailey Downs. One evening, while on an excursion to kidnap high school bully Trina Sinclair’s (Danielle Hampton) dog, a creature attacks Ginger. Drug dealer Sam Miller (Kris Lemche) accidentally runs over the animal as it chases the fleeing sisters.
On the surface, John Fawcett’s 2000 Canadian horror film “Ginger Snaps” is a stylized werewolf genre flick. Yet its use of transforming into a werewolf as a metaphor for puberty remains effective, and sets “Ginger Snaps” apart from the pack. There’s the evolution of Ginger from a girl into a young woman that’s suddenly interested in sex, having her period, and rebelling. Simultaneously, Ginger develops self-destructive tendencies, all while evolving physically including a newfound tail which, hilariously, must be taped to her leg before gym class. Employing lycanthropy as a vehicle to compare puberty works brilliantly as the similarities are uncanny: hair growth in strange places, insatiable desires, and a struggle between fitting in and feeling like an outcast.
The darkly comedic tone which permeates the entire film begins with the opening credits. It features a haunting slideshow of the seemingly-dead Fitzgerald sisters, which it turns out is a series of photographs for class. Not surprisingly, this prompts a trip to the guidance counselor. Throughout the movie, the dark humor pervades: one scene finds the Fitzgerald sisters stashing a corpse in an ice chest before their parents return home.
Acting is top notch. Katharine Isabelle masters Ginger’s metamorphosis, while Emily Perkins as Brigitte plays a loyal, shy, clever sidekick. The town drug dealer, shockingly, deviates from the loser stoner trope, instead aiding Brigitte as a compassionate, genuinely caring ally. Mimi Rogers completely steals each scene she’s in as the overly-excited mother with unrelenting idiosyncrasies.
While much of “Ginger Snaps” diverges from the traditional werewolf film, the third act morphs into straightforward horror. It’s nevertheless satisfying, particularly with its Cronenberg-esque effects and one of the best transformation scenes since “An American Werewolf in London.” However, much of the humor dissipates, and the tone drastically shifts to a dramatic atmosphere which feels slightly jarring coming from the abundant dark comedy.
Ultimately, “Ginger Snaps” remains a bloody good horror comedy. Replete with subtle dark comedy, strong acting performances, and its use of lycanthropy as an analogy for puberty, “Ginger Snaps” delivers an engaging and thoughtful narrative.
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