This recent independent
British supernatural revenge thriller adapts the exploitation themes of the home
invasion flick to suit the current post-Let
the Right One In art house boom conditions enjoyed presently by a culturally
renewed vampire genre, wherein contemporary urban locations are often requisitioned
to provide a mundane (and in this case chav-inhabited) backdrop for some
deliciously warped occult horror happenings. The result here is a conceptually
intriguing potpourri of genre elements, not always entirely satisfactorily
realised on the film’s ultra-low budget, but suggestive enough to imply the
notion that some degree of thought has gone into the presentation of the motivations
and actions of the characters whose lives it follows, and even, to some degree,
providing a philosophical basis for them. Young, British first-time writer-director
Oliver S. Milburn and producer Emma Biggins -- both graduates of Bournemouth
University film and production courses, who embarked upon this project soon after
obtaining MAs in their respective disciplines – have been as savvy in their
marketing campaign for the film since its limited theatrical release in June
2012, as they have with their genre-splicing
choice of material; a fascinating internet blog focusing on the production processes involved in low budget independent film-making (including their travails and pitfalls), being
just one of many online tools they’ve since utilised to conjure up visibility
in an overcrowded marketplace.
The film itself reveals
Milburn’s implicit feel for genre and makes the most of its picturesque Dorset
coastal cliff-top locations and the contrast such idyllic surroundings makes with
the grim-looking Bournemouth and Poole housing estates, shown by sodium-drenched night at the
top of the film -- their looming concrete tower-blocks saturated in a pall of
sickly neon luminosity amid environs inhabited by the vaguely feral-looking hooded
figures who roam their dimly lit underpasses and flyovers. It’s from these dank,
benighted urban locations that the violence which sets the main events of the
film in motion is eventually seen to emerge, marking this initially as another entry in
the distinctly British but much reviled ‘hoodie horror’ sub-genre category. The
tensions invoked by the ambiance and character of these two very diverse settings as they're
juxtaposed during a chronologically fractured opening sequence which inter-cuts
between two very different social worlds (the film benefits greatly from some
intelligent editing by David Spragg), and the image this creates of the
contrasting lives and values of their respective inhabitants, provides an unspoken
reminder throughout of the other conflicts and dichotomies being dramatised by the dialectically
driven narrative -- the main one being the moral relativity which is implied by
the positing of a world that’s uncomfortably split between two irreconcilable realms
– the supernatural and the material.The airy, comfortable, middle-class safeness of the lifestyle enjoyed by occult researcher and writer Daniel Shergold (Dan Richardson) and his loving wife Maria (Niki Felstead), stands in marked contrast to the dreary, rootless transience of the hoodie wearing, semi-criminal thirty-something yobs who are about to smash the comforting certainties of the couple’s existence apart. While Jeremy Howard’s sombre piano score implies a dark fatalism to the violence and brutality which is about to envelop the couple’s quaint, countryside cottage locale, the editing scheme used here sets up a thematic collection of parallel pairings which act as an illustration of the opposition between, say, the secular and the occult, lightness and darkness and the rural and the urban -- suggesting Daniel as a figure who is about to find himself precariously balanced between all of them.
At its core this is a traditional Faustian pact narrative, which begins when Daniel and his wife Maria arrive home from the publishers’ launch party celebrating the publication of the author’s new book about the occult, entitled Dark Corners, and are subjected to a harrowing Clockwork Orange-style invasion of their home by silent black-clad masked figures wielding iron bars, who proceed to film the murder of Maria on camcorder while Daniel is forced to watch her demise, powerless to intervene, his spine having been shattered during an attack which subsequently leaves him both bereaved and wheelchair-bound -- craving a vengeance he is never likely to obtain in his newly embittered state. The killers leave no clues behind them, and the police investigation soon peters out (‘no CSI magic,’ Daniel bitterly intones). One of the contributors to his recently published book, a mysterious unseen voice on the telephone called McMahon (Lockhart O’Gilvie) whom Daniel seems implicitly to trust, arranges a home visit from an enigmatic stranger by the name of Infurnari (Giles Alderson), who in turn claims to be able to offer Daniel the chance to find and then take his revenge upon those who have wronged him – but only for a special price, which unfortunately doesn’t involve the transference of money …
Infurnari looks at first
glance like a sales assistant more likely to be found behind the counter of an electrical goods store, dressed in his short
-sleeved shirt and jumper combo. The demonic red eyes soon give the game away
though. The word vampire is never
used at any point in the film (and fangs are conspicuous by their rarity), but
the gory, torturous, glimpsed-only-in-flash-frame transformation process (which
has a sadomasochistic element to it, highly reminiscent of some of Clive Barker’s
work) that Daniel eventually agrees to undergo at Infurnari’s hand, leaves him
with an inability to tolerate sunlight while nursing a deep craving for human blood
that has to be sated at all costs. On the other hand, crucifixes are easily
endured and Infurnari seems little detained by the vagaries of Catholicism, or
any religion for that matter, assuring Daniel that they're all just
human constructions used as a device for framing a human-centric morality that means
nothing to his kind, and which will soon have to be abandoned by Daniel as
well.
The transformation (and this is the crucial part) also restores the use
of Daniel's legs, and endows him with the handy
ability of being able to pick up psychic traces and sense impressions which will
help to track down the perpetrators responsible for Maria’s murder just by his
being able to sniff out their sweat or traces of their blood, and to pick out other olfactory
clues that the killers may have unwittingly left in their wake, but which are invisible
to ordinary mortals. There’s an effective scene at this point which acts as a
powerful allegory for the state of mind endured by those who are cursed by the
need for vengeance: when Daniel examines the bedroom in which Maria’s death
occurred, looking for a lead using his newly acute powers of perception, he is forced to relive the
moment over and over again, as though he were being physically transported back
to the time of the event; the deductive investigation process consequently becomes
a painful and emotionally harrowing one, which keeps the wounds raw and fresh
and stokes the fires of vengeance with even more fuel.
In many ways, these three unkempt
villains, played by Paul Jacques, Wesley McCarthy and Matthew Thorn, are the
best thing in the film: a brutal, emotionally stunted trio of louts who even get
ridiculed and chastised by their equally unbecoming ‘business partner’ for still
dressing like chavs even though they’re all now well into their thirties! The
fact that one of them (the nominal leader of the troupe) looks disconcertingly
like Carl Pilkington is just the icing on the cake that spells out ‘losers’ in large
sugar-coated lettering. These unlikable yobs have their own distinct code of
conduct which sets them in opposition to anyone outside their enclosed estate
of cramped tower block apartments and late-night dockside meeting places. At one stage the
group ponder who they should make the subjects of their next ‘snuff’ project after
having filmed a series of street muggings in their local vicinity at night, and
end up deciding that they won’t prey on ‘their own kind’ anymore -- meaning
those others who dwell amongst the twilight maze of underpasses and flyovers
which surround the blocks of flats on the housing estates in which they
themselves live.
People such as Daniel and Maria on the other hand, lead a life
so far removed from their own that the gang have next to no empathy with them
as human beings, and think nothing of carrying out the kinds of atrocities we’ve already
seen result in Maria’s death and which later become voyeuristic material for Roy’s
clientele. They’re the ‘underclass’ of tabloid mythology rendered here larger than
life: out to 'happy-slap' you for delinquent kicks; lurking on darkened street corners
waiting to follow you home. Except that their latest little money-making
venture takes them right into the heart of the well-heeled existence of
their middle class prey.
The street gang’s inability to
empathise with people from other social strata can be parallelled with Infurnari’s
lack of moral feeling for the human beings whose lives he needs to extinguish in
order to perpetuate his own existence. In this version of vampire lore, humans can’t
be turned by being bitten (that requires the special occult processes of bodily
reconstruction which were seen being performed on Daniel earlier) – instead they are
merely a source of nourishment and food. Infurnari compares his attitude to humanity
to that of most people towards animals: we might entertain a certain fondness for
our furry friends, but in most people that fondness exists perfectly comfortably alongside
the idea of killing other creatures for their meat, without causing any moral disquiet
whatsoever. But this, of course, is not true for everyone; and Daniel finds
himself attempting to balance on a precarious moral seesaw
thanks to the conversion process which has allowed him this opportunity to
exact a bloody revenge upon his wife’s unrepentant tormentors, but which also
obliges him to feed on sometimes perfectly innocent human beings in order to continue
to exist at all. Daniel’s attempt to reconcile his disgust with the moral vacuity of the killers he seeks out during the final act of the film with his own lust for the blood of the young care assistant, Fiona (Sophie Linfield) (who has so assiduously looked after him previously, during his anguished convalescence), and Infurnari’s insistence that he should give up any thought of possessing a moral obligation to humans now that he has been made anew, is the dilemma which lies at the heart of the film: for if Daniel were to truly extinguish all human sentiment, as Infurnari demands of him, then he would no longer have any compulsion to make the killers pay for the crimes they committed against his wife – and that is still what drives him onward, even despite an ugly scene, staged in his own kitchen, in which he is forced to gut and drain an unfortunate innocent of their life-blood.
This low budget offering addresses some interesting concerns, but doesn’t in the end entirely quite follow them through satisfactorily and settles for merely enacting clichés several times too often. I would also have liked more background on the Fiona character; she is perfectly sympathetic as far as she goes thanks to Sophie Linfield’s performance, yet the character is always overshadowed a bit too heavily by Daniel and Infurnari’s vaguely homoerotic relationship; we never get to know anything of her life outside her apparently boundless concern for Daniel’s welfare, which as a trait becomes just enough to allow her to play the role assigned to her in the script as a possible victim who is quite plainly entirely undeserving of the potential fate Infurnari would mark out for her; yet she is never allowed to become fully rounded enough to make the dilemma as acute and as impossible for Daniel as it should be. I found Giles Alderson’s Infurnari a bit too clean-cut and wholesome for someone who is supposedly a representative of a Nietzschean super-race of occult beings and the inexperienced cast also occasionally struggle to sell some of the gauche dialogue which has a tendency to clatter out of Milburn’s typewriter.
Other irritations revolve around the use of wholly unrealistic CGI blood splashes (the film would have been infinitely better off with no blood at all rather than the unconvincing animated variety seen here) and some missed opportunities to expand the narrative with regard to the Sean McMahon character, who is described at the start of the film as having been Daniel’s most forthcoming contributor of occult materials during the author’s researching of his book, and who even gets a thank you at the launch party. He is also the one who fixes up Daniel’s meeting with Infurnari over the phone after the death of his wife, yet there is never any more of an explanation than that regarding the nature of his involvement in proceedings. Right up till the final moments I was expecting a last minute twist of some kind in relation to this character, but it never comes!
Nevertheless, the film comes over as a professional production despite its evident low budget giving it the air of a TV drama episode from about ten years ago. Jeremy Howard’s score is effective and the film even gets a Dolby Digital 5.1 mix and a sound design that helps considerably to sell its low-rent effects. On the commentary track, which is included on the DVD from Monster Pictures, Milburn and Biggins talk about the difficulties they encountered on this, their debut effort and offer advice to other first-time filmmakers on script writing, casting and location scouting. The picturesque stone cottage which provides the location for Daniel and Maria’s countryside home was only found a week before the start of filming, which resulted in any storyboarding already worked out by Milburn and director of photography Samuel Stewart having to be thrown out. To be fair, most of their problems seem to have been the result of a very low budget forcing them to dispense with the services of casting directors and location managers etc., so their anecdotes can only serve to relay a summary of the kinds of problems anyone attempting to make a film with very little money will inevitably also have to expect to encounter.
The DVD also comes with trailers, goof reels, deleted scenes and an interview with the director accompanied by some behind-the-scenes footage, again designed to act as a mini demonstration reel for the budding director just out of film school, in which Milburn expounds on his own experiences of the casting process, his attitude on set during the shoot, the post production process (including editing and sound designing) and the kinds of problems one can expect to encounter on a day-to-day basis when shooting any low budget film. The disc also includes Milburn’s comedy short Speechless which was long-listed for a BAFTA in 2012 and has won numerous awards since its release on the international festival circuit last year. It demonstrates the director’s talents are developing fast and is in fact a much more confident production than the main feature. If Milburn continues to work in the horror genre we could be seeing great things from him in the near future.
RELEASE DATE: 2012/FORMAT: DVD/RELEASING COMPANY: Monster Pictures/GENRE: Home Invasion and Vampire/REGION: 2 PAL/ASPECT RATIO: 1.85:1 OAR/DIRECTOR: Oliver S. Milburn/COUNTRY: UK/LANGUAGE: English/SUBTITLES: None
No comments:
Post a Comment