Review By-Paul Cooke
Director: Brian Clement
Writer: Brian Clement
Starring: Bronwyn Lee, Chuck Depape, Chris Tihor, Theodore Trout, Bettina May, Ryan Christensen, Michael Ian Farrell,
Debra Easton, Andrea Hume, Trinda Reed & Ira Hunter
Source: Frontline Films
 

‘‘I don’t think I’m gonna have enough bullets to finish this job’’

Old school, post war and thankfully pre-modern horror preamble poppycock, presents itself unashamedly with an intent to showcase what can be achieved with a low budget and a love of cinematic storytelling. Director Brian Clement diversifies from his Zombie ode ‘Meat Market’ trilogy, to offer up a tale of archaic dark magic and the possibilities of dual world existences tinged in tumultuous terror !.
 
Introducing Lola Morgandy and John Katzen, a partisan war spy gifted in the ways of casting magic, and a war surviving soldier turned private detective. Together they are the paranormal P.I team of Katzen & Morgandy. A Forties version of Mike Hammer and a necromancing Nancy Drew. Their early on screen appearance sets the movie up show piece style as the two investigate late night demonology at a spooky cemetery. Green goblin ghouls surround them, and the frightened grave keeper, with no Spiderman for backup !. It’s old school pistol and spell casting to disperse the human bone eating ghouls, with a tingle of schlock and a doff to Universal Studios horror nostalgia.
 
Set in 1948 Victoria, Canada, a neglected house displays signs of paranormal activity. A year earlier its entire family occupants mysteriously disappeared and now the new owner is concerned enough to call in Katzen & Morgandy to investigate what is going on. A parallel time line affects any one staying in the house and preys upon their sub-consciousness. Time spent investigating inside the four walls draws both investigators back and forth to their time in the second world war, as partisans fighting against the oppressive German forces. It is here that Director Clements gets to display his great aptitude for the bloodier end of production, as along with his very able effects and make up team he frames the aftermath of bullets finding their targets very well. Bloody squibs explode on cue and the sight of arterial siphons are reminiscent of the wondrously live action anime styled Japanese classic ‘Lone Wolf And Cub’. Viewing bonus points aplenty here as the soldiers of the Keiser go out gushing like a geyser !.
 
A back up team of psychic phenomenon specialists are called in to aid the two investigators as the astral plain is delved into. Pretty soon they discover that the house is a temporal time shift conduit, playing host to the creepy goings on.
 
Brian Clement is to be credited along with his ensemble cast and crew for their commitment to detail, particularly working within the confines of a limited production. The costumes and style are befitting of the period the film is shot in, along with the dialogue and mannerism of the characters. There are noticeable visual overtures to the early Twentieth century German silent film style, reminiscent of such influential movies as ‘Nosferatu’ (1922) and ‘Der Golem’ (1915). The use of shadows and the well staged use of natural back ground sound rather than stock music drowning out the dialogue and natural ambience. The films pace is purposefully slow as it builds upon the tension, adding to the overall eeriness of the piece. The emphasis on structured story telling is well realised, but for the regular movie goer this more likely than not will lose a large demo-graph who will be lost in such cerebral stimulation, and bored by the lack of slam bang thrills.
 
The two main characters of Morgandy and Katzen are well cast and an enjoyable to watch on screen duo. Those familiar with a UK show from the late Seventies into the early Eighties called ‘Sapphire& Steele’ (1979 - 1982) will delight in this comparison piece. Bronwyn Lee, who portrays the majestically mystical Lola Morgandy, is particularly comfortable in her role, and a high point to proceedings when she is in shot.
 
As the movie traverses to its taught conclusion the house examiners find themselves progressively vulnerable to psychological assault by the invasive entities aligned to the structure. Anyone falling asleep within the confines of the building fall prey to the malevolence tearing at them from beyond the adjunctive parallel universe, as the evil tries to manifest itself in this world.
 
A bold attempt then by the talented Brian Clement to take another direction in progressive film making. His creativity from script to screen is very well done but it is perhaps his elaboration in the story telling that will leave ‘The Dead Inside’ as an interesting misfire for the broader audience. It may be described as akin to reading a book with limited appeal, other than rewarding to those who are receptive enough to see past the highly entertaining introductory text.
 

Film: 2.5 Frontline Thrills

2008 @ Cinema Nocturna