VILLAGE OF THE DAMNED (1995)
A film review by James Berardinelli
Copyright 1995 James Berardinelli
RATING (0 TO 10): 6.3
U.S. Availability: general release 4/28/95 Running Length: 1:37 MPAA Classification: R (Violence, profanity)
Starring: Christopher Reeve, Kirstie Alley, Linda Kozlowski, Mark Hamill, Michael Pare, Lindsey Haun Director: John Carpenter Producers: Michael Preger and Sandy King Screenplay: David Himmelstein based on THE MIDWICH CUCKOOS by John Wyndham and the 1960 screenplay by Stirling Silliphant, Wolf Rilla, and George Barclay Cinematography: Gary B. Kibbe Music: John Carpenter and Dave Davies Released by Universal Pictures
Despite being an inferior remake, VILLAGE OF THE DAMNED is the most frightening motion picture that John Carpenter has brought to the screen in at least a decade. Following this year's disappointing IN THE MOUTH OF MADNESS, Carpenter has turned to a creepy 1960 English film for inspiration. Adding more than a dose of modernization, a new setting (the British village has become an American town), and a dash of his trademark shock tactics, the director has turned out an enjoyable, if obviously-flawed, amalgamation of horror and science fiction.
VILLAGE OF THE DAMNED opens in the rural community of Midwich, population 2000. After giving perfunctory introductions to the central characters, Carpenter starts the action in a disconcerting fashion. With a noise that sets theater speakers throbbing, a "whispering cloud" moves across the sky, knocking everyone in Midwich unconscious. During this event, at least two men are killed and ten women are mysteriously impregnated. Government officials, led by Dr. Susan Verner (Kirstie Alley) arrive just in time for the town's revival. Lending his aid to Verner's people is Midwich's resident M.D., Alan Chaffee (Christopher Reeve), who was away when the cloud moved in.
After the pregnancies have been diagnosed, Dr. Verner makes it clear that the government will pay stipends to every woman who carries her child to term. Following the requisite nine months, the blessed events occur virtually simultaneously, giving Midwich a group of tiny new residents. But as the children grow, it becomes clear that there's something inhuman about them. With their platinum-blond hair and blank expressions, not only do they look unlike the men and women raising them, but they lack emotion and possess the ability to read and control minds.
For a movie that opens with so much promise, VILLAGE OF THE DAMNED is actually something of a disappointment. The second half isn't as well-paced or intelligently scripted as what precedes it, although the taut climax will hold an interested viewer on seat's edge. As the director has shown many times before (most notably in HALLOWEEN), he can take an overused scene or device and infuse it with unexpected energy. This skill--and little else--keeps VILLAGE OF THE DAMNED entertaining throughout, but the movie is by no means an unqualified success.
Society says that the young are innocent and vulnerable, and therefore must be protected and supported. VILLAGE OF THE DAMNED plays on a parental nightmare: the loss of control over an amoral--or even evil--child. How can any father or mother overcome the nurturing instinct and act against an offspring, regardless of what crimes that child has committed? It's an unsettling consideration. Alas, Carpenter's exploration is somewhat perfunctory. Ultimately, the film is more interested in surface shocks than this sort of deeper psychological horror, but vestiges of the theme still manage to lend a chilling tone to what's on screen.
The cast is interesting, if not top notch. Christopher Reeve is adequate in a role that doesn't require a stretch of his limited dramatic range. Kirstie Alley displays little presence or charisma as the cold-hearted, secretive epidemiologist. And, if Crocodile Dundee's main squeeze (Kozlowski) is difficult to recognize as one of the expectant mothers, what better camouflage could there be for Luke Skywalker than as the local minister?
What differentiates VILLAGE OF THE DAMNED from Carpenter's best work is the lack of character definition. There's no one in Midwich worth caring about. The high number of deaths--some of which are unexpected--leads to a certain unpredictability, but none of the murders has an impact beyond elevating the body count. The result is a movie that's as superficial as it is fun. And, while the director shows he's still very much on top of his craft, a tighter script, with fewer subplots vying for screen time, might have made for a memorable updating of the classic. Instead, all we have is a passable remake.
- James Berardinelli (jberardinell@delphi.com)
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