{"id":3463,"date":"2013-07-02T13:51:50","date_gmt":"2013-07-02T20:51:50","guid":{"rendered":"http:\/\/moviesharkdeblore.com\/site\/?p=3463"},"modified":"2014-10-16T14:56:05","modified_gmt":"2014-10-16T21:56:05","slug":"maniac-2013","status":"publish","type":"post","link":"https:\/\/behindthelensonline.net\/site\/reviews\/maniac-2013\/","title":{"rendered":"MANIAC (2013)"},"content":{"rendered":"

By: debbie lynn elias<\/strong><\/p>\n

One of my greatest gripes about filmmaking stems from remakes.\u00a0 If a film is so well done or so beloved, it need never be remade unless the remake or reimagination adds something new, takes a new tact, etc. and doesn’t denigrate the vitality, excellence or classicism of the original.\u00a0 Having said that, Franck Khalfoun\u2019s \u201cremake\u201d of William Lustig\u2019s 1980 horror classic, MANIAC, is not only an as close to perfect remake as I have seen in many a day, but takes the concept and film to new levels of excellence and creativity that take the film beyond the horror genre.<\/p>\n

\"maniac<\/p>\n

Powerful and shocking in its day, Lustig\u2019s MANIAC was beyond visceral and as Khalfoun relates, was described by some critics as \u201csmell[ing] like piss.\u201d\u00a0 In Lustig\u2019s original, Joe Spinell (who also wrote the original screenplay) played Frank.\u00a0 Large, hulking, sweaty and grimy, Frank was a serial killer of grand proportion, terrorizing young women in 1980’s New York.\u00a0 The kills were bloody, brutal and voluminous.\u00a0 In this 2013 version from Khalfoun, the action shifts from the once-gritty New York City alleys to the now-gritty downtown Los Angeles alleys and empty nighttime streets.\u00a0 The delicate, kind and elfin Elijah Wood steps in as Frank who, while no longer hulking and menacing, is psychologically creepy. But the most important and effective twist on the original is Khalfoun\u2019s shift of the POV to have everything seen through Frank\u2019s eyes.\u00a0 The audience, in essence, becomes part of Frank.<\/p>\n

Frank loved his mother and craved her love and attention in return.\u00a0 Unfortunately, he didn\u2019t get it which resulted in some more than skewed psychological issues that plague him to this day.\u00a0 Now running his mother\u2019s business of restoring vintage porcelain mannequins of days gone by, Frank obsesses with his mannequins, so much so, that he stalks females, stabs them, strangles them and then scalps them.\u00a0 He then brings the scalps home to his \u201cladies\u201d and then staple-guns or glues the scalps to various mannequins which he also dresses in his victims\u2019 clothing, now believing them to be \u201calive\u201d and thus fulfilling his need for love and affection.\u00a0 Frank\u2019s kind eyes and sensitive nature not only makes it easy to find victims, but makes everything that much more shocking and disturbing.\u00a0 (Think Norman Bates meets Hannibal Lector.)<\/p>\n

\"maniac<\/p>\n

But, could there be hope for Frank?\u00a0 Could he not be completely over the edge?\u00a0 Is there a chance of redemption?\u00a0 When he meets a beautiful young blonde photographer named Anna, it\u2019s as if a weight has been lifted from him.\u00a0 His world gets a little lighter, a little brighter.\u00a0 He becomes engaged in conversation, coffee and business – especially when he discovers Anna\u2019s own interest in faceless mannequins which she now wants to use in a one-woman multi-media art show.\u00a0 But what happens when Frank realizes that Anna has a boyfriend, and it\u2019s not him.<\/p>\n

Elijah Wood stuns!\u00a0 While diminutive in stature, he is anything but in performance power as Frank.\u00a0 Having said that, he harkens to the same creepiness of Tony Perkins in \u201cPsycho\u201d, but what makes Wood even more mesmerizing and chilling are his eyes.\u00a0 And given the whole POV aspect of the film, his blue, wide-eyed, over-sized oogly eyes add layers that no other actor could bring to the story.\u00a0\u00a0 Interestingly, because of Khalfoun\u2019s POV shift, not only are we treated to an entirely different emotional experience with Wood in the lead, but a larger hulking actor would have been unable to pretzel his physique in tune to the camera.\u00a0 As Wood notes, \u201cMy challenges were logistically getting myself behind the camera and figuring out ways to make sure that I was there for the other actors and also to get potentially an arm or a hand into frame at different times which could be cumbersome.\u00a0 But that was an exciting process.\u00a0 I found that whole process to be almost like a puzzle everyday.\u00a0 But it was a challenging process, too, because in some ways you walk into that thinking, \u2018It\u2019s simple, right?\u00a0 Everything\u2019s one shot.\u2019\u00a0 But of course the limitations actually create more challenges because you can\u2019t rely on traditional editing, you can\u2019t rely on traditional coverage.\u201d<\/p>\n

\"maniac<\/p>\n

Important to Wood\u2019s performance is that not only had he not seen the original MANIAC, but intentionally waited until filming began on this version.\u00a0 This allowed him to \u201cwork to establish the character from my perspective without having seen what Joe Spinell did.\u00a0 However, Joe\u2019s physicality, his voice, who he is, is never anything I could have been.\u00a0 The differentiation is so vast anyway but it was important to me to just create the character based on my interpretation and what was in the script.\u201d<\/p>\n

As Anna, Nora Arnezeder is ethereal joy.\u00a0\u00a0 The character herself, and Arnezeder\u2019s performance, is a purity that is metaphorically stated through the faceless pure white mannequins with her face then projected on them.\u00a0\u00a0 A wonderful balance to the “sluttier” girls that Frank has been killing and a performance that creates a tonal shift in the story.<\/p>\n

\"maniac<\/p>\n

But talk about sending chills down your spine!\u00a0 Co-written by Alexandre Aja and Gregory Levasseur based on Spinell\u2019s 1980 screenplay, and directed by Franck Khalfoun, MANIAC turns the tables and sets the mind reeling.\u00a0 Not your typical fear movie with things jumping out at you, the first-person point-of-view of having the camera see everything through Frank’s eyes is not only a brilliant idea, but masterfully executed thanks to cinematographer Maxime Alexander’s incredible lensing design. The camera angles are superbly designed and executed, immersing us in Frank\u2019s psyche.\u00a0 Skewed, over the shoulder, eye level with Frank’s POV at all times, one of the most intense and exciting scenes involves Frank under a car in a parking garage near 6th & Broadway with only his hands, a knife and the ankles of a potential victim playing out.\u00a0 Heart-stopping.\u00a0 Although everything is seen through Frank\u2019s eyes, we do get glimmers of Frank – but only through reflection –\u00a0 mirrors, windows, angles with just his eyes captured in a rear view mirror\u00a0 – all creates an intensity that is powerful, mesmerizing and riveting.<\/p>\n

For Khalfoun, \u201cMy whole take on the way that this film look was obviously production design and cinematography.\u00a0 I wanted it to look beautiful and then I wanted it to be all drenched in darkness, sort of symbolizing this perhaps beautiful man who is now covered himself in darkness and trying to slowly to reveal himself, trying to come out of that.\u00a0 It just embodies the character.\u00a0 The problem with doing a movie in POV is that I have to use every other element to try and create emotion and create a sensibility.\u00a0 I knew that if I made a very lush, beautiful movie and then darkened it, that it would evoke some sort of feeling, some sort of mystery.\u00a0 You want the veil to be lifted as you want the veil to be lifted on this character as you want to discover, as you hope that this character will sort of lift himself out of this thing.\u201d<\/p>\n

\"maniac<\/p>\n

In designing the visual tone, Khalfoun and Alexander create a rich and lush icy bluish noir lighting palette punctuated with the purity of the white faceless mannequins and the judicious pops of bright red blood, which over time, deepens to a dark crimson on the mannequins’ scalps, blurring the line ever deeper between horror and art house couture.<\/p>\n

Interesting is Khalfoun\u2019s take on the original film and it\u2019s impact on him, something that carried through and was incorporated into this direction of MANIAC.\u00a0 On first seeing the film on VHS in the late 80’s, \u201cMy experience was \u2018Wow! I have empathy for this monster.\u2019\u00a0 And I thought how human that is of me, no matter what this guy has done, I still feel something.\u00a0 I feel bad.\u00a0 I want to give him reasons and excuses for having done the things he that he had done.\u00a0 It became less gratuitous for me in that way.\u00a0 That\u2019s what I brought into this one and that\u2019s sort of the take that I started this venture on.\u201d\u00a0 With that in mind, Khalfoun\u2019s MANIAC became a structured point-of-view through Frank\u2019s eyes.\u00a0 \u201cBeyond it being a movie about a man slashing and scalping women, it\u2019s a man looking for love, looking for acceptance, looking for a way out of his wounds of childhood.\u201d\u00a0 What Khalfoun achieves beyond the beauteous visuals is an emotionally poignancy and drama of the human condition.<\/p>\n

\"maniac<\/p>\n

Achieving and maintaining the consistent first-person POV was not an easy task, not only for Elijah Wood, but for director Khalfoun as well.\u00a0 \u201c[I]t\u2019s a huge challenge because moviemaking is about following characters and feeling their experience and if you don\u2019t see them, you\u2019re stripped away of your lead character for the most part.\u00a0 So you have to substitute that for other things.\u00a0 Also, in terms of doing horror and suspense, it\u2019s all about coverage and it\u2019s all about stretching time and creating slowing down time so that you can raise tension and raise fear.\u00a0 If I\u2019m doing everything from one point-of-view, all of a sudden I can\u2019t cut to a close up of somebody\u2019s feet or a hand grabbing a door knob to play with tension.\u00a0 And I knew those things.\u00a0 So it\u2019s an incredible challenge.\u00a0 Also, not being able to see the main character and feel for this character.\u00a0 Elijah does a remarkable job because we don\u2019t see his face a lot but when we do, it\u2019s very impactful and his voice guides us through this and we\u2019re able to sort of feel that emotion.\u00a0 So you have to substitute it in different ways and find other ways to do it.<\/p>\n

Editing is rapier with its precision and pacing. Clean, sharp, razor-honed. Tension builds incrementally as the senses are assaulted with unrelenting shocking kills.<\/p>\n

\"maniac<\/p>\n

Noteworthy is that I screened MANIAC at a midnight show at the Chinese complex in Hollywood during which I detected discernible differentials in the audio track.\u00a0 Be it intentional or a technical glitch, the audio sounded like student films back in the 70’s when we had to use Super 8mm or 8mm to shoot film only and then do a separate audio track on reel-to-reel and time to match, running a projector and reel-to-reel player concurrently.\u00a0\u00a0 The entire audio track of Wood’s Frank – and only his – sounded looped but looped over the complete audio of the existing tracks.\u00a0 Having said that, it works, whether it was deliberate or a technical glitch as it just makes Frank more “in your face”, “in your head space” and adds an even greater psychotic texture to the experience.\u00a0 Be it a technical issue or designed, Frank\u2019s narrative is effectively disconcerting.<\/p>\n

As Franck Khalfoun aptly notes, \u201cMost of the horror movies that stand time are the ones that go beyond scares and actually tell human story.\u00a0 You can always tell a good horror film if you remove the horror.\u201d\u00a0\u00a0\u00a0 Khalfoun\u2019s MANIAC is about as human as one can get.\u00a0 A heart-pounding, heart-stopping cinematic experience.<\/p>\n

Directed by Franck Khalfoun<\/p>\n

Written by Alexandre Aja, Gregory Levasseur based on Joe Spinell\u2019s 1980 screenplay<\/p>\n

 <\/p>\n

Cast:\u00a0\u00a0\u00a0\u00a0 Elijah Wood, Nora Arnezeder<\/p>\n","protected":false},"excerpt":{"rendered":"

By: debbie lynn elias One of my greatest gripes about filmmaking stems from remakes.\u00a0 If a film is so well done or so beloved, it need never be remade unless the remake or reimagination adds something new, takes a new tact, etc. and doesn’t denigrate the vitality, excellence or classicism of the original.\u00a0 Having said […]<\/p>\n","protected":false},"author":2,"featured_media":3465,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36,9],"tags":[259,569],"class_list":["post-3463","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-movies","category-reviews","tag-horror-thriller","tag-maniac-2013"],"yoast_head":"\nMANIAC (2013) - Behind The Lens Online<\/title>\n<meta name=\"description\" content=\"Behind the Lens is your home for in-depth movie reviews, filmmaker & celebrity interviews, and more, all by industry professional and film critic debbie lynn elias...\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/behindthelensonline.net\/site\/reviews\/maniac-2013\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"MANIAC (2013)\" \/>\n<meta property=\"og:description\" content=\"Behind the Lens is your home for in-depth movie reviews, filmmaker & celebrity interviews, and more, all by industry professional and film critic debbie lynn elias...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/behindthelensonline.net\/site\/reviews\/maniac-2013\/\" \/>\n<meta property=\"og:site_name\" content=\"Behind The Lens Online\" \/>\n<meta property=\"article:published_time\" content=\"2013-07-02T20:51:50+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2014-10-16T21:56:05+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/behindthelensonline.net\/site\/wp-content\/uploads\/2013\/07\/maniac-1.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"400\" \/>\n\t<meta property=\"og:image:height\" content=\"265\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"debbie lynn elias\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"debbie lynn elias\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"10 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/maniac-2013\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/maniac-2013\\\/\"},\"author\":{\"name\":\"debbie lynn elias\",\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/#\\\/schema\\\/person\\\/2d9b602095eb0ce3d363efb75ad0b5d4\"},\"headline\":\"MANIAC (2013)\",\"datePublished\":\"2013-07-02T20:51:50+00:00\",\"dateModified\":\"2014-10-16T21:56:05+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/maniac-2013\\\/\"},\"wordCount\":1906,\"publisher\":{\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/maniac-2013\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/wp-content\\\/uploads\\\/2013\\\/07\\\/maniac-1.jpg\",\"keywords\":[\"horror-thriller\",\"MANIAC (2013)\"],\"articleSection\":[\"Movies\",\"Reviews\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/maniac-2013\\\/\",\"url\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/maniac-2013\\\/\",\"name\":\"MANIAC (2013) - 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