Review: Dante’s Shadow of Sin

Text © Richard Gary / Indie Horror Films, 2021
Images from the Internet

Dante’s Shadow of Sin
Directed by Dakota Ray
R.A. Productions
75 minutes, 2021
https://dakotarayfilmmaker.wordpress.com/
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And if you go chasing rabbits
And you know you’re going to fall…
When logic and proportion
Have fallen sloppy dead
“White Rabbit,” Jefferson Airplane

I ask you: in the time of Covid, what’s a man supposed to do? Easy, just down a glass of absinthe, get a new and sharper lens for your camera, and direct your eighth film of nihilistic behavior, as has done Denver-based director/writer/cinematographer/editor Dakota Ray.

Usually I would hold off on this kind of comment until near the end of a review, but let me point out right from the start that even with Ray’s characteristic use of monochrome-colored filters, in this case one that is a rich, dark blue hue, the new lens really is incredible at showing details, which can only help spotlight the sheer insanity; the film highlights this clarity as you can practically count every hair on a close-up of a severed head.

As is his wont and right, the title character is played by the director and his insanely deep voice, who in the first line, explains the nihilism that clouds his very soul: “My name is Dante, and I serve no man but myself.” He is remorseless, unhinged from reality, and a complete narcissist (perhaps he can become president like the last joker!). We meet him staring at himself in a mirror. Yeah, this guy is not someone you are going to want to mess with in any circumstances.

Filmed in Ray’s house, in part, it was fun seeing the VHS stack with the likes of The Thing, An American Werewolf in London, and I believe Dark Shadows. There is a lot of fine editing by Ray, which improves with every film, between characters, objects (many look like they were bought at a Halloween store, and rightfully so), Satanic symbols, and insects in various states of health. These, their use as subliminal commentary on the action, all become characters in their own right in a way, rather than just be filler (more on that later). The soundtrack during the credits is emblazoned with “blackened doom” (the band’s wording) metal by the Italian trio Naga.

Two years after committing a horrific murder, Dante is contacted by an acquaintance, Mahoganny (gravel-voiced Fred Epstein, a heavy-emoting Ray regular) who has inherited the Boleskin House (referencing the Boleskine House in Scotland, owned by renowned Satanist Aleister Crowley and Jimmy Page, the once great guitarist of the Yardbirds and Led Zeppelin). Mahoganny suggests they get together and go to the house. My question to Mahoganny is, “do you know where you’re going to, do you like the things that life is showin’ you?” (sorry…). In this case, the name Mahoganny is more symbolic for the hardness and darkness of his heart rather than skin color.

After picking up Mahoganny, whose beard and hair is long in classic (and ironic) Jeebus mode, they both head to the house to debauch. How debauched? Let’s just say I had to turn my head when Mahoganny dipped a slice of pizza into salad dressing (I am assuming Ranch). What’s next? Pineapple!?! Also, I wonder about a focused bit without explanation of Dante taking an antacid pill of Calcium Carbonate (designated by the serial number G171); perhaps it is in reference to Mohaganny’s fixation on laxatives? But I digress…

Throughout the film, we hear the thoughts of the two central characters more than words are spoken, which makes sense since so much of the planning of these two are secretive, so we become cognizant of just what the hell is going on. We also hear the drug-induced disembodied voices of objects such as dolls, a white rabbit and a goat head who represent the Satanic elements. Two other mute players are Mahoganny’s senile and silent 92-year-old grandmother (Maddison M.), and his bound and gagged, drug induced “slave” (Sholeh Behesht) in the bathtub. This also makes me wonder about using the name “Mahoganny” as a slaver…

Dante, though not redeemable, kills for a purpose, even if it is self-gratification. With Mahoganny, however, slow and painful control and sadism is more his speed. These two both know that the time in the vacation house will not end well, and each has a motive to be the only one out, but the build-up to the confrontation is a large part of what is going on through the story, listening to their thoughts about destruction in different forms, but with the same end result.

Although there are four characters in this, truth be told it is a two-person story, loco mano e mas loco mano. With hexes, drugs, alcohol and just sheer deviance of a multitude of natures, these guys have a deep hatred that Ray manages to convey quite strongly. Where did they go wrong as friends or acquaintances? Immaterial, because at this time, it a steadily intensifying to-the-death duel, both mentally and physically. The lightening in the sky is a foretelling of the bad actions to come.

It is also interesting to me that both of these dudes are into Satanism and curses, but they are individuals, not part of a Satanic cult, which is where it seems most films dealing with this topic tend to lay down. Again, while the leads are both similar in their desires for death and destruction, they are very distinct in their personalities and the means to achieve their comparable end-goals. Though, honestly, I am not sure how they manage to get their goals accomplished with the sheer amount of imbibing – including mushrooms – that gets consumed. Mind you, I’m a straight-edged punk rock nerd, so it is a different world than where I come from.

The film is broken into a number of chapters via long title cards, such as “Dante’s Switchblade Romance: Caressing her ghost and other demons from the past.” This is also common among Ray’s films. However, story-wise, this is the most cohesive of the eight, being rather threadbare in its plot. Rather than mixing a number of different stories into one, here he focuses on the two main characters, and yes, you could say that it still two tales into one, but its focus is more exact, with less opaque moments.

As much as I have enjoyed all of Ray’s releases, I think this one could be a turning point as far as a pathway. As much as I like the past ones, I look forward to the swing in this direction.

 

Review: The Black Room

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

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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.