Text © Richard Gary / Indie Horror Films,
2017
Images from the Internet
The Black Room
Written and directed by Rolfe
Kanefsky
Cleopatra Entertainment / The
Goods / Casual Productions / MVD Visual
91
minutes, 2017
www.facebook.com/theblackroommovie/
There
are actually a number of films called The
Black Room, dating back to one with Boris Karloff in 1935, but each has its
own flavor, and this one delves into more of an erotic and satanic Hammer-esque
realm. A few decades ago, the male lead would probably have been played by Ralph
Bates.
It’s
been a long time since I saw one as spicy as this one. It’s sort of a cross
between the semi-classics The Entity and
The Incubus (both 1982) and the
gateway-to-hell-is-in-the-basement subgenre, and then something you might have
seen on Cinemax in its day. That being said, it’s not exactly in the softcore
realm, but I’m getting ahead of myself.
In
the inevitable prologue, we meet an older woman (Lin Shaye) and her
nightie-clad granddaughter, who have retired to separate bedrooms; but there is
evil afoot as one is sensually stimulated and the other one gets angry (I’ll
let you guess which). A nice choice is that the scene actually goes beyond
where you would think it might, giving a fuller ride than just a set-up; although
yes, it is exposition in its way, or at least a whetting of the audience’s – err
– appetite for what’s to – err – come.
 |
| Lukas Hassel and Natasha Henstridge |
In
most cases, the next scene where the new couple moves in usually takes place
decades later, but here it is a mere two years, which is a lot more realistic
(that is realistic in a genre sense).
In a brief cameo, the ever-cool and grossly underrated ex-Tromette Tiffany
Shepis plays the real estate agent who sells the demon house to married couple Paul
(Lukas Hassel) and Jennifer (Natasha Henstridge).
It’s
not long before they’re unintentionally playing footsie, as it were, with
Incubi and Succubae. Lights flash, cameras do a tilt-and-twirl, and, well, you
know. Gotta say Henstridge is still quite the looker, and so is Hassel. I’m
sure there are going to be a lot of both women and men who are going to be
paying attention to his often shirtless physique.
As
there usually is in this kind of film, since the two main characters need to go
on for a while in the story, numerous peripheral characters fall prey one by
one to the increasing number of demon denizens, including trades people,
friends and relations. By the end, there is quite the – err – satisfying body
count number. The story isn’t deep, but please, did you expect or even want it to be. It’s quite enjoyable and
most of the fine points are – err – touched upon, such as gore, SFX and sex.
Now,
I’m been kidding the film with all the innuendos, but truthfully it’s a fun
film to watch. It never really gets a chance to sag in the story thanks to some
sharp editing, decent lighting, and a fetching cast. And the story does hold up
throughout, without wearing out its welcome. It’s just sensual enough to keep
the eyes on the screen, and yet not enough to bludgeon anyone to the point of
numbness and being overdone. The pace builds, especially in the second half as
it should, and nowhere in the continuum did I ever to the point wanting to say,
“C’mon already, lets pick up the pace!” For example, as I’ve stated before, I
get really annoyed when someone is searching through a house or factory with a
light, and it goes on and on to the point where even when the jump scare happens, I’m too bored to
care. This never treads the water long enough to do that. I’m grateful.
One
question I do have, which is kind of a mundane one but for some reason it stuck
out because this happens occasionally in the haunted house milieu: Henstridge
and Hassel move into the already furnished house. They are not exactly, well, a
young couple. While I’m not sure how long their characters have been together,
but surely they must own something
either together or from previously by this age (both leads are in their 40s). In
the real world, of course, I realize that this way the film crew can use the leased
house without disturbing anything of the real
owners, but for some reason it stuck with me.
There
is, naturally, a high and exaggerated (and enjoyable) level of both sexuality
and sensuality, but oddly, cautious nudity. With one exception, an occasional breast
makes an appearance here and there, though we often get to see Hassel with his
shirt off or open. It’s almost like the director was obsessed with his
six-pack. Not that there’s anything wrong with that.
 |
| Arthur Brown is the "God of Hellfire!" |
I will say the acting is top notch. No one in the main
cast gives a bad performance, and there are some interesting cameos, such as
the aforementioned Shepis, genre stalwart Shaye (who has been in a ton of films like A Nightmare on Elm Street right through the Insidious franchise),and two pivotal musicians who play a part in
the background story: Al Jourgensen of the band Ministry, and I’m happy to say
Arthur Brown (as in The Crazy World of Arthur Brown… we even get to hear a bit
of a re-recorded “Fire,” a song I’ve loved since the first time I heard it); I
recognized the make-up he wore here as being the same as he used in the ‘60s
during his height of fame. There are also the likes of model/actor Dominique
Swain, and bubbling under actors such as Nick Principe, Elissa Dowling, and
Michael Reed, most of whom you’ve probably seen a few times but never really
knew it (yet).
Speaking
of Ministry, there’s Jennifer’s diminutive sister, Karen (Augie Duke, who is a
full foot shorter than her co-star, Hassel). When we meet her, she is
supposedly punked out, with a buttons and a patch on her bag by British band
GBH. However, her make-up is completely goth (or emo, depending on how you look
at it). Of course, she’s snarky. Later on, she wears a tee of the Industrial
Metal group Ministry as a nighty. She’s musically all over the map; again, I
realize this has nuthin’ to do with nuthin’, but still…
The
gore is decent looking and smartly not overdone. The sets, especially near the
end, was decent, though looked a bit late ‘60s or ‘70s-ish, like a Star Trek planet. Still, it was fun and
lots to look at, which is impressive on a small budget. I also enjoyed that
many of the demons are seen merely through their red hands, another brilliant
(seriously) budget saver.
As
for the extras, as this is a Blu-ray, there are lots to choose from, such as
numerous extended and deleted scenes. This is why I commented about good
editing. While these were enjoyable to sit through independently, some were a
bit wordy, and were right to go, but I easily sat through all of them without a
problem. There is also a short Behind the Scenes piece that focuses on a
particular scene near the end. The Blooper Reel is not very long, but enough to
be entertaining. It certainly looked like they all got along. Add on both a
Storyboards and Slide Show featurette, for some more behind the process
moments. Of course, all this stuff should be watched after viewing the film. For example, part of what makes the
storyboards so interesting is to see the differences between it and the story,
such as the icon used to trap the demon. I’m also happy to say that the slide
show is by a photographer between scenes and of SFX tests, rather than just
freeze-frames of the film, as is often used.
The
weakest point of the entire package, however, is the commentary track. Featuring
the director, Henstridge, Duke and producer Esther Goodstein, there are some
nuggets in there, but as with too many people with egos talking, they
consistently make comments over each other so it’s hard to make out what’s
being said. But even worse, someone will actually interrupt an anecdote to make
their own unrelated remarks way too often. You won’t miss much by skipping
this.
However,
the film proper is worth the view. It’s fun, well written and acted, and keeps
a good pace. Yes, it’s also sensual (for both genders, which is a nice touch),
but not to the level of the old EI Entertainment stuff (with the likes of Tina
Krause and Erin Brown, known then as Misty Mundae). Definitely worth checking
out.
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