Text © Richard Gary/Indie Horror
Films, 2013
Images from the Internet
The
CareTaker
Directed by Tom
Conyers
Little Man
Screaming Films
Seminal Films
/ It’s Time Entertainment
96 minutes, 2012
www.thecaretakerfilm.com
www.seminalfilms.com
www.MVDvisual.com
Aussie films tend to have a slightly
different flavor, even one that borrows liberally from classic and more recent themes.
And this (un)dead serious flick shows that the sum is great than its parts,
even when the portions are fine by themselves.
Essentially, and elementally, this is a
zombie film where the zombies are replaced by vampires. For example, the theme relies
heavily on 28 Days Later (2002), as
people get transformed into vamps after contracting the disease from
bloodsucking mosquitoes (not sure if that was meant as ironic, but there ya
go).
Four people are trapped at an isolated vineyard
and farmhouse, trying to keep the vampires out in a similar fashion to Night of the Living Dead (1968), though
there are more points that reflect that film. Each character is flawed in their
own way(s), and yet there is a level of pity for most. Well, four people and
one vampire, I should add, who used to be a doctor. He strikes a bargain with
those who are there for various reasons: simply he will protect them from the
vampires at night, and they will protect him from the humans during the day.
Definitely a Faustian bargain for all, including the vampire.
 |
| Mark White |
These aren’t the sweet vampires of late
mainstream blockbusters, or even the erudite ones of, say, Blade (1998) or the underrated Daybreakers
(2009), these are mostly feral scavengers who are more interested in severing
necks than ties. Okay, with the possible exception of the good ex-doctor,
played by folically shaved Mark White, who does an excellent job of simmering
bloodlust, malevolent anger, and violence. Did I mention he was also an
executive producer of this film?
While this film also borrows liberally
from others in the same genre, such as 30
Days of Night (2007) and the oft-copied stiff-as-a-board rising by Nosferatu, eine Symphonie des Grauens
(1922), there is a lot of originality
here. For example, the vampires will not only fight each other to the death,
but will drink one another’s blood, as well. I don’t remember seeing that
before.
There is definitely a sticking to the
vampire canon, though, such as no reflection in the mirror, super-speed,
super-strength, aversion to the sunlight and stakes through the heart or die, and
the change of eye color (pale blue in this case). No mention of garlic or
crosses, though.
Getting back to the story, the four major
characters are:
 |
| Anna Burgess |
The tense, type-A malcontent named
Annie (Anna Burgess), and her jobless and hapless boyfriend Guy (Clint
Dowdell), who are on the verge of relationship meltdown.
Then there is misogynistic Ron (Lee Mason),
who is in town to propagate the end of legal divorce, which is meant more as a
means of control rather than religious reasons. He wants power, but refuses the
responsibility that goes with it. He’s essentially a bully (think of the EDL).
 |
| Colin MacPherson |
Lastly is Lester (Colin MacPherson),
who owns the farm. He’s a lonely guy, but also exceedingly creepy. He keeps a mannequin
(who looks oddly like Annie, for whom he lusts), and has a brief speech about
how he’s 57 but desires 20-year-olds. Colin occasionally steals the scenes when
he’s on, which is noteworthy because the whole cast is solid. What makes this
so is Colin’s use of subtly, letting the viewer know what he’s thinking (when
the director wants it) just by facial expressions or voice tonal inflections.
While coming across as a milquetoast, could he possibly be the most dangerous
of all?
Along with the substantial acting, the
film is shot beautifully in an area in Victoria, outside of Melbourne. There
are some quick action shots, but most of the film leans on longer sequences
that show off the actors and the natural light of dusk and dawn. There are a
few special effects, literally smoke and mirrors (especially in a scene with
Lester’s mum), but much there is also a lot of focus on character. Also, there
is a lot of blood with very little gore, so be sure to bring your whole family!
 |
| Guy Dowdell |
The humans, including others in the
story, are as potentially dangerous as the supernatural beings, as human nature
has proven throughout history. Being a serious drama, you know that, as the
Heartbreakers (Thunders, not Petty) sang, most of the characters are “Born to
Lose.” But it is a tight-knit ensemble cast that squeeze the most out of a
strong story.
The dialog is well written, with the
good doctor vampire spouting out philosophical treatise to others (though he
seems to be talking more to himself) when he’s not fighting off other vampires
to the death. As he states (as opposed to stakes) at some point, he did not
realize how much he wants to live, even if it means as the undead.
 |
| Lee Mason |
This is Tom Conyers’s first full-length
feature, but he shows some early expertise, such as the first act while we meet
the characters, going back and forth to them slowly at first, and zippering
their scenes together until stitched into one spot. He also avoids the “shot in
one room” (which he posits on in the commentary) claustrophobia, and takes
advantage of the nearby town and uses the beautiful surroundings to juxtapose
the horror of the events.
The
extras are pretty interesting. Along with a couple of trailers (teaser,
theatrical), there is a Making Of documentary that is lengthy and keeps
attention all the way through, as it shows the process of the filming,
recording, and the beautifully scored soundtrack. A full-length commentary is
hosted by director Conyers and producer/actor White, who, I am grateful to
state, talk about the making of the film, rather than “there’s my third cousin
on my mother’s side” kind of nonsense. Lastly, there is something called the “Lester
Rap,” which is hysterical. MacPherson apparently has a great sense of humor,
and with Conyers editing scenes from the film with “Lester’s” dialog and a beat
track and with extra filmed footage, we get the entertaining song “Lester the
Molester”. Burgess and Dowdell join in as the chorus, and they all seem to be
having so much fun doing this that it’s catching.
This is an indie with a large heart,
and one worth the viewing. With substantial backing, Conyers could be a force
in the film field.
