The Chosen One (2009, dir: Theodore Collatos, cast: Arthur
Collins, Carolina Monnerat, Sam Porretta, Irena Martens, Jack
Silverman)
The
Chosen One's story is
choppy and episodic, but here's a rough outline: A zombie bites a
young wife. As a result, she gives birth to a vampire baby. Her
husband gives the baby to a mad scientist who wants to study its
vampire blood. Trouble ensues as the mad scientist (who likes to do
open heart surgery on live patients) tries to raise the vampire
baby.
The Chosen One
is an odd horror-art film. It boasts beautiful black & white
photography, and mostly good acting. It's largely original, though
similar to
Nadja, another artsy, black
& white, horror-art film.
But whereas
Nadja
often bores,
The Chosen One
suffers only a few boring patches.
Nadja
is more self-consciously artsy, with extended scenes that focus on
form, not content.
The Chosen One
is more engaging, holding our interest because it places greater
emphasis on story, albeit a sketchy story.
The Chosen One
has a nice period feeling, though anachronisms abound. I'm not sure to
what extent that's intentional, to what extent accidental. A bit of
both, I think.
The
film starts off looking as if it's set in the second half of the 19th
century. But then some men appear in late 1700s clothing, including
tricorner hats. There are also contemporary elements -- some
furniture, a shirt with modern stitching, basement pipes which suggest
indoor plumbing. The mad scientist says "gender" when he means "sex."
(In the 1800s "gender" referred to language -- masculine and feminine
words -- not to human sexuality.) And I don't think that a prostitute
(who speaks with a Cockney accent, though the film is set in America)
would say "incredible" when referring to great sex. That usage of the
word didn't arise until the 20th century.
But
some anachronisms are certainly intentional. When the vampire baby is
suddenly a grown woman, she dresses in a slinky pants suit, and has
modern, short, slicked-back, goth hair. We hear modern music. All this
adds to the film's artsy, experimental feel.
There are some modern references -- a "Hitchcock Room" and a farm
called "Green Acres."
Altogether, the film feels like a rough collage. The story has gaps
and unexplained incidents, which, along with the anachronisms, creates
an impressionistic feel. An emotional portrait of horror icons and
vampire tropes, rather than a linear tale.
It's
an interesting horror-art film, eliciting one's appreciation rather
than enjoyment. It's nice to see a low-budget filmmaker experiment,
giving the audience something different from the usual horror fare.
Review copyright by Thomas
M. Sipos
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