Feeds:
Posts
Comments

Posts Tagged ‘Jennifer O’Neill’

The past was indeed a strange and very different place. The year must have been 1982-ish, give or take a year either way, and I was at my local two-screen cinema somewhere in Lancashire. I have no idea what I was there to see, but I distinctly recall being fascinated by one of the displays advertising a coming attraction: not a poster, but one of those free-standing cardboard things that you still used to occasionally see for big movies before everything went to hell. This one depicted – well, it was a man in a business suit, I suppose, or the upper part of his arms, and torso, and shoulders, and neck. The head was absent, and it was clear that this was not due to the display being damaged: the reason this guy was in the display was because his head had literally exploded, and this was made quite clear.

Lord knows what my parents were doing at the time, because I’m utterly certain they would not have been down with me checking out advertising for films where people’s heads detonated. And Lord knows what the cinema staff, and indeed the film’s distributors, were thinking of, putting advertising material about the place which was so appallingly graphic. The image fascinated and stuck with me, even though it would be over a decade before I actually saw it. The name of the film was Scanners, directed by David Cronenberg.

The film opens with a homeless man, whose name we eventually learn is Cameron Vale (Stephen Lack), wandering through a large shopping mall. He stops for a burger; two women look at him with distaste. One of them is abruptly struck down with a seizure of some sort – we see in Vale’s expression shock, horror, guilt, pain. Two men seem to recognise Vale; they pursue him and tranquilise him, taking him to a secret facility.

Elsewhere, a military-industrial corporation named ConSec is holding a demonstration of the abilities of a man known as a ‘scanner’: scanners apparently have a suite of telepathic and telekinetic powers, although the film is appropriately vague about exactly what they are capable of. The scanner invites a volunteer from the audience to come up and scanned, as part of the demonstration: stepping forward is a man we later learn has the non-specifically ominous name of Revok, and he is played by Michael Ironside (a prolific, culty actor possibly best known for his work with Paul Verhoeven in films like Starship Troopers and Total Recall). The demonstration does not go according to plan, I think it’s safe to say, as it turns out that Revok is also a scanner, and much more powerful than ConSec’s man: soon enough, it’s headbanging time (after pondering how to achieve the notorious exploding head effect, the special effects man apparently just told the rest of the crew to cover their ears and blasted a prop head full of raw meat with a shotgun at point-blank range).

This occasions a certain amount of disquiet amongst the higher-ups at ConSec, not least because all the scanners they have been working with have chosen to sever contact with the company. Head of the scanner development programme, the regrettably-named Dr Ruth (Patrick McGoohan), suggests that Revok is establishing his own underground network of scanners and it might be a good idea to try and infiltrate this with a scanner operative of their own. For this undertaking Ruth elects to use Vale, who has only recently been identified as a scanner and thus is unknown to Revok and his followers – in theory at least. But Revok already has his own spies in place, and Vale’s mission leads him into peril, as well as to the secret behind the existence of the scanners…

For a movie which is to some extent defined by a single spectacularly gory moment, it’s worth pointing out again that the bit in question comes really very early on in the film – the film’s other big set-piece (as displayed in the poster) comes at the climax, and is also very gribbly. Between these two scenes, however, Scanners doesn’t often look much like a horror movie: it resembles a spy movie or political thriller much more closely, as Vale seeks out contacts, infiltrates secret societies, is pursued by assassins and discovers dark secrets. There is very little of the fascination with psycho-sexual themes which colours earlier films like Rabid and Shivers. Then again, Cronenberg has always been a kind of restless talent, bringing his own approach to a variety of different genres.

The horror movie and the conspiracy thriller come together in Scanners in the sense that this is a movie about control, both in the explicitly personal sense – the primary talent of a scanner seems to be their ability to hijack the nervous systems of those around them, causing all sorts of nasty physiological effects – and also in a wider and more political way. It’s clearly deeply suspicious of big business, both the military-industrial complex but also big pharma – one of the ways in which the film resonates with the real world is that it’s revealed the appearance of scanners is the result of pregnant women being prescribed a sedative called ephemerol, their children being born with the scanner faculty. The parallels with the scandal of thalidomide are too obvious to need going into in detail. Ordinary people and their lives just seem to be treated as raw material by the vested interests of the world. It’s a bleak and downbeat vision – Vale’s mentor, Dr Ruth, meets the usual fate of mentors towards the end of the movie, but he is also revealed to be a compromised figure: the creator of ephemerol, and a man with a rather ambiguous relationship with the scanners he is responsible for.

In some ways Ruth comes across as the most interesting character in the story, although this may just be because he is played by Patrick McGoohan, always an intelligent and idiosyncratic performer (as is quite well-known, Sean Connery was only cast as James Bond because McGoohan turned the part down due to what he saw as Bond’s promiscuity). McGoohan gives the film ballast and gravitas which some of the other performers possibly lack, although Ironside is as charismatic as ever.

In the end Scanners is more a movie of ideas than anything else: Cronenberg is reasonably effective in handling the thriller narrative and the plot develops satisfyingly, but some of the characters are not especially well-developed and it’s less of a visceral horror movie than its reputation might suggest. It ends on a curious note of ambiguity, with conflict between benevolent and aggressive scanners resolved, apparently through some kind of psychic synthesis. It’s another interesting notion, one of many in the film, but one could have wished for the director to have turned up the dial in terms of both horror and plot elements. He arguably did just this in his next film, Videodrome. Scanners itself is reasonably effective as a horror-thriller fusion, but one is left with a sense of potential left unexplored.

Read Full Post »