Serpent and the Rainbow, The (Blu-ray)
Anthony Arrigo
|
Starring Bill Pullman, Cathy Tyson, Zakes Mokae, Paul Winfield
Directed by Wes Craven
Distributed by Scream Factory
It’s still a bit surreal to know that Wes Craven, one of the unquestionable masters of horror, has left us. If there is any silver lining, however, it is that he left fans a filmography filled with unique horrors, nearly all of which are united through one common recurring theme: dreams. Craven was utterly fascinated by them; what they meant, how they affected our lives. Often times his films would blur the line between fantasy and reality without feeling contrived, causing his viewers to question where one begins and the other ends. Nobody did it better. One film that seems to take a backseat to his bigger titles is The Serpent and the Rainbow (1988), a hallucinatory tale of voodoo and zombies set in Haiti. The film is very loosely based on the novel of the same name, written by ethnobotanist Wade Davis, wherein Davis traveled to Haiti numerous times in an effort to find a “zombie powder”. Craven’s version amps up the horror elements considerably, as fans would expect, while also retaining a very human touch. Bolstered by a strong performance from Bill Pullman, and featuring some truly impressive practical FX work, The Serpent and the Rainbow is among Craven’s best films, and it is finally getting the special edition it deserves thanks to – who else – Scream Factory.
Haiti, 1978. A man named Christophe (Conrad Roberts) seems to die under curious circumstances at a local hospital. During his burial the next day a shady figure, Peytraud (Zakes Mokae), stands by nervously as Christophe is lowered into ground in his casket… as a tear rolls down his cheek. Cut to the Amazon, 1985, and anthropologist Dennis Alan (Bill Pullman) is on an expedition for rare herbs – one that doesn’t exactly go as planned. Upon returning to Boston he’s approached by a consortium of pharmaceutical reps who want him to travel to Haiti and investigate the veracity of a drug, rumored to create “zombies”, that they want to use as a kind of “super anesthetic”. Alan agrees and heads down to Haiti. There, he meets up with a guide – a gorgeous guide – named Marielle (Cathy Tyson), who was the one that reported the possibility of a zombie drug after finding Christophe alive, wandering through a cemetery and suffering from amnesia.
Alan’s presence in Haiti is not welcomed by all, however; Peytraud, who had appeared to Alan before during a hallucination, warns him to leave Haiti or else face dire consequences. Undeterred, Alan stays and is introduced to Mozart (Brent Jennings), who claims he can produce the zombie powder he seeks. At first Mozart tries to scam him, but once he learns Alan isn’t so gullible Mozart offers to teach him how to make the powder if he pays him $1000. Alan agrees but before the two can finish the process Peytraud kidnaps Alan and sends him a stern message to leave the country – in the form of nailing his balls to a chair. Literally. Alan is forced onto a plane but Mozart manages to sneak aboard and give Alan the powder on the condition he tell the world who helped him secure it. But the nightmare isn’t over. When Peytraud possesses the wife of Alan’s colleague during a dinner, Alan knows he has little choice but to return to Haiti and face Peytraud in a final, hallucinatory showdown.
For whatever reason, the first couple of times I saw this film it didn’t quite click with me. Chalk it up to age, perhaps, because this most recent viewing had me totally glued to the screen. It’s a fascinating story – regardless of just how true it is – and Pullman is pitch perfect as the itinerant anthropologist who starts off a skeptic and is eventually forced into belief when he learns firsthand what Haitian voodoo rituals are capable of conjuring. Pullman is the quintessential everyman and an ideal avatar for viewers who are likely just as naïve to this world as he. Dr. Alan has a mind melting journey throughout the course of the film, grappling with the barrier between reality and fantasy before embracing the quest and using his own spirit animal – a badass jaguar – to combat Peytraud’s villainous plans.
There are two clear standouts here: the special effects work, courtesy of David LeRoy Anderson and Lance Anderson, and the production design. Haiti is an exotic locale, regardless of the abject poverty there, and the combination of tropical location and voodoo charms leaves the film ripe for some incredible mis-en-scene. The level of detail and minutia present in many scenes, such as the Haitian clubs and marketplaces – and especially the cemeteries – is exquisite. One of the film’s most memorable sequences has Pullman encountering a very decayed bridal zombie in a candlelit, atmospheric location before the bride’s gaping maw rips open to allow a snake to plunge out and attack him. All of the make-up work holds up today, even under the scrutiny of high definition.
Everything here just works. Craven’s original cut was rumored to run around three hours and was reportedly very “talky”. While I would love to see all of the excised footage, what remains is a tight beast featuring strong performances, chilling effects and a perfectly complementary score by Brad Fiedel. This is the last of the Craven collector’s editions to be released from Scream Factory, a product of rights and the usual blockades, and it very well may be my favorite. The only shame is Wes didn’t hang on long enough to participate in the extra features included here, which feel like they are lacking a bit due to his absence.
Scream Factory seems to be stepping up their game in regard to video transfers lately, with The Serpent and the Rainbow sporting a damn fine looking 1.85:1 1080p image that was struck just last year from the inter-positive film element. Once we move past the expectedly grainy optical credits, the film looks absolutely gorgeous. The print is exceptionally clean, with only the faintest instances of damage or white flecks. Grain is very fine, resolving organically over the picture. Colors appear very accurate and are on display in a wild kaleidoscope. The palette is a juxtaposed mix of vibrant hues and earthy tones. Skin textures look very strong in close-up, revealing plenty of minor details.
The English DTS-HD MA 2.0 stereo track capably handles the audible side of things. Brad Fiedel’s voodoo-inspired score sounds fantastic. The track is alive with activity, too, with the multitude of city sounds and Haitian citizens bringing a strong sense of direction and depth. Dialogue is clear and always registers well within the mix.
Subtitles are available in English.
Actor Bill Pullman shows up for most of an audio commentary, as moderated by Rob G. Pullman isn’t exactly forthcoming with his information, so thankfully Rob is prepared with plenty of questions to keep the actor on track. But strangely enough, at around the 53-minute mark Pullman says he’s got to be on set early the next morning… so he bails. And that’s the end of that. Odd.
“The Making of The Serpent and the Rainbow” – This piece feels a bit half-hearted, with the main participants being author Wade Davis (who appears via a PiP screen Skype-ing in), director of photography John Lindley (who has some solid recollections), both Andersons who discuss their work on the make-up team, and Pullman, who doesn’t appear but his voice is heard. Phoned in? Some good information is delivered here, though Craven’s participation is sorely missing.
The theatrical trailer, a TV spot and a good-sized photo gallery complete the bonus features.
Special Features:
- NEW 2015 HD transfer from the inter-positive
- NEW audio commentary with actor Bill Pullman
- NEW The Making of The Serpent and the Rainbow featuring new interviews with actor Bill Pullman, author Wade Davis, director of photography John Lindley and special makeup effects artists Lance Anderson and David Anderson
- Theatrical Trailer
- TV Spot
- Still Gallery
-
The Serpent and the Rainbow
-
Special Features
Categorized:Reviews
