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On her way home from school, teenage Tara (Lindsay Pulsipher) is run
over by a car ... but instead of being taken to a hospital, she is taken
to the home of Judith (Lori Petty) and Anton (William Samples), who for
one reason or another lock her in their cellar with a suicidal teenage
boy, Johnny (Jesse Haddock), whom they kept heavily sedated and who for
that reason has lost his voice. Still, Tara and Johnny do become friends,
if mainly to unite against their common enemy, Judith and Anton.
However, all is not as it seems, Johnny is actually Judith and Anton's
son who has died 12 years ago, but the two hav made a bargain with the
devil who agreed to bring Johnny back to life bit by bit until Anton and
Judith have sacrificed him 12 virgins - and it looks as if Tara is the
twelfth ...
It's not like Johnny wants to kill Tara to become wholly alive again,
quite the contrary,he only has that little predicament that he every now
and again turns into a murdering monster (played by Walter Phelan) as
which he can no longer control himself and to which young Tara definitely
is no match.
Somehow though, Tara survives her first night with the monster, and
when Johnny comes to again he more than ever wants to kill himself,
especially because he has really come to like Tara - but she just won't
let him. The next night she freely gives herself up to him - as monster -,
who slaughters her in the most brutal fashion ... and as a result, Judith
and Anton get back their son again, (fully) alive and kicking ...
But what is that ? An unhappy (and unsatisfactory) ending ?
Nope, because in the meantime, Johnny has made a bargain with the devil
himself, and he has offered him the lives of his mother and his father
(who made him do all these terrible things) in exchange for a new lease of
life for Tara - and wouldn't you know it, the devil accepted ...
The end has Johnny and Tara walking hand in hand through a landscape to
kitsch to be true ...
One of the better episodes of the terribly uneven Masters of
Horror, mainly because it's completely unpretentious and doesn't
try to apply misinterpreted Freudian psychology to its story on one hand,
on the other hand it seems to even make fun of some normally tedious
esplanatory sequences that tend to so often slow good shockers down way
too much.. That said, The Fair-Haired Child is still far from
great, basically it's just another monster tale - but it's far from bad
either !
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