In this new series I will be looking at a personal pleasure in cinema from every genre I can think of beginning with Horror. I turn thereby to the unappreciated gem which is John Carpenter’s ‘In the Mouth of Madness’ from 1994. For the sake of those reading whose interest lay more in watching a film rather than reading some slack jawed neanderthals opinion on them, consider all that follows this first paragraph to hang under the banner of a spoiler warning. My recommendation is that you see the film for yourself, first hand, with no preparations or half determined judgement’s. So go watch it now. I’ll wait. Well get on with it. I don’t know, check the local rental store.
Good, I’ll assume now that you either saw the film or have no respect for reviewer authority. The films success as a piece of cinema can be attributed to the powerhouse trio to whom the credit of its making fall upon. John Carpenter, Sam Neill and Michael De Luca who crafted this little piece of true old school horror. With a strong and deliberate pace set from the get go, the films constantly shifting tone does not become unwelcome as seen in so many other attempts at introducing the horror of internal madness to a distinctly external visual medium. By allowing the effects and secondary characters to take a supporting role, rather than the central focus, we receive an experience truly based in the perceptions of our leading man. Sam Neill carries the massive burden of conveying this strange and truly arching characters perceptions with almost unparalleled strength. This makes Trent both a true character on his own, defined with flaws and an individual personality, but also the bare canvas on which almost all viewers can find some aspect of themselves to project onto. This above all else takes the abstract and almost deranged thread of the story and anchors it with foundations so as to keep it understandable and reachable to the audience.
The writing of this film, though heavily demanding of its characters performers, is truly stellar. No film before or since has so clearly given me that Lovecraft like feeling of fear at the unknown and yet deep uncontrollable curiosity to learn more. This when combined with Neill’s earthbound performance the narrative stays in that almost unreachable area between the understandable and the incomprehensible, rationing its audiences abilities to connect so as to leave them understanding but ever grasping for a further foothold and that elusive feeling of safety. I should note here that to say the screenplay was merely inspired by H.P. Lovecraft is, if nothing else, a mild understatement. I would imagine that any mentions of native american history or mythology was removed with utmost care so as to avoid the hungry lawyers of many esteemed publishing houses. The story is Lovecraft in all but name but the true and almost remarkable similarity is to be found in the atmosphere of doubting ones reality which is to be found in many of Lovecraft’s most famous works. That and the ever present theme of ‘man becomes ancient horrifying monster’ as demanded from all Lovecraft related works by intergalactic law.
This film is recognized by many (including myself) as John Carpenter’s best film. To call that merely high praise is in the realm of the ludicrous considering the man has likely one of the most impressive cult film filmographies ever seen*. However this little gem never saw the recognition it deserved as it was Carpenter’s return to the big screen after what was his biggest flop ‘memoirs of an invisible man’. This film made great efforts to end the careers of both Carpenter and Neill and sad as it may be, their greatest creation was undermined by its predecessors shear lack luster input. Sadly this was to be the Swan song for Carpenter of old as he never regained his old momentum nor unique touch. His following works where to range from the hilariously dumb (ala Vampires) to the downright unwatchable (Ghosts of Mars), a film so bad that it punched a large whole in more than a few of the actors careers. However we are here to sing praise, and praise is there indeed to be sung. As horror goes, this is as good as it gets for me. Where the common jumps and predictable shocks of so many a film before it failed, I find ‘In the Mouth of Madness’ a creepy, intense and downright nerve jangling answer. I think, therefor you are.
*The Thing, Halloween, Big Trouble in Little China, They Live, Assault on Precinct13, Escape from New York. Catching my drift yet?
