Maniac is the perfect film with which to start the
festival. Premiering at Cannes this summer, the film is a masterful blend of
innovative camerawork and claustrophobic horror that leaves the 1980s original
lying hopelessly in the dust.
Elijah Wood plays
Frank, a man who stalks the streets at night looking for beautiful women. On
finding a suitable match, he follows them home and then proceeds to kill and
scalp them, taking the bloody mess of hair back to his shop where it is stapled
onto the head of one of his many mannequins. Frank becomes disorientated,
however, when he meets French photographer Anna, a friendly and attractive girl
who wants to take pictures of his shop mannequins for an art exhibition. He
cares for her, in a way that he hasn’t done with any girl before, and is
mortified to discover that she has a boyfriend. On top of that, his murders are
all over the news…
Filmed almost
completely in POV, we see what Frank sees; we see who he kills and how
he does it – the only times we get a look at his face is when it’s reflected in
mirrors or glass. It’s a very clever technique that director Franck Khalfoun
has decided to use, simply because of how uncomfortable the audience is made to
feel - there are scenes where Frank enters the apartments of women who are
showering or taking a bath that are actually painful to watch. Similarly, the
killings themselves, while not particularly violent, seem so real that
they become difficult to comprehend.
Inspiration is obvious. Elements of Psycho are
scattered throughout the narrative, so much so that by the end it makes sense
to look at Frank as a modern extension of Norman Bates; it becomes explicitly
clear that his relationship with his dead mother plays an important part in how
he views other women. Interestingly enough, Maniac is in no way
misogynistic; Frank isn’t seeking revenge over how women have treated him and
his motives have nothing directly to do with sex - he seems simply to be a
collector of beauty.
Another film that Maniac
echoes strongly is Henry: Portrait of a Serial Killer, but in a
different kind of way. Henry, like Frank, drives around the dark streets of the
city killing unsuspecting women, but it’s very much an objective portrayal –
very cold and unsympathetic, whereas Maniac’s narrative is the most
empathising a film can be without reading a character’s thoughts aloud and this
is where its strengths mainly lie. Wood gives an amazingly believable
performance, playing Frank with an unexpected mixture of depravity and
humanity, to such an extent that the audience is actually able to feel
sympathetic towards him as his world slowly disintegrates.
In terms of horror, Maniac
is up there with some of the best of the year, not just because of the acting
and the special effects, but also because of its subject matter. For once, this
is a film that doesn’t deal with exorcism, possession or found footage – it
explores the mind of a serial killer on a profoundly creative level, one that
makes you think and shudder at exactly the same time.
‘Please don’t scream. You’re so beautiful’.
No comments:
Post a Comment