Maniac, 2012.
Directed by Franck Khalfoun.
Starring Elijah Wood, Nora Arnezeder, Jan Broberg, Liane Balaban and America Olivo.
SYNOPSIS:
As he helps a young artist with her upcoming exhibition, the owner of a mannequin shop’s deadly, suppressed desires come to the surface.
Remakes. The debate about them could go on and on and on for weeks, months, even years at a time about how they are stifling creativity in Hollywood, focusing more on the size of wallets rather than originality. That said, sometimes there are exceptions in the rule, particularly remakes of films that weren’t that great to begin with, or are deserving of a new, fresh take. The latter applies to Maniac, a new version of the cult 1980 William Lustig, which has been re-tooled as a serial killer film with a difference: the film is shot almost entirely from the killer’s perspective. Intriguing? Yes. Successful? Slightly.
The film tells the story of Frank (Wood), an emotionally disturbed man who has become a psychotic serial killer after years of childhood abuse. With a penchant for scalps and a mannequin restoration business, Frank is a seemingly lost cause, murdering dozens of women, either stalking them or finding them on internet dating sites, Frank’s urges have taken over his life. A chance encounter with a photographer Anna (Nora Arnezeder) breathes some new life into Frank, who somewhere deep in his mind believes that this woman could be the person to pull him from his psychosis and back from the brink of total insanity. But like most serial killers, the need to kill is sometimes too strong to ignore.
What has to be applauded about Maniac is the way it is made. All from Frank’s point-of-view, it adds an extra layer of darkness and intensity that some of the most recent horror movies have had. Here, even though the film is gory-for-gore sake at times, its originality is a breath of fresh air. Director Franck Khalfoun’s (P2) utilises the POV format well, with some beautifully choreographed scenes, which at times has the flow of a meticulously planned dance, with each component moving in sync with the other. Shot by DoP Maxime Alexandre, Maniac could be considered is a distant relative of Drive in both its use of colour and its shot of the luminous cityscapes of a bustling city, as well as a pumping, electronic/synth score from acclaimed music producer Rob.
That said however, for all the great jumps and frightfulness, you lose any sense of character by shooting this way. It is obvious that Frank is not well, but we never really uncover the truth depths of Frank’s sickness.
Casting the usually likeable Elijah Wood in the role of Frank works against the film too. A huge departure for Lord of the Rings alum, Wood is hopelessly out of his depth here, despite is not being all his own doing. With this particular dynamic way of filming, it doesn’t exactly stretch Wood, that is to say that for large parts of the film we don’t see Frank bar some reflections and such, and it would be hard for any actor to make any huge impression here. He tries hard, but ultimately Frodo as a serial killer is a hard sell, and the risk doesn’t pay off.
There is a great little thriller/horror film nestled somewhere in Maniac’s expressive exterior. But by focusing on doing something new and elaborate with the way it’s made, the filmmakers ultimately loses its any shred of empathy for its lead. Even Patrick Bateman had a shred of humanity in his final, tear-soaked admission. But it’s hard to hate Maniac because of that, and with it’s superb look and feel, as well as that ace score, it’s worth a curious view.
Flickering Myth Rating: Film ★ ★ ★ / Movie ★ ★
Scott Davis
