Left for Dead (2007 / Albert Pyun)

It would seem that film makers have been mixing and matching genres since movies began. Some combinations are natural like comedy and drama. Others appear strained and force. When combining genres the writers and directors have to approach it like a master chief at a five star restaurant. Some things that work well on their own out right fail in combination. Then there is always the chance of hitting on something different and novel that although it isn’t there yet holds a lot of promise. This is the way with experimentation; it is need to make progress but those advancements take time and effort. One such experiment that creates a relatively new format for films is seen in Albert Pyun’s latest opus, ‘Left for Dead’. Like any good meal you need a basis in the case of movies a setting. Pyun choose a firmly established one, the old west. Then you need a fundamental mood, for this he selected the thriller and horror genres. Last there has to be the all important motivation. Here Pyun went old school, revenge. Since this is one of the intense and dramatic emotions you really can’t go wrong with a revenge flick. A good dish needs some spices to set things off and help the ingredients mesh. Pynu once again goes with something tried and true. He made the gang all female. With few exceptions women in the old west were playthings for the cowboys and prospectors. To have a gang of them seeking revenge is at least something we haven’t seen over and over.

Pyun is certainly a director willing to take chances and anyone who is into the art of cinema has to respect that. While this film is pushed a little too hard at times Pyun gives it his all. He is becoming a director to watch in the world of independent films. One of his previous works, Infection, also known as Invasion, was brilliant. His use of cinéma-vérité there gave the film linearity and immediacy that few films of its genre have been able to achieve. In ‘Left for Dead’ it appears that Pyun is playing with his directorial style. He pushes the camera from one fascinating location to the next. The cinematography by Alejandro Millán works extremely well here. The film is just shy of placing style over substance as Pyun deviates from the usual horror film by substituting slick photography over bloodshed and gore. The addition of a supernatural element might seem strange even pushing it but Pyun makes it work. In a flick such as this there has to be a catalysts to get things moving in the correct direction and the demonic side of the film handles this very well. He chose to shoot this film in Argentina with a largely local cast and crew. This is a big risk since it gives a foreign film vibe to the work that may turn off some of the American audience. The choice works as it imparts a sense of realism to the film. This is the freshman script for writer Chad Leslie. It is amazing that first time out of the gate and he delivers something that is so cohesive especially considering the multi-genre aspect of the movie. This is a dark, foreboding movie that pulls you in.

The prolog text informs the audience that this is a Mexican ghost story that started in 1880 when a preacher Mobius Lockhardt (Andres Bagg) ended his affair with a local whore. The town where this took place was called Amnesty. The prostitute went insane from the reject and along with the others of her profession murdered every man, woman and child in town. The preacher makes a deal with the devil to remain as a ghost hoping someday to avenge this heinous act. The catch is he cannot travel past the town’s cemetery but he waits hoping the whores would return and he would have his revenge. The story picks up 15 years later when those circumstances begin to unfold. As the prolog finishes the exposition we learn that the ones who come to town are Blake Sentenza (Javier De la Vega) and Clementine Templeton (Victoria Maurette). For Clementine vengeance is the only thing keeping her going. Clementine is walking when she is stopped by a tough looking woman. Clementine is not afraid; her thirst for vengeance is all that matters even more than life or death. She was told that Mary Black (Janet Barr) is also looking for Blake and she might be able to help. Clementine brutally gets the better of the two women holding her at gun point. Walking on a bit Clementine comes upon the women’s encampment where some of the ‘ladies’ are eating or smoking a psychotropic substance. Not only is Blake an accused rapist but he got a girl pregnant, took her money and left her. It turns out he did the same thing to Mary’s daughter Michelle (Mariana Seligmann). Mary tells Clementine that the trail leads to Amnesty where the ghost of Lockhardt may make getting Blake very difficult.

Blake is running from a gang of men after him for a murder. He runs past the cemetery of Amnesty and hides in building in town. The men catch up with him and discuss how best to make him die. Just then it looks like one of them is shot. The men see what looks like a gunslinger come at them. They shoot and hit him many times but the man keeps coming. It is, of course, the ghost of Mobius. He wants to keep Blake alive in hopes the women will follow him into town and then his revenge would be complete and he would be freed from his curse.

Albert Pyun is rapidly becoming one of my favorite directors. He is innovative beyond many of his peers. Pyun can weave a story into a tapestry where each thread adds to the whole but never dominates. I have to admit that when I first read the blurb on the press announcement for this film I had my doubts; too many genres for anyone to handle. To my surprise and delight Pyun not only pulls it off this film is bound to become a cult classic. With the possible exception of Clementine and Michelle there are no admirable characters here. Blake is a loser who uses women and tosses them aside when he is done. Mary and her crew are so deranged that it seems that some women’s facility for the criminally insane. The men in the Hostel flicks could take a lesson from these gals. There is some sympathy possible for Mobius, he just wants plain vengeance. The women enjoy the torture along the way.

Much to his credit Pyun avoids most of the hackney traps inherent in horror flicks. While there is plenty of violence there is not that much actual blood. I had to go back and re-watch several scenes and most of the terror Pyun creates is psychological that translated to a visceral sensation of bloodshed. He allows the characters to drive the story not the ghost gimmick. He also takes his time for some important exposition. Clementine is always seen carrying a bundle, the reveal may be predicted but it is left until her motivation is fully evolved. Some the secondary characters, mostly in Mary’s gang are little more than stereotypes but in this case the power of the leads more than make up for it.

Speaking of the leads they are great. You might have never heard of anyone in this film but soon Andres Bagg and Victoria Maurette will be on your radar. Maurette has that sultry look that will captivate any man. She has a depth to her eyes that emotes on a level few actresses can achieve. She is an Argentine actress that is due for a few cross over roles here in the states. Bagg also has a screen presence that is amazing to watch. He is the quiet anti-hero that stars are made from. In her role as Mary there is a need to reign in the bat scat character and Janet Barr manages to do so with flair. Sure she is crazy and dangerous but Barr’s presentation of the character helps the audience to understand her.

Lion’s Gate is always the go to distributor for dark, quirky films such as this. Once again they hit a home run with this DVD release. This is a movie that would be perfect for a dark and stormy night.

Posted 01/27/08