Link to the latest theatrical trailer for THE MOTHMAN PROPHECIES
Hey folks, Harry here with a look at THE MOTHMAN PROPHECIES. Now I've had a couple of viewers write me confused by the 'BASED ON A TRUE STORY' nature of the advertisements for this film. The events in the film are based upon events that many folks purport to be true. The movie, I'm sure, has dramatized these events to their fullest "BOO" nature and paranoid 'scare-ability'. It would be nice if this was a really good film, the script had the potential and generally word has been good... but Richard Gere hasn't had a lot of good luck recently. Ya know? Here ya go with Hakujin...
Harry,
First time e-mailer here- call me Hakujin. I went to see a preview screening of the MOTHMAN PROPHECIES at the aforementioned American Cinematheque at The Egyptian in LA. (Ah, the joys of a major metropolis- I'm going to see Brotherhood of the Wolf in a couple of days...) I don't know if anyone else has already sent you a review, since this one went through a few test audiences a couple of months back. Anyways, in case anybody cares, here's what I saw, with as few spoilers as possible and not too much editorializing:
Last night we saw THE MOTHMAN PROPHECIES. The director Mark Pellington was there to introduce the film as a doubleheader with his previous flick, Arlington Road. Between the films, the director also led a Q&A session again, which was a great insight into what he trying to do with the movie. After watching the film, I'd say he succeeded.
I've never been a big fan of thrillers other than the supernatural kind, so I was only mildly interested in this one walking in. What's interesting about this movie is the intensity with which it delivers. The first shock comes in the first five minutes of the movie- my wife jumped about five feet out of her chair, and spent the rest of the movie hiding behind her scarf, which was entertainment in itself. After that, the events continue at an unrelentless pace. What's interesting about the film is that the strange camera swings, zoom-ins, and quick cuts are used to add visceral suspense to what is essentially a bunch of hallucinations. What makes it work is an unsettling soundtrack and some terrific sound editing. If you see this film, make sure you pick a theater with a decent sounds system that's not afraid to use a little volume. It's worth noting that the director told the theater manager to crank the sound up on MOTHMAN, and that he stated that he had the idea of emphasizing the sounds of the movie from the outset, since so many of the events are aural vice visual- Pellington even said he hired his sound editor before he hired his D.P. (who also did a good job in building up the tension with his shaky camera close-ups and zooms.) The suspense here is the fact that you really never see The Mothman / Indrid Cold throughout the movie, you just get a buildup of strange voices and half-seen hallucinations. I can't overemphasize the importance of the sound and camera work in this film- they even made Debra Messing (Grace of Will & Grace) look creepy in this one. The director stated had the option of taking this movie in any direction, but opted for more of a psychological, fear-of-the-unknown type of movie rather than making a "creature movie." By the director's report, the author of the original book (John Keel) was happy with tone of the movie, which is very loosely based on it. The focus was as much on the descent into madness of a normal, mature person caused by the manifestation of the "mothmen" in Point Pleasant. And here Richard Gere was a good pick for the role, despite never having worked in a thriller like this before. Again the director stated that Gere was chosen precisely for his maturity and ability to internalize; while not a big Richard Gere fan myself, I'd have to agree he was well cast for his role. Oh, and Alan Bates was great as the precognition expert- I'm glad they added more of his scenes back in from the rough cut.
My only gripes? Sometimes you can tell that the script was an assembly of different events and characters in the book; the transitions feel rough, sometimes almost sacrificed to the relentless pace of the movie. I know sometimes this was intentional, to build up the hallucinatory feel, but other times it's just choppy and rushed. Subplots like the Richard Gere's character playing hooky from the Washington Post and his confrontation with the governor's chief-of-staff are never followed up. It was good to echo some of the things that Alan Bates' character experienced, but ultimately it just hangs out there like a useless appendage. Also, a couple of the scenes give you the sense that this was "X-Files for Dummies." (Messing's "#37" dialogue at the end- you can thank the brain-cell deficiency of the test audience for that, the director admitted putting it back in for the people who didn't get it.)
So, as for the movie overall, I came in with normal expectations and came out liking it - It's sufficiently creepy and was eight bucks well-spent, even if you factor out getting to hear the director's two cents' worth. Hope this was useful!
Hakujin
P.S. Look for the director's cameo as a bartender! That was wierd, seeing the director introduce the flick suddenly up on the screen.
P.P.S. Went to the screening of Amelie at the Egyptian last week with director Jeunet (sp?- same guy who did Alien Resurrection, now there's a switch!) and bumped into Frodo (Elijah Wood) as I was trying to get out of the theater. Guess he was sitting in the back of the theater with the rest of the plain folk instead of the VIP section... Pretty little guy, and yes, his eyes really do glow in the dark like that! But I guess you know that, you've met him on the set... I didn't bug him, but maybe I should start carrying a little autograph book with me or something...
P.P.P.S. Battle Royale at #2? Tanoshikatta ke do nani wo kangaeteru yo?! (It was fun, but what were you thinking?!)
