The Keep (1983 film)

Based on the novel by F. Paul Wilson, The Keep is the story of a group of Nazi soldiers in 1941 Romania who enter an ancient fortress that possesses a mysterious entity that would eventually wreak havoc on everyone. Written for the screen and directed by Michael Mann, the film is a fantasy-horror film that explore this mysterious object that is filled with dark entities that would prove to be troubling for everyone. Starring Scott Glenn, Alberta Watson, Gabriel Byrne, Jurgen Prochnow, Robert Prosky, and Ian McKellan. The Keep is a fascinating but messy film from Michael Mann.

The film revolves around a mysterious fortress in 1941 Romania that the Nazis plan to use during the war where it is revealed that a mysterious entity has emerged within the fortress killing many where a Jewish professor, his daughter, a mysterious man, and other deal with this mysterious entity. It is a film that explore this entity inside a fortress in a small Romanian village near the Carpathian Mountains where the Nazis hoped to have control of the Dinu Pass. Michael Mann’s screenplay does showcase this air of conflict between two German officers in Captain Klaus Woermann (Jurgen Prochnow) and the more sadistic Nazi official Major Erich Kaempffer (Gabriel Byrne) as the former doesn’t want to bring any harm to the Romanian villagers but is also a much more humane individual than the latter who would arrive later following an incident in the fortress in which two soldiers tried to steal a metallic cross thinking it is silver and full of riches only to unleash the mysterious entity known as Radu Molasar (Michael Carter).

Captain Woermann turns to the local pastor Father Mihail Fonescu (Robert Prosky) for advice as Father Fonescu suggests getting the Jewish historian Theodore Cuza (Ian McKellan) who is at a concentration camp with his daughter Eva (Alberta Watson) as they’re retrieved despite Cuza’s ailing health while a mysterious man named Glaeken Trismegestus (Scott Glenn) arrives from Greece to deal with this entity. Mann does maintain this air of intrigue yet the fact that there’s so much going on and a lot of ambiguity into this entity doesn’t do much with the story though it is clear that there is a lot more that Mann wanted to say as it plays into the state of the world as well as the fortress itself as one of the first scenes in the film has Captain Woermann meet a man in Alexandru (W. Morgan Sheppard) who has been watching over the fortress as he made a warning towards Captain Woermann as he and his two adult sons are never seen again. It’s one of these things in the film that feels like it got cut out as there’s a lot of things that are unexplained in the film.

Mann’s direction is definitely stylish in terms of not just the vast scope he presents but also brings in this mixture of horror, drama, suspense, and war into one entire film. Shot partially on location at Llanberis in Wales as well as additional locations in Spain with much of the interiors of the fortress shot at Shepperton Studios near London. Mann definitely maintains some unique compositions including a lot of wide shots to get a look of some of the areas within this fortress that is filled with this air of death. Even in some of the exteriors where Mann uses some medium shots to get a look into the locations as well as the village where the Germans arrive with Captain Woermann wants to ensure civility. There are close-ups that do play into the drama and tension throughout the film yet the script doesn’t do enough to play into the suspense mainly due to the fact that the film was tampered with during post-production as there are scenes in the film that do feel longer as it has a lot more to say but got cut as some of the cutting feels awkward.

The scene where the two soldiers try to get this silver icon out of the wall that would lead to the chaos is a terrifying moment as is the reveal of Radu Molasar but there are elements in which Mann wanted to do so much more but it never goes all the way. Even as the presence of Molasar would loom over the village as Father Fonescu starts to act crazy where there is so much that feels like there is more to say. The film’s climax that involves Trismegestus and Molasar feels unfinished which lead to an abrupt ending of sorts as it does play like it was meant to be longer. Mann clearly wanted more to do but the result is something messy with so many questions into the stakes and the motivations of Molasar as it never is fully realized. Overall, Mann crafts a compelling but under-realized film about a group of people dealing with a mysterious entity at a Romanian fortress during World War II.

Cinematographer Alex Thomson does incredible work with the film’s cinematography as it is a highlight of the film with its usage of striking lighting for some of the interiors inside the fortress as well as some naturalistic looks for some of the daytime exterior scenes. Editor Dov Hoenig, with additional and un-credited work by Tony Palmer, does nice work with the editing as it has some moments to play into the suspense but the additional work from Palmer unfortunately has some jarring moments in the editing as it help play into the truncated tone of a film that felt longer. Production designer John Box, with set decorator Michael Seirton plus art directors Alan Tomkins and Herbert Westbrook, does amazing work with the look of the fortress including many of its interiors as well as the design of some of the interiors in village houses. Costume designer Anthony Mendleson does fantastic work with the costumes as it play into the period of the times including the Nazi uniforms that Major Kaempffer wears along with his own soldiers.

Makeup effects supervisor/prosthetics designer Nick Maley, with creature designer Enki Bilal, does excellent work with the look of some of the design of the corpses with Bilal creating the look of Molasar. Special effects supervisor Nick Allder, along with visual effects supervisors Robin Browne and Wally Veevers, does terrific work with some of the film’s visual effects as it play into the usage of practical effects and optical shots for some of the powers that Molasar has as well as the glowing eyes of Trismegestus. Sound editor William Trent, with re-recording mixer Doug Turner, does fine work with some of the sound in the way gunfire and other sound effects sound though there’s moments where the sound is muddled due to a lot of the chaos that went on during the film’s post-production. The film’s music by Tangerine Dream is phenomenal with its intoxicating electronic score that has elements of lush synthesizers with elements of guitars as it help play into the mood of the film as it is one of its major highlights.

The casting by Jeremy Zimmerman is superb as it feature some notable small roles and appearances from Frederick Warder and Bruce Payne as the two guards who tried to steal a silver icon that would unleash the terror that would haunt everyone, David Cardy and John Eastham as Alexandru’s sons who help him watch over the fortress, W. Morgan Sheppard as the fortress caretaker Alexandru whom Captain Woermann respects as he warns him about what is inside, and Michael Carter as the mysterious entity Radu Molasar who is this mysterious creature that is terrorizing everyone as it is a chilling performance though he is hampered by the film’s screenplay. Robert Prosky’s performance as Father Mihail Fonescu is an example of someone being miscast since Prosky doesn’t speak with a Romanian accent as he is someone who is trying to help Captain Woermann while dealing with some of the changes in Dr. Cuza’s behavior.

Ian McKellan is fantastic as Dr. Theodore Cuza as a Jewish professor who used to live in the village as he is taken from the concentration camp where he has an encounter with Molsar who cures his ailments as McKellan manages to even play into some over-the-top acting as a man trying not to get killed by the Nazis. Alberta Watson is good as Eva as Dr. Cuza’s daughter who is accompanying him as she is the lone female figure in the film who is seen by the Nazis as someone they can rape yet is also someone who is trying to understand what is going on as Watson has her moments in a role that is underwritten. Jurgen Prochnow is excellent as Captain Klaus Woermann as an infantry officer who reluctantly takes the assignment as he deals with the chaos involving the entity while also lamenting over Major Kaempffer’s sadistic tactics as he is a humane man that wants to protect the villagers and his soldiers from the chaos as well as questioning the ideas of the Nazis.

Gabriel Byrne’s performance as Major Erich Kaempffer as a Nazi officer who leads a band of commandos as he is a sadistic figure that spews Nazi rhetoric as it’s a role that is underwritten where Byrne doesn’t really get to do much but be an asshole. Finally, there’s Scott Glenn in a superb performance as Glaeken Trismegestus as a mysterious figure who seduces Eva while is also someone that is filled with a lot of ambiguity as Glenn is hampered by the script as it feels like there is more about him but is rushed because of the botch editing of the film though Glenn is able to bring in a performance is still intriguing.

The Keep is a good but extremely messy and flawed film from Michael Mann. While it has some incredible visuals from Alex Thomson as well as a great score by Tangerine Dream and some amazing set design. It is a film that feels like there is more to say in its original 210-minute cut that Mann had intended but instead the final version is at the 97-minute running time which feels more like a preview of something much darker. In the end, The Keep is a superb but undercooked film from Michael Mann.

Michael Mann Films: The Jericho Mile – Thief (1981 film) - Manhunter - L.A. Takedown – The Last of the Mohicans (1992 film) - Heat (1995 film) - The Insider – Ali - Collateral - Miami Vice - Public Enemies - Blackhat - Blackhat - Ferrari – (Heat 2) - The Auteurs #73: Michael Mann Pt.1 - Pt. 2

© thevoid99 2022

2016 Blind Spot Series: Das Boot

Based on the novel by Lothar-Gunther Buchheim, Das Boot (The Boat) is the story of U-boat captain and his crew trekking around the Atlantic Ocean to find and destroy Allied ships while dealing with the daily grinding living and working in a submarine. Written for the screen and directed by Wolfgang Petersen, the film is an unusual war film that is largely inside a German U-boat where a captain and his inexperienced crew deal with the chaos of war. Starring Jurgen Prochnow, Herbert Gronemeyer, and Klaus Wennemann. Das Boot is a gripping and rapturous film from Wolfgang Petersen.

Set in October 1941, the film follows a war correspondent whose job is to be observe and look into the actions of a U-boat captain and his crew as they look for and destroy Allied ships during the Battle of the Atlantic Ocean. The film may have a simple story but it has a lot of complexities about not just life inside a submarine but what a captain must do to not just survive but also outsmart and evade the enemy in the sea. Wolfgang Petersen’s screenplay is also focused on the characters such as the captain (Jurgen Prochnow) who has seen a lot of battles and been through a lot yet finds himself dealing with a large crew who hadn’t had much experienced being in a submarine nor deal with the chaos of war. With the exception of the chief engineer (Kluas Wennemann) and chief mechanic Johan (Erwin Leder), much of the crew are young men as well as a few young officers with Lieutenant Werner (Herbert Gronemeyer) being new on board as he is the war correspondent.

The script is focused not just on the tedious atmosphere of being in a submarine as it mostly takes place inside the submarine but also what many had to do in their duties. Especially as the crew have to sleep in cramped bunks with little room as well as run through the narrow parts of the ship without the need to stop in case of an emergency or the enemy is nearby. For Lt. Werner, he sees what the crew had to do as many of them don’t like him at first because he is just there to observe. Yet, he would take part in helping them as it would be these little moments where he would gain their respect while he would befriend a young officer candidate in Ullmann (Martin May) who has a French girlfriend in France as he worries about her. The first act is about the life of being in a U-boat as well as the search for the enemy while the second act is about the encounters with a British destroyer and the need to survive.

The captain himself does whatever he can to oversee everything as he becomes weary as he also has to carry the weight of responsibility for his ship and his crew. Even as he has to cope with a ship that is often under attack by depth charges from the British destroyer as well as a moment in the aftermath of an attack where he and his officers look in horror over a British ship they destroyed. The third act isn’t just about the what the captain needs to do to get home but also the harsh realities of war as it’s something Lt. Werner would learn to cope with. Even as he and some of the officers during a stop before this trip home at a merchant ship become aware of the disconnect that those who aren’t even on the battlefield are unaware of.

Petersen’s direction is truly intense in the way he presents life inside a U-boat as the submarine itself is a character in the film but one that is quite menacing and eerie. While many of the exteriors including the film’s opening party sequence is shot partially near Munich with some of it shot around France. Much of the film is shot in a soundstage for the submarine interiors as it is very cramped and claustrophobic where Petersen creates that sense of feeling of how narrow and small the interior walls are inside the submarine. With the aid of the Arriflex-camera which is a smaller version of the steadicam, Petersen’s approach to fast tracking shots to capture the viewpoint of how a crew member would run from one side of the ship to another through these narrow holes in between. It adds to the frenetic tone of the film whenever some sense of danger occurs as Petersen just amps up that intensity. Especially in the quieter moments where it is about the battle of wits as the sub tries to hide itself from that British destroyer who keeps dropping depth charges as they can’t make a noise.

While there are some wide shots including some scenes outside of the ship with some unique backdrops to play into the intensity of the storms. Petersen would favor using medium shots and close-ups to not just play into the claustrophobia of what is going inside the sub but also in the moments where everyone is dealing with aspects of the ship that isn’t working or moments where nothing is happening. There are moments that are humorous from the opening sequence to a few bits inside the sub yet much of it is quite serious including its climatic third act where the boat has to go through an entire British fleet undetected yet it would be a major risk. It is a climax that is quite chilling and unsettling but it also proves what these men will do to survive under great danger inside this submarine. Overall, Petersen creates a harrowing yet visceral film about a U-boat captain and his crew trying to find Allied ships and destroy them in the Atlantic Ocean.

Cinematographer Jost Vacano does brilliant work with the look of the many interiors in the submarine with its usage of lights and shade to play into what is happening on the inside as well as some beautiful exterior scenes in the day and night to play into where the boat is as well as what is going on underwater. Editor Hannes Nikel does excellent work with the editing with the usage of jump-cuts for some of the abrupt moments of action as well as other stylized cuts to play into the suspense and drama that occurs in the film. Production designer Rolf Zehetbauter and art director Gotz Weidner do amazing work with not just the look of the interiors and rooms of the submarine from its engine room and where the torpedoes are but also in the party in the opening sequence and at merchant ship banquet early in the third act. Costume designer Monika Bauert does nice work with the costumes from the uniforms of some of the officers as well as the ragged clothes that the men wear inside the submarine.

Special effects supervisor Karl Baumgartner does fantastic work with the look of the exteriors of the submarine from underwater as well as the backdrops for some of the exteriors of the submarine during the storms as well as in some of the battle scenes. Sound editors Karen Baker Landers, J. Stanley Johnston, and Michael Keller, along with sound designer Scott Martin Gershin, for 1997 special edition director’s cut do superb work with the sound as it play into the atmosphere of what is happening inside a submarine and the way the metal is heard underwater as it goes very deep as it is a highlight of the film. The film’s music Klaus Doldinger is incredible for its bombastic orchestral score as it has moments that are quite serene to the moments of intensity during the action and suspense scenes while the soundtrack feature elements of classical or folk songs of the times.

The casting by Willy Schlenter is wonderful as it feature some notable small roles from Gunter Lamprecht as a merchant ship captain, Sky du Mont as an officer at the merchant ship, Claude-Oliver Rudolph as a mechanic named Arlo, Jan Fedder and Ralf Richter as two petty officers, Oliver Stritzel as a torpedo man, Jean-Clause Hoffmann as a diving planes operator, Uwe Ochsenknecht as a torpedo supervisor who is upset over the loss of his futbol team, Bernd Tauber as 3rd watch officer/navigator Kriechbaum, and Heinz Hoenig as the radioman Hinrich who is the jack-of-all-trades of the ship as he listens to everything while also being a medic and a sonar repairman. Martin May is terrific as the officer candidate Ullmann as one of the few Lt. Werner connects with as he deals with the fact that he has a girlfriend in France and worries about what the French will think of her being with a German.

Martin Semmelrogge is superb as the 2nd watch officer whose job is to decode codes as he is quite vulgar in his actions yet liked by the crew. Erwin Leder is fantastic as the chief mechanic Johann as a man who tends to the diesel engines with great care as he nearly loses it during a silent run. Hubertus Bengsch is excellent as the 1st watch officer as a by-the-book officer who always maintains a clean look and other quirks to make him very different from everyone else until he deals with the reality of war. Otto Sander is brilliant as Captain Thomsen as a fellow U-boat captain who is celebrated in the film’s opening party scene as he is this drunken yet wild captain who would meet them again in his boat during a storm.

Klaus Wennemann is amazing as the chief engineer as a veteran who is the captain’s second-in-command as he knows how to fix the submarine as well as do whatever it takes to raise morale. Herbert Gronemeyer is remarkable as Lt. Werner as a young officer who joins the sub as a war correspondent as he copes with being in a submarine as well as what to do there as he would eventually find his role and gain the respect o the crew. Finally, there’s Jurgen Prochnow in a phenomenal performance as the captain as a hardened U-boat captain who has been through a lot as he copes with having an inexperienced crew and trying to find a British fleet to attack as it’s a performance filled with humility and the need to do what is right even as he is willing to say he made a bad call.

Das Boot is an outstanding film from Wolfgang Petersen. Featuring a great cast, dazzling technical work, a fantastic soundtrack, and a thrilling premise. It’s a war film that isn’t just engaging but also filled with characters to care for as well as be an unusual war film where it is about survival and men dealing with the dark aspects of war. In the end, Das Boot is a magnificent film from Wolfgang Petersen.

Wolfgang Petersen Films: (One or the Other of Us) - (The Consequence) - (Black and White Like Day and Night) - (The NeverEnding Story) - (Enemy Mine) - (Shattered (1991 film)) - (In the Line of Fire) - (Outbreak (1995 film)) - (Air Force One) - (The Perfect Storm) - (Troy (2004 film)) - (Poseidon)

© thevoid99 2016

Dune (1984 film)

Based on the novel by Frank Herbert, Dune is the story of a conflict between rival noble families in a futuristic planet over the control of that planet because of a mysterious melange that is the most valuable commodity in the universe. Written for the screen and directed by David Lynch, the film is an ambitious sci-fi story that plays into a young man trying to do what is right for his family and the universe as he also deals with evil forces driven by greed. Starring Kyle MacLachlan, Francesca Annis, Leonardo Cimino, Brad Dourif, Jose Ferrer, Linda Hunt, Freddie Jones, Richard Jordan, Virginia Madsen, Silvana Mangano, Everett McGill, Kenneth McMillan, Jack Nance, Sian Phillips, Jurgen Prochnow, Paul Smith, Patrick Stewart, Sting, Dean Stockwell, Max von Sydow, Alicia Witt, and Sean Young. Dune is an extravagant yet messy and drab film from David Lynch.

Set in a futuristic universe, the film revolves around a conflict over control of a planet that contains the most valuable commodity in the universe known as the spice. On the one side, you have the most powerful authority figure in the universe in Emperor Shaddam IV (Jose Ferrer) who has asked Baron Vladimir Harkonnen (Kenneth McMillan) of the planet Giedi Prime to handle the situation. On the other side is the House of Atreides led by Duke Leto Atreides (Jurgen Prochnow) who has become popular in his stance to do good with the world. Yet, the Emperor realizes through the guild that it is Atreides’ son Paul (Kyle MacLachlan) that is the threat due to his powers as it is believed that he is the prophet that can take control of the planet Arrakis and the spice itself leading to a conflict that involved assassinations and other devious things. These events would force Paul to lead a rebellion for the universe and give the people in Arrakis hope.

While it’s a story that is interesting, it is one that feels like there is more to say in this condensed version of a book that has to be complex but also very dense. Notably as David Lynch’s script tries to create some exposition into what is going on and what are the motivations of these characters. While Paul Atreides ponders his role as he wonders if he is everything this prophecy is, he is just a young man that is loyal to his family while is aware that he does have powers that very few possess. The script does acknowledge Paul as a threat to the Harkonnens and their desire to control the spice. They’re treated more as just sadistic buffoons as the Baron is a big fatass that has devices that makes him float in the air. There are some spiritual elements in the story that seems to be hinted but either it got condensed or simplified as it gets many of the motivations of the characters lost.

Lynch’s direction is definitely vast and filled with elements of surreal imagery as well as some extravagant set pieces that are interesting to watch. Yet, it’s not enough to keep things engaging as some of the visual effects come off as silly as well as moments that are overwhelming. While Lynch does create some unique compositions and some inspired usage of the camera angles, it is an attempt to try and keep much of the action and sci-fi elements engaging. Unfortunately, many of the complexities in the film do keep the film from moving along where it would plod along as there is so much happening as well as so many characters to keep track of. Though Lynch’s attempts to get the film’s climax to be exhilarating, it sort of falls flat where it is clear that there are these temporary alliances and such where a few characters would often switch sides and would pay for their movements. At the same time, there’s some moments that are unintentionally comical such as the character of the Baron’s nephew Feyd-Rautha who comes across as a nitwit with a thirst for blood. Overall, Lynch creates a very dull and often confusing film about a conflict over some commodity in the universe.

Cinematographer Freddie Francis does excellent work with the film‘s cinematography with some of the windy and dusty exteriors in the Mexican deserts as parts of the planet Arrakis to the lighting in some of the interior settings. Editor Antony Gibbs does nice work in the editing with its usage of dissolves for the dream-like sequences as well as some rhythmic cuts for the action. Production designer Anthony Masters, with set decorator Giorgio Desideri and supervising art director Pier Luigi Basile, does brilliant work with the set design from the look of the spaceships to the fortress in Arrakis in its interiors along with the look of the Emperor‘s palace. Costume designer Bob Ringwood does wonderful work with the costumes as it plays to some of the extravagance of the production as well as some of the darkness of the Harkonnens.

Special makeup effects artists Etsuko Egawa and Christopher Tucker do terrific work with the makeup in the look of the Baron as well as the look of the Bene Gesserit priestess that Paul‘s mother was a part of. Creature designer Carlo Rambaldi does fantastic work with the design of the sandworms as well as other creatures in the universe. Sound designer Alan Splet does superb work with the sound in creating some unique sound effects as well as textures to play into the world of the universe. The film’s music by Toto is amazing for some of the themes that are created that mixes rock with symphonic arrangements and ambient textures that includes contributions by Brian Eno who would create a thematic piece involving the prophecy as it‘s one of the film‘s highlights.

The casting by Jane Jenkins is good despite the fact that the great collection of actors assembled for the film don’t really get much to do. Among the individuals who appear in small roles that seem to suffer by their lack of screen time include Paul Smith as one of the Baron’s nephews in the Beast Rabban, Jack Nance as the Baron’s assistant Captain Iakin Nefud, Leonard Cimino as the Baron’s doctor, Brad Dourif as the devilish doctor Piter De Vries, Linda Hunt as a Bene Gesserit hostess in Shadout Mapes, Alicia Witt as Paul’s young sister Alia, Silvana Mangano as an elder Bene Gesserit who would transfer her powers to Lady Jessica, Virginia Madsen as Princess Irulan, and Max von Sydow as Arrakis engineer Dr. Kynes as they have some moments that are good but not enough to make them standout. From the House of Atreides, there’s some notable performances from Freddie Jones as Paul’s mentor Thufir Hawat, Richard Jordan as Paul’s friend Duncan, Dean Stockwell as Duke Leto’s advisor Dr. Yueh Wellington, and Patrick Stewart as a defense teacher of Paul in Gurney Halleck who would later join Paul in the rebellion.

Everett McGill is terrific as an Arrakis rebel leader named Stilgar who takes Paul and Lady Jessica into his secret base where he would become Paul’s most trusted ally. Sean Young is OK as an Arrakis rebel named Chani whom Paul would fall for as she would help him in the rebellion as she isn’t given much to do. Francesca Annis is wonderful as Paul’s mother Lady Jessica as Duke Leto’s concubine who is part of the Bene Gesserit sisterhood as she would aid Paul in becoming a leader. Jurgen Prochnow is excellent as Duke Leto Atreides as a leader who represents the good of the universe though there’s aspects of his role this severely underwritten. Gordon “Sting” Sumner is horrible as the Baron’s sadistic nephew Feyd-Rautha as he just looks like a fucking idiot in the film where he would wear this metallic underwear that makes him look dumber while he spends half the time overacting throughout the film.

Sian Phillips is alright as the Reverend Mother Gaius Helen Mohiam as the Bene Gesserit leader who realizes that Paul is the prophet as she aligns herself with the Emperor in control of the universe. Kenneth McMillan is lame as Baron Harkonnen as this antagonist who just craves power as he floats around the air as it’s a very over-the-top and idiotic performance that never takes itself seriously. Jose Ferrer is OK as Emperor Shaddam IV as the leader of the universe though it looks like he’s sleepwalking through the film as he never does anything to make the character memorable. Kyle MacLachlan is good as Paul Atreides as a young man who learns he has the power to do something as MacLachlan tries to bring in that sense of gravitas but is hampered by the weakness of the script.

Despite some of its technical brilliance, Dune is a terrible film from David Lynch. It’s a film, in its shortened theatrical cut, that tries so hard to be something big but manages to falter with its lackluster script and attempts to be something more than a typical sci-fi film. Especially for a story that is considered very challenging as Lynch and producer Dino de Laurentiis were unable to rise to the occasion. In the end, Dune is just a dull and un-engaging film from David Lynch.

Related: Jodorowsky's Dune - Dune-Part One (2021 film) - Dune-Part Two - (Dune: Messiah)

David Lynch Films: Eraserhead - The Elephant Man - Blue Velvet - Wild at Heart - Twin Peaks: Fire Walk with Me - Lost Highway - The Straight Story - Mulholland Dr. - INLAND EMPIRE

The Short Films of David Lynch Pt. 1 - The Short Films of David Lynch Pt. 2 - The Music Videos of David Lynch

The Auteurs #50: David Lynch: Pt. 1 - Pt. 2 - Pt. 3 - Pt. 4

© thevoid99 2015

In the Mouth of Madness

Directed by John Carpenter and written by Michael De Luca, In the Mouth of Madness is the story of an insurance investigator who tries to find a mysterious horror writer who has disappeared as he deals with the phenomenon of his work. Inspired by the works of H.P. Lovecraft, the film is an exploration into the world of books and its power where a man deals with the chaos that surrounds him. Starring Sam Neill, Jurgen Prochnow, Julie Carmen, David Warner, and Charlton Heston. In the Mouth of Madness is a strange yet thrilling film from John Carpenter.

The film revolves an insurance investigator who is asked by a publishing company to find a popular horror writer and the manuscript of his new book as the writer itself had disappeared. The film plays into a man who went through a hellacious journey as he would tell his story to a doctor at a mental institution about what happened where his attempt to disprove a writer’s power would only have him question the world he is in. It’s a film that also explores the power of fiction where the investigator John Trent (Sam Neill) is trying to believe that the small town he is in isn’t real but there’s too many things that have him question what is real and what is fiction.

Michael De Luca’s screenplay begins with Trent being taken to a mental asylum as he claims he’s not crazy though Dr. Wrenn (David Warner) wants to disprove that as Trent tells him his story. Trent is a very unique character as someone who is good at disproving many insurance claims as he thinks his search for the popular horror writer Sutter Cane (Jurgen Prochnow) is nothing more than another easy assignment as he’s joined by Cane’s editor Linda Styles (Julie Carmen). Styles is more in tune with Cane’s work though Trent is very dismissive but once they believe where Cane is, things become very strange where they arrive into a town that is named after one of Cane’s books. Styles would see things as she admits to try to fool Trent in getting the insurance money but what she and Trent would see wasn’t part of the plan where it becomes clear how dangerous the book is as well as Cane’s influence.

John Carpenter’s direction is very stylish not just in his approach to some of the compositions he creates but also in the strange world that is presented which plays into the works that Cane has created. While it is set largely in New York and New Hampshire, the film is actually shot in parts of Toronto and small town areas in Toronto play up this look of a world where it seems very innocent and quiet. Instead, Carpenter goes for something that is odd in terms of the compositions he creates in its close-ups, medium shots, and wide shots to display a world where it could be real, fictional, or both. It’s these kind of ambiguities that adds to the tone of the film where its second and third act is about the journey Trent and Styles would go to and the things they encounter. Plus, it is also clear that any chance for any of them to get out would be impossible as it adds to this blur of reality and fiction.

By the time the Crane character is formally introduced as well as the world he is in, the influence of H.P. Lovecraft does come into play as far what Crane has written over the years as it starts to become real. Even in its third act where Styles’ encounter with Crane would have some serious repercussions on Trent who has no idea what is real and fiction. Some of it plays into the kind of creatures that Lovecraft is known for such as Cthulhu where it added to some of the elements of horror and dark fantasy that emerges where it would have a far more troubling aftermath once the film returns to the mental asylum where Trent tells his story to Dr. Warren. Even as the aftermath would not only play elements of the Apocalypse but also an ending that is very weird where it also breaks the fourth wall about the impact of the book. Overall, Carpenter creates a very eerie yet riveting film about an insurance agent who encounters the strange world of a horror novelist.

Cinematographer Gary B. Kibbe does excellent work with the film‘s cinematography from the colorful look of the small town exteriors in the day to the usage of lights for the scenes set at night as well as the scenes in the church where Crane lives. Editor Edward A. Warschilka does brilliant work with the film‘s editing with its stylish usage of fast-cut montages as well as rhythmic cuts to play into its suspense and terror. Production designer Jeff Ginn, with set decorator Elinor Rose Galbraith and art director Peter Grundy, does fantastic work with the look of the hotel Trent and Styles live in to some of the design of the place that Crane lives and works at which adds to the sense of horror and Lovecraft visual style. Costume designer Robin Michel Bush does nice work with the costumes from the casual clothes that Trent wears to the stylish clothes that Styles wear.

Special makeup effects designers Howard Berger, Robert Kurtzman, and Greg Nicotero do amazing work with the design of some of the creatures as well as some of the makeup and such in some of the characters who follow Crane and his work along with the look Trent would give to himself early in the film. Visual effects supervisor Bruce Nicholson does terrific work with the visual effects from the look of some of the backgrounds in the realm between the real world and fantasy as well as a few scenes involving the monsters. Sound editor John Dunn and sound designer John Pospisil do superb work with the sound to create some sound effects as well as some of the moments in the violence and terror. The film’s music by John Carpenter and Jim Lang is wonderful for its mixture of haunting electronic textures with some metal-based guitar music as it plays into the sense of darkness that looms in the film.

The film’s incredible cast includes some notable small roles from a young Hayden Christensen as a paperboy, Wilhelm von Homburg as a local from the small town named Simon, Frances Bay as a hotel owner named Mrs. Pickman, Bernie Casey as a friend of Trent early in the film named Robinson, and John Glover as the mental asylum director Saperstein. Charlton Heston is fantastic as the publisher Jackson Harglow who hires Trent for the insurance investigation claim as he wonders what is going on with Cane. David Warner is superb as Dr. Wrenn as the man who interrogates Trent at the asylum as he tries to figure out if Trent is really insane. Julie Carmen is brilliant as Linda Styles as an editor who joins Trent in the trip as she tries to comprehend what she is seeing while being the one person who knows Cane’s books as she tries to hold on to her humanity. Jurgen Prochnow is amazing as the writer Sutter Cane as a man whose imagination comes to life as he believes in the power of his work where he would unleash the Apocalypse. Finally, there’s Sam Neill in a remarkable performance as John Trent as an insurance investigator who is good at disproving things where he is challenged by what he sees as he tries to make sense of the chaos as there’s elements of humor in his performance that makes it one of his best.

In the Mouth of Madness is a phenomenal film from John Carpenter. Armed with a great cast, an intriguing premise, and engrossing elements of horror and suspense. The film is truly an off-the-wall horror/suspense film that plays into the world of reality vs. fiction as well as the power of what fiction can do. In the end, In the Mouth of Madness is an exhilarating and evocative film from John Carpenter.

John Carpenter Films: Dark Star - Assault from Precinct 13 - Halloween - Someone’s Watching Me! - Elvis - The Fog - Escape from New York - The Thing - Christine - Starman - Big Trouble in Little China - Prince of Darkness - They Live - Memoirs of an Invisible Man - Body Bags - Village of the Damned - Escape from L.A. - Vampires - Ghosts of Mars - The Ward

The Auteurs #60: John Carpenter Pt. 1 - Pt. 2

© thevoid99 2015

Beerfest

Written and starring the Broken Lizard comedy troupe, that consists of Jay Chandrasekhar, Kevin Heffernan, Steve Lemme, Paul Soter, and Erik Stolhanske, and directed by Chandrasekhar, Beerfest is the story of two brothers who gather some old friends to train for a beer-drinking competition known as Beerfest to avenge the honor of their late grandfather from German relatives. The film is a simple comedy that is just about a bunch of guys training for a worldwide beer-drinking competition in Germany and challenge some of the world’s best. Also starring Cloris Leachman, Jurgen Prochnow, Mo’Nique, Nat Faxon, Eric Christen Olsen, Will Forte, Blanchard Ryan, Ralf Moller, Gunter Schlierkamp, and Donald Sutherland. Beerfest is a hilarious and entertaining comedy from the Broken Lizard comedy troupe.

The film is a simple story about two brothers who travel to Germany to spread the ashes of their late grandfather in his homeland only to encounter the annual worldwide Beerfest drinking competition where they are humiliated by their German cousins as they vow revenge on their late grandfather by forming a team of their own with a few friends. It’s a film that doesn’t require much plot as these two brothers come to Germany only to return humiliated as the oldest Jan Wolfhouse (Paul Soter) gets a black eye from the trip as he and his younger brother Todd (Erik Stolhanske) want to fight back by gathering some of their old college friends in the hot dog eating champion Phil “Landfill” Krundle (Kevin Heffernan), the Jewish scientist Charlie “Fink” Finklestein (Steve Lemme), and Barry Badinrath (Jay Chandrasekhar) who has fallen on hard times as he becomes a male prostitute.

The film’s screenplay doesn’t just explore the Wolfhouse family background as their related to the Beerfest organizer Baron Wolfgang von Wolfhausen (Jurgen Prochnow) but also how closely related he is to their late grandfather Johann (Donald Sutherland) through their great-grandmother Gam-Gam (Cloris Leachman). Along the way, the Wolfhouse brothers discover an old family recipe that was once considered lost as it would attract the attention of von Wolfhausen and eventually lead to a confrontation at the next Beerfest between the Americans and the Germans. Yet, the film has a lot of antics not just in the beer-drinking games that emerge but also in the characters plus a lot of references to the film Das Boot not just in a foot-long boot-shaped glass but also in a scene where von Wolfhausen is inside a submarine and says that he gets anxious about being in a sub. The script continuously adds a lot of jokes but also maintain the bond between a bunch of guys trying to train for an entire year for a beer-drinking competition.

Jay Chandrasekhar’s direction is pretty simple in terms of its compositions while he does manage to maintain a sense of consistency in terms of the jokes and comedic antics. Even as some of the drinking games that are portrayed are quite outrageous though a lot of them are real. Though the film is set in Colorado and in Germany, much of the film is shot in Albuquerque, New Mexico where it plays into the culture of beer-drinking though much of the alcohol is consumed is really non-alcoholic beer. Chandrasekhar’s compositions are quite simple in terms of its close-ups and medium shots while it features some very silly moments such as the gang drinking ram urine to prepare for the competition as well as some of the tension between the gang. Some of the partying is quite racy and juvenile where the gang isn’t afraid to be silly but also break the fourth wall at times such as Badinrath realizing who he really slept with. The film’s climax is the Beerfest competition as there is so much at stake but also some big discoveries about the secret into drinking the Das Boot glass. Overall, Chandrasekhar creates a very engaging and witty film about a bunch of guys drinking beer for a worldwide beer-drinking competition.

Cinematographer Frank G. DeMarco definitely creates a nice look to the film's scenes which includes some of the scenes at the Beerfest competition. Editor Lee Haxall does terrific work in the editing in the use of montages and other rhythmic cuts for the film‘s humor. Production designer Clark Hunter, with set decorator Gabriella Villarreal and art director David Baca, does amazing work in creating the festival that is Beerfest while costume designer Tricia Gray creates some wonderful uniforms for the various countries playing in the event.

Sound editor Gregory King also creates some superb work on the film's sound, notably the way quarters hit the glass. Music composer Nathan Barr creates an excellent yet exuberant score to emphasize the momentum of Beerfest. The soundtrack features an array mix of music ranging from acts like Del the Funkee Homosapien, the Meters, Fabulous Thunderbirds, Bulletboys, AC/DC, Kool & the Gang, Mighty Mighty Bosstones, Poison, Eagles of Death Metal, and the German techno group Bubbles who play the same track that appeared in Super Troopers.

The casting by Venus Kanani and Mary Vernieu is brilliant as it includes some notable small appearances from M.C. Gainey as a priest, Aaron Hendry and Michael Yurchak as English beer-drinkers, Candace Smith as a drunken fantasy of Badinrath, Philippe Brennikmeyer as the Beerfest referee, Bjorn Johnson as a German man that would take the Wolfhouse brothers to Beerfest, Blanchard Ryan as Landfill’s wife, and James Roday as an unfortunate messenger who would bring von Wolfhausen the beer that his American relatives have brewed. The film also features some very funny cameos from Willie Nelson at the end of the film and Donald Sutherland as the Wolfhouse brothers grandfather. Mo’Nique is hilarious as Gam-Gam’s nurse Cherry who is very funny about the things she says while Cloris Leachman is a riot as the Wolfhouse’ great-grandmother Gam-Gam who always say filthy scenes while carrying a secret about the family.

In the role of the German team, Nat Faxon, Will Forte, Eric Christian Olsen, Ralf Moeller, and Gunter Schlierkamp are excellent as they all have some funny lines to say while Jurgen Prochnow is superb as their leader Baron Wolfgang von Wolfhausen as he gets some funny things to say including references to Das Boot which he was in. Finally, there’s the Broken Lizard troupe in truly remarkable roles with Erik Stolhanske and Paul Soter in terrific performances as Todd and Jan Wolfhouse, respectively, as the two brothers who are eager to seek vengeance for their grandfather and great-grandmother’s honor. Steve Lemme is very funny as the Jewish scientist Fink as he tries to discover the secret of Das Boot while bringing some funny Jewish humor. Kevin Heffernan is a riot as Landfill as a former beer-drinker who is eager to help the gang as this beer-drinking machine. Finally, there’s Jay Chandrasekhar as the troubled Barry Badinrath as a man on hard times who joins the team to try and redeem himself while dealing with his own demons in the past involving ping-pong.

Beerfest is an excellent film from Jay Chandrasekhar and the Broken Lizard comedy troupe. Not only is it a fun film to watch but also one that has some substance and characters to root for. Even as it is plays into the craziness of beer-drinking competitions and beer-drinking games in a worldwide forum. In the end, Beerfest is a marvelous film from Broken Lizard.

Broken Lizard Films: (Puddle Cruiser) - Super Troopers - Club Dread - (The Slammin’ Salmon) - (The Broken Lizards Stands Up) - (Freeloaders (2012 film)) - Super Troopers 2

© thevoid99 2014