After Dark 2007: Nightmare Man

Nigthmare Man

The home stretch of our festival experience began with Rolfe Kanefsky’s Nightmare Man, probably the lowest budget feature after Mulberry Street. Curiously enough, the effects used on Mulberry Street allowed me to watch the whole thing without thinking, “Wow, this was shot on video.” (And Mulberry was even shot on mini-DV, which I understand is even crappier than regular video.)

The outdoor day shots, especially the tracking shots, absolutely scream “shot on video”, which definitely kicks in some prejudices. (Think “Spanish Soap Opera”.) Once the night rolls in, though, the camerawork is nice enough to distract from the cheapness.

Anyway, the story concerns the emotionally fragile Ellen (Blythe Metz) whose dim-witted husband William (Luciano Szafir) is having her committed, as she is constantly haunted by nightmares. (I don’t think you can actually commit someone for having nightmares, no matter how real, or even outright schizophrenia unless you can prove a danger to themselves or others, but roll with it.) Oh, and I guess William isn’t really dim-witted, but he really seems like it.

Actually, all the men in the movie seem dim-witted, when you get down to it, even “Night Court”’s Richard Moll, who has a small role as a cop.

Kanefsky does a lot here with his budget. The story moves along with the action, giving us a bit more than the usual “10 Little Indians” plot, and he’s not afraid to exploit comic moments when they arise. This is smart, the audience is going to do it unless you do it for them—as in Tooth & Nail—and the movie ends up feeling like it’s still under his control, when the big reveal happens in the third act.

We happened to see Rolfe and Esther Goodstein in the lobby on Friday handing out autographs for this movie and she was pushing the surprising twists and turns at the end. I’m sorry to say that I knew more-or-less exactly what was going to happen from the opening scene of the movie, sans a few details that didn’t fill in until Tiffany Shepis showed up in the second act

I’m not good at that sort of thing, really. I didn’t see The Sixth Sense coming, for example. (But all subsequent M. Night Shyamalan movies have been devoid of surprise for me because I know how he thinks now.) But really, there was only one way for the story to go.

The key thing is that you have fun getting there.

Veteran Tiffany Shepis is as believable as any of the other 90lb-5’3” ass-kicking chicks we saw over the weekend but I’d give a special nod to relative newcomer Blythe Metz. She never gets to Brinke Stevens level crazy—it’s not really that kind of film—but you feel like she could.

The only real negative on this film for me was the stinger. The final battle makes everything as plain as need be as to what’s going to happen after the credits roll. The subsequent scene gilds the lily.

Although I’ve never read anything that mentions it, I think it’s apparent that the Evil Dead series was a big influence on Kanefsky. There are definitely worse influences to have.

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