Interview: Follow Me star Ronen Rubinstein

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With the release of Escape Room and its success, director Will Wernick had tapped into a world fresh for the thrill.
Arguably with his latest feature, Follow Me, Wernick delves a little deeper, blurring the lines of reality, when an online personality enters a real-life game and gets more than he bargained for.

Thanks to the team at Studio Canal, I was able to catch one of its stars Ronen Rubinstein (9-1-1: Lone Star), who plays Russian socialite, Alexei, the orchestrator of the real-life game to discuss the dark side of social media.

Saul Muerte: Hi Ronen, thanks for joining us at Surgeons of Horror.

Ronen Rubinstein: Thanks for having me here.

Saul: I noticed from some of your previous work that you appear drawn to the works of Bret Easton Ellis, having starred in both The Smiley Face Killers and more recently in Less Than Zero, which both act as windows into the human psyche with a lot of social commentary at play, themes that are evident in Follow Me.
Is this partly what drove you to be involved in this film?

Ronen: It was one of many things that drew me to the project. We live in a very heavy social media age.
There’s a lot of pluses and minuses to social media, and we constantly ask ourselves, “Who are we living in front of the camera for? Or What are we trying to convey? What message are we trying to send?”
That’s a question I’ve always asked myself using social media and I love that we get to see it in a film on a very deep level but also in a fun way that will keep people entertained.
Once they leave the theatre I’m sure that will be a question that (the audience) will ask many times. 

Saul: There are some notable themes and subjects that are explored throughout the film, one of which is living life to the max and living life to the full, but if you could escape real life, what would you do and why?

Ronen: Oh man! I think honestly, I would wanna live somewhere in the jungle in Costa Rica or Peru, and truly live off the earth and simplify everything.
Eat everything that grows off the trees and drink from clean creeks, build a little hut, I mean that sounds ideal to me. I don’t know how long I can sustain that.
I think that would be my Escape Real Life, for sure.

Saul: What has been the wildest experience that you’ve encountered in your life so far?

Ronen: My family and I survived a Category 1 hurricane in 2012. It was Hurricane Sandy. I think I was just turning 18, we lost our entire neighbourhood, we lost most of the coastal part of our borough.
We were without a home, without clothing, without food, without electricity for a few days.
We lived off friends and the Red Cross and pretty much had to survive. We had pretty much everything taken away from us.
That was hands down the wildest thing I ever encountered.

Saul: Wow, I mean Hurricane Sandy was one of the most deadliest, destructive hurricanes to hit Stateside. I can’t imagine what that would have been like for you.

Ronen: And I lived right on the beach, so it was extra bad.

Saul: What would you say was the biggest risk you’ve ever taken?

Ronen: I think the riskiest thing I’ve ever done is where we are right now in pursuing a career in the Arts and specifically acting. It’s one of the riskiest careers to follow, and I never had a back up plan.
I sorta put all my chips on the table and I pursued it with all my soul and heart in order to achieve it, but the reality of it is that the chances are really low to even be working.
I’m so fortunate right now to be in a film that will be screened in something like 26 countries. I still have to pinch myself about that. That’s like hitting the lottery. 
To keep steadily working and get representation was definitely the riskiest thing I’ve taken. 

Saul: Obviously you’re still pursuing your dream at the moment but what is currently number one on your bucket list?

Ronen: I have some pretty crazy aspirations. I think top of the list is to be part of an organisation like the UN and to have the power and some say in being able to do some good in the world.
I’ve seen people like Leonardo Di Caprio, Don Cheadle and Mark Ruffalo being a part of the UN.
The fact that we can have actors / activists in such extraordinarily prestigious company is the pinnacle. That has always been a motivation of mine.
That would be at the very top of my bucket list. 

Saul: A lot of the topic centred around Follow Me is about that online presence.
What’s been the worst thing that you’ve personally shared on social media?

Ronen: I don’t know. I’ve been pretty careful. I joined social media when I was technically a professional actor and I was already on people’s screens, so I knew there was an amount of responsibility, where you have to think about what you say and how you want to say it.
As an actor, you’re not just representing yourself, but also the company or corporation, or the studio that you are working with. It’s much more than what you stand for.
You’re obviously going to get some heat when you talk about social justice, political justice, and climate control and that’s totally fine.
That’s something you have to be prepared for. That’s sort of part of the game, It’s more important to focus on the positive. 

Saul: Do you have to be careful about not having a knee-jerk reaction to some of the things you see and hear?

Ronen: Oh man sure, I mean almost every single day I want to curse out the President, but that doesn’t do much good.
I like to lead  by example and provide people with solutions. I think that’s when change happens. It does take a lot of self control.

Saul: What has been the strangest or weirdest experience that you’ve seen online?

Ronen: Oh man, where do we start? I mean, I’m sure you’ve been going on in America. We’re in a very split society right now.
A lot of people can’t see right from wrong. There are a lot of people who think that what is going on is a hoax or propaganda. That still blows my mind. How do we move forward with people like that?
It’s what I touched on before where you have to lead by example.
You’ve gotta lead by example and offer solutions and facts with a clear cut plan.
At some point you can’t deny reality. The people who deny reality will get left behind while the world evolves into a better place, hopefully.

Saul: It’s a tricky thing where somewhere along the way despite our differences, both sides need to meet in the middle and find some common ground to agree on so that we can develop as a society.
It’s ironic in a way that we have come so disconnected in a society that is so connected by the finger tips that social media offers.
Coming back to Follow Me, is there a take home message that you hope will be translated in this regard?

Ronen: I think it’s pretty simple. Know what you are doing and why you’re doing it when it comes to social media.
If your goal is to have fun and post some photos of you and your everyday life, and family and your dog or where you are going then that’s totally fine. No one’s judging you for that.
You almost have to ask people who have a massive following with a platform that can lead to a lot of power and influence, that’s when it comes tricky because that’s when you have a lot of responsibility.
I think we live in a time when you almost sort of have to have a political opinion or social stance.
When your followers are essentially the next generation, why aren’t you speaking up about what is going wrong in the world when you literally can’t escape it. There is always more to be done. 

Saul: So undoubtedly, we are in a world of unrest and uncertainty, so why should people go and see this film, Follow Me?

Ronen: Before anything, I strongly urge people to go and see it responsibly. Listen to the professionals, I know that a lot of theatres are ensuring that everything is safe, so if they’re asking you to wear a mask and maintain a safe distance, please do.
There’s not a lot of films that are out right now. So it really is an honour to be in one of the few films that are out in theaters.
It’s a really fun film. Without talking about the inner themes of the film, it’s great cast that I think a lot of people will be able to relate to.
The pace is great, the dialogue is funny. When it gets to the escape room, it gets pretty scary and intense.
The inner themes are really important. Especially right now. I love films that really make you think about what you just saw and make you ask questions that start a dialogue with your peers. I think this film will do that. It’s gonna be a hell of a ride and I wanna thank Australia for having us with such open arms. We’re pretty much going to be premiering in every major theatre in Australia.  I wish I could come down to Australia and meet people at the movies, but hopefully next time.

Saul: So what’s next on the horizon for you Ronen? What projects are in store that we can see you in?

Ronen: Well, we’re going to be shooting Season 2 of 9-1-1: Lone Star hopefully pretty soon.
I have another film coming out in the Fall which I can’t talk about just yet, I wish I could. It’s also a thriller, so hopefully some more information will come out about that soon.
I’ve got a busy year ahead of me and I’m trying to stay focused and positive. 

Follow Me is released in cinemas nationwide from July 16.

The Surgeons of Horror team would like to extend our thanks to Studio Canal for setting up the interview and to Ronen Rubinstein for his insights.

  • Saul Muerte

Retrospective: The Mummy’s Hand (1940)

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Reaping off the success brought to Universal movies, Son of Frankenstein and The Invisible Man Returns, the production company would expand the universe further with another of their Monsters, The Mummy

A fair amount of The Mummy’s Hand lifts footage from its predecessor in its exposition as a dying High Priest recounts the tale of Kharis and his beloved Princess Ananka to his protege, Andoheb. Importantly comes the warning that if things prove dire, a vial from tana leaves can be used to restore movement to the monster.

Enter archaeologist Steve Banning (Dick Ford) and his sidekick Babe Jensen (Wallace Ford), a foreshadow of Universal’s direction towards the end of the decade and their collaboration with comedians Abbott and Costello, such is the comic banter between the two protagonists.

Banning believes that he has found an ancient Egyptian artefact leading to the last resting place of Princess Ananka, so with the help of the Museum specialist, Dr. Petrie, they seek confirmation from the local Professor of its authenticity. Unfortunately, said Professor is none other than Andoheb, who spies a threat from the intrepid trio and quickly tries to put them off the scent and keep the location hidden.
Banning however is intent on proving that he is right and finds financial backing in magician, The Great Solvani, who comes accompanied by his daughter Marta (Peggy Moran). Marta brings the feisty female characters synonymous with the films at the time serving both strong-headed, moralistic views that challenge the main (male lead) and ultimately the love interest.

Once the expedition is underway, we fall into typical territory as an embittered Andoheb is hellbent on protecting the tomb and resurrects Kharis (played this time by Tom Tyler, picking up the baton from Boris Karloff) in the process. From here, we see the bandaged menace wreaks havoc on the members of the quest, striking down and killing those who stand in his way. A few familiar traits appear, which at the time would have felt original but now have become commonplace, for example the monster falling for the token  female which requires the lead protagonist to save her from certain doom.

Kharis would appear a further four times throughout the 40s, three of those times with Lon Chaney Jr in the role, proving that there was a valid interest in the tale of hidden treasures and unrequited love, and although it became fairly formulaic towards the end, the humour embedded throughout the venture actually makes this instalment an enjoyable, still to this day.

  • Saul Muerte

Retrospective: Black Friday (1940)

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Not to be confused with the crazed shopping spree that occurs after Thanksgiving, but arguably just as dark.
Universal would blend together two of their most successful genres from the era in horror and gangster thrillers to produce a solid movie which would once again combine the awesome pairing of Bela Lugosi and Boris Karloff.
The latter possibly delivers one of his finest performances for the production company as Dr. Ernest Sovac, a highly skilled surgeon who is compelled to save the life of his best friend college professor George Kinglsey (Stanley Ridges) with a brain transplant.
Being a Universal horror feature, things naturally don’t go according to plan when a curious side effect occurs post operation. 

The chosen brain just so happens to be from Red Cannon (also played by Ridges who should be commended for his portrayal of both characters) a gangster who is not only highly sought after by the police, but has hidden $500,000 dollars somewhere in the city. 

The curious concomitant occurs when somehow Kingsley starts to show personality traits of Cannon in an almost Jekyll and Hyde type situation. Cannon clearly the dominant personality starts to take firm control of Kinsley’s body in pursuit of his hidden fortune.

The drama from the movie comes from Lugosi’s Marnay, another gangster who was part of Cannon’s crew and knows of the loot and will stop at anything to stake his claim, but also from Dr. Kovac, who at first is driven by saving his friend, but when he too learns of the fortune, gets the green mist and becomes consumed with using Kingsley as a puppet to lead him to the money. 

It’s a pathway for doom and death for all involved and sparks an inevitable conclusion from a tale of greed, and power.

It’s a curious movie that is only really saved by Karloff’s performance from a script doctored by Curt Siodmak again, but comes across as a bit of a mish-mash of events leaving Lugosi grossly underutilised.
With some clever changes to the plotline and perhaps a shift in casting, this movie could have presented more fairly, but as it stands, gets a little lost in its own moralistic views. 

  • Saul Muerte

Movie review: Piercing

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Back in 2016 director Nicolas Pesce made a hefty entrance into the genre scene with a shocking and disturbing view on trauma and the impact on the psyche with stunningly brutal and hauntingly evocative scenes.

Where The Eyes of My Mother left a significant impression, his more recent venture that looked to resurrect The Grudge franchise fell remarkably short of its desired outcome.

Sandwiched between the two films stands Piercing, a film equally as disturbing as its predecessor but willing to add a touch of light in the darkness with a dash of humour thown into the mix along the way.

Based on the novel by author Ryū Murakami, who also penned Audition, we centre on Reed (Christopher Abbott) a new father struggling to fight the horrific compulsion to stab his infant daughter with an ice pick.
Not only is this fucked up but an indicator of just how dark Pesce is willing to push the boundaries of taste.

To prevent himself from carrying out the unthinkable, he hatches a plan to hire a prostitute to enact his dark desires.

Part of the beauty of this film is projected through the way Reed methodologically acts out how he imagines the night to go with some nicely supported sound effects. It also establishes how unhinged and removed from reality he has become that verges on the fantastical.

It’s not long however before the pendulum swings as Reed’s murderous scheme begins to unravel along with the arrival of Jackie (Mia Wasikowska), a prostitute who also harbours a dark fantasy embroiled in twisted behaviour.
This shift in direction tips Reed off kilter and we’re treated to a glorious encounter that constantly sees the balance of power switch between these star-crossed sadists.

The Prognosis:

Pesce manages to deliver another depraved dive into a wretched psychological world that puts two disturbed individuals together.

The delicate balance between salvation, sacrifice, and satisfaction is always at play, which keeps the audience guessing.

It’s a visually stunning piece that sheds light once more on the impact that trauma has on the individual and the actions that they undertake to find reprieve.

– Saul Muerte

Retrospective: The Invisible Man’s Revenge

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Rounding out the quartet of Universal’s Invisible Man movies throughout the 1940s, The Invisible Man’s Revenge was a return to ‘form’-ula…in a good way.
Also returning to the series was Jon Hall, but he would not be reprising the role of Frank Griffin Jr.
Instead he would be playing Frank’s twin brother Robert Griffin, a man who escapes from a mental institution that he was incarcerated in after killing two orderlies.
Talk about polar opposites and proof of the flexibility to Hall’s work as an actor, although oddly Robert has no knowledge of the invisibility formula of his brother or grandfather for that matter. 

Once he is free, Robert seeks vengeance on the Herrick family who found their fortune from diamond fields that he helped to discover.
The Herrick family propose a share in the estate as a means to appease Robert, but he pushes things further, demanding to marry their daughter, Julie.
Their response? Drug him and get him out of their way.
This only angers Robert further and he plots his revenge.
In steps Dr. Peter Drury (John Carradine) who happens to be working on the formula for invisibility and with it, Robert’s key to claiming what he believes is owed to him.

The plotline is a little more convoluted than previous instalments and while it does some time before the cloak and dagger of invisibility lays the scene, the direction and delivery are more impactful due to the care and dedication devoted to character development.
Robert Griffin’s descent into madness and retribution is amplified by the back story delivered and Jon Hall’s depiction.
Likewise the supporting cast are on point, notably from Carradine and Gale Sondergaard as a cold-hearted Lady Irene Herrick.
Furthermore, the despair of Griffin’s fear of Brutus the dog, places a nice conclusion to the tale.
We are what we fear and if we place emphasis on those fears it will ultimately be our ruin.

The Invisible Man’s Revenge would mark the final time that the tale would be told with a dark edge with the next appearance coming in the Abbott and Costello movies.
It would be nearly 75 years before Universal would look into the black heart of the Griffin family with The Invisible Man starring Elizabeth Moss.

  • Saul Muerte

Movie review: Lords of Chaos

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Swedish director Jonas Åkerlund has been slowly carving up a career looking at suitably unhinged characters and the psyche of the human mind throughout the few feature films he has heralded so far.
These in turn were built on the shoulders of numerous music videos, working with talents such as Prodigy, Metallica, Madonna, and Rammstein, so it was of little surprise that in 2018 he would turn his attention to some music roots closer to home albeit with his neighbouring country, Norway and the birth of the black metal scene that surfaced in the early 90s.
Metal has always been synonymous with horror films, so it seems fitting to have a film that circulates these two themes as the cornerstone of its narrative. 

From the get go Åkerlund throws in the caveat that the story is about truth and lies, allowing him as the creative to have free license around the events that unfolded between Euronymous, Varg and the Black Circle.
As he weaves in the real-life characters who strive for infamy whether that is through music or political empowerment, inner turmoil surmounts to a place that can only result in destruction.
The question remains for those not familiar with the history, is whose destruction will it ultimately be and at what cost?

Watching Rory Culkin’s performance as the narrator and mastermind behind Mayhem, Euronymous, I’m once again reminded of the strength of his performance as an actor as he sways from likeable, annoying, disturbing, and back to likeable again with chameleon-like ability on-screen.
In many ways, Culkin is the centrepin of the film, resting on the need for the audience to engage with his actions, whether it is with disgust or delight as he attempts to carve out a trajectory that will transport him into fame and beyond. 

The true horror of the piece lies within the extent to which all the characters will go to in order to not only outperform but shock each other for the cause.
The further they descend into hell, the murkier the original cause becomes and no matter how much Euronymous tries to salvage the situation and maintain control, anarchy has already been unleashed and too many fractured actions will inevitably splinter the group.
The focus primarily being between newcomer Varg and his ambitions to direct Norway away from christianity and toward Odinism. 

The delivery of the film is also nicely off cantor, so that feeling of unpolished actions resonate strongly, especially as the characters are always on the brink of implosion, which invariably brings about panic or stupidity and Åkerlund never shies away from exposing those moments of mindlessness.

The Prognosis

There are moments of pure joy, anarchy and Mayhem throughout the film that highlights the plight and peril of a deliberately disorganised association’s attempt to resurrect a new medium into the world, only to stare at the horror and destruction that unfolds around them in the process.
The damned will be doomed.

There is no salvation.

Just the remnants of what once stood before them.

Burn the walls down and cut away at life’s obstacles and you fear exposing the frailty of humanity beneath it all. 

Director Jonas Åkerlund manages to do this while providing an engaging storyline, supported by some great performances, grounded in the reality of the environment and all the more harrowing that it is based in truth… and lies of course.

  • Saul Muerte

Lords of Chaos is available to view via Video On Demand
or buy from Umbrella Entertainment.

Retrospective: Invisible Agent

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Positioned as a wartime propaganda film in order to build up the morale of US Citizens, Hollywood took another look at HG Wells’ Invisible Man, this time instead of mobs hunting down Griffin’s invisible formula, it would be the S.S.

The story picks up with the formula back in family hands, that of grandson, Frank Griffin Jr. played by John Hall in what would be his first outing as the cloaked man.
Hall had previously impressed Universal for his support role in Eagle Squadron and was more than fitting to take the lead role embedded in the world of espionage. 

Interestingly, the formula doesn’t have the negative impact on the psychosis as per the previous films, which is more than likely to keep a more upbeat, positive outcome with ample heroics for Griffin Jr to outwit and outsmart the S.S.

Sworn to make allegiance with the US government following the attack on Pearl Harbour, Griffin Jr discloses his secret to invisibility and from here on he is sent on a mission to where he parachutes behind enemy lines.
He is soon aided by Maria Sorenson played by Ilona Massey, who receives equal billing and rightfully so as the femme fatale figure seemingly playing with the hearts of both Griffen Jr and GS Karl Heiser. 

Cue mishaps and mayhem as they weave their way in and out of situations to evade capture in the manner that the 1940s movies excelled at.
None more so here thanks to script writer Curtis Siodmak.
Equally the leads are ably supported by stable actors, Cedric Hardwicke and Peter Lorre as the villains of the piece. Lorre’s performance is by today’s standards highly controversial and an example of the whitewashing in Hollywood as he plays Baron Ikito, a Japanese officer.
He delivers his usual sound Peter Lorre performance, but you can’t escape how uncomfortable it is that he is portraying a character who is not of his own race. 

Despite this, Invisible Agent is a great addition to the Invisible Man series and although it is different in tone, it has great substance in its style and has powerful performances providing a great yarn to boot.

  • Saul Muerte

Movie review: Darlin’ (2019)

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It’s somehow fitting that my #moviesimissed choice of the week comes from a work inspired by the late great author Jack Ketchum, a tour de force in the genre, shaking up the boundaries that have shaped horror.
Ketchum’s mentor as he was finding his voice was Robert Bloch, author of Psycho, (the subject of our latest podcast at the time of writing) and would enter the scene with his controversial novel, Off Season, a tale that would take form based on the legend of Sawney Bean, the clan leader of a band of cannibals living in Scotland during the 16th Century.
This in turn would spawn two sequels, (Offspring, released in 2009, and The Woman 2011, directed by Lucky McKee and starring Pollyanna McIntosh) and follow the lives of these cannibals. 

The Woman would centre on one member of the tribe, captured by a family on the brink of humanity, guided by their oppressive and domineering father, Chris. Chris tries to domesticate the woman by caging her up and raping her, vilyfying her very nature. The tale was a harsh but vital look at women who are subjected to violent suppression from the hands of a volatile male figure. It rightfully stands as a dark look at the lengths and breadths that humanity can turn to when steered by the misguided.

Where Darlin’ picks up, the woman and her teenage daughter (Lauryn Canny) are still living on the edge of society when the daughter, known as Darlin’ in the film, is taken into hospital and another form of rehabilitation begins. In this case though, it comes under the guise of religion, when she is harboured by a Catholic boarding school, and again is domesticated or bred as a public image for the school. The grooming process is exactly as it sounds, where The Bishop (Bryan Batt) preys on the girls who board there. 

The rest of the story focuses on Darlin’s rehabilitation into society and wrestling with her inner nature and the ways of catholicism. As much as she conforms to the religious ways, the kernel of her makeup lies dormant throughout the story waiting to unleash at any given time.

It was great to see Nora-Jane Noone (The Descent) on screen as the troubled Sister Jennifer who is equally dealing with an internal conflict about her upbringing and the impact that the school had on her as a child, conflicting with her beliefs.

The Prognosis:

McIntosh was clearly inspired by her previous role as The Woman and the writings of Jack Ketchum to have further developed the story on screen again and proves more than accomplished in her (as yet) only turn in the director’s chair.
While Darlin’ walks a predictable storyline and is not as brutal as its predecessor, the threat is still present with ‘The Woman’ on the outskirts threatening to strike at any given moment, which hides or glosses over any flaws contained within the narrative.

  • Saul Muerte

Movie Review: Sea Fever

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They say that movie themes come in waves, and recently we’ve seen a stirring towards mankind’s fear of the ocean.
Where Underwater trended towards more action fare, and The Lighthouse skewed more towards psychological avant garde, Sea Fever is ironically more grounded in its descent into the murky depths of the brine.

Director Neasa Hardiman has carved a remarkable career so far with hard hitting British series’ Scott & Bailey and Happy Valley, so she’s been attuned to gritty drama and with two of her leads Connie Nielsen and Dougray Scott she finds actors who know their mettle, crafting subtle nuanced performances that equally tap into intensity. 

In her sophomore feature outing in the directors chair, Hardiman hones her virtuosity further, in this deeply engaging tale of a fishing trailer crew who embark into an exclusion zone where they encounter a parasitic infection. 

The film’s release is indeed timely as the crew are forced into isolation as they come to terms with this new life form that infests them one by one whilst scrambling to defend themselves from this unknown entity.
The story is told from the point of view of introvert Siobhan (Hermione Corfield), a scientist who has been studying faunal behavioural patterns given the opportunity to join the crew.
Corfield also more than holds her own adding the heart and mind of the film that adds weight and a voice of reason amongst the insanity.
A loner from the outset, Siobhan is further isolated from a superstitious company, especially upon learning that she is a redhead, a bad omen among fishermen.
The tide soon turns however, as the crew search for her expertise throughout their encounter in the hopes that she will be their guiding light.
The heightened sense of distrust, lack of patience, lethargy and sadness intensifies the tension further, which tempers the notion of cabin fever amongst them all and us as the audience.

The Prognosis:

This pandemic horror under the guise of a monster film harbours an intense feeling of claustrophobia and paranoia fueled by the necessity to survive.
The creature effects when used are refined and intricately well played out for what is essentially a low budget feature.
Not surprisingly there are nods to similar sci-fi films such as Alien and more notably The Thing, embedded with a Lovecraftian vibe at times, but Hardiman also bends the subject with her own voice and tone that allows the characters and the storyline to breathe in a claustrophobic world, churning out a thrilling and encapsulating narrative.

  • Saul Muerte

This film is currently available to rent via Sydney Film Festival until June 21.

Retrospective: The Island (1980)

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Forty years ago following the highly successful Jaws and to some degree The Deep, Hollywood was still keen to tap into the mind of their creator, Peter Benchley and create more scares from the ocean. Fortunately Benchely had not long produced a novel called The Island. 

Starring Michael Caine still riding high from the fame that film success brought during the 60s and 70s, and David Warner, who equally had shown his acting chops through Straw Dogs, The Omen, and Cross of Iron, which detailed the strength on display in the cast.
The concept would show Caine as a journalist, Blair Maynard, who gets a scoop on some boats that have disappeared in the Bermuda Triangle, and is lured by the mythology surrounding it. Maynard is a workaholic with his eyes on getting the latest newsworthy revelation. He also happens to be divorced with split custody of his son, Justin and decides to drag him along with him despite false promises of taking him to Disney World. He gets more than he bargained for however, when his plane not only crash lands on a remote island, but also he is commandeered while on his fishing boat by a hoard of pirates. It’s here that the movie takes a notable shift in tone and becomes a story of survival as Maynard tries to escape his captors, but also rescue his son who has been subjected to their ways as a means to lure him into their tribe. 

Upon its release however, The Island sank heavily at the box office and caused film critic Leonard Maltin to cast his lowest rating, a BOMB, on the film, and bagging both director Michael Ritchie, and Michael Caine with Raspberry nominations for their contribution.

So, what went wrong? Was it a case of misdirection? Misinterpretation?

Or just a plain misfire?

The first thing that struck me upon revisiting this film was that the plotline was incredibly messy, and there were too many themes at play that by the time it settles on the island in question, we’re beyond caring too much about the plight of Maynard and Son. It comes across as an incredibly convoluted dream jumping from hard-hitting news theory with a mystical twist into a family drama and then into survival horror.

The father son relationship feels forced too and doesn’t ever gel, which is partly down to the set up, as they are supposed to be estranged. The issue is that the script needed to offer a kernel of a connection for us to want them to be brought together throughout their turmoil. Justin’s leap into the arms of Warner’s island leader, Nau, is all too quick and with it any strip of humanity is buried, even when into the film’s conclusion.

It’s fair to say that this isn’t Caine’s finest moment either, casting his Maynard as a cross between Charlie Croker and Harry Palmer, which doesn’t work and leaves the character either too cold or jovial in the wrong places.

It’s not clear the tone that Ritchie was going for as there are moments that it could go dark, but he’s also striving for that sense of adventure and the danger that comes with it, and in doing so ends up a little lost at sea which probably accounts for why this film has been forgotten over time.

  • Saul Muerte