Is this movie not generous? Loving stock footage and time lapse photography of fungi, flora, and fauna over the opening credits segues into a monologue that lays bare the themes and ideas that will propel the narrative - a seeming throwback to the sensibilities of 50s B-movies. We're then launched immediately into the plot with no substantial further exposition; the audience is meant to learn the story only as it develops. Our eyes are greeted with the always welcome visage of Donald Pleasence; our ears are treated to the wonderful original score of Basil Kirchin, at times harshly atmospheric or abrasively discordant but always outstanding. Even if it's not the most purely essential of pictures, 'The freakmaker,' also known as 'The mutations,' easily piques one's curiosity early on and keeps our attention well enough.
The plot explores the familiar space of an enterprising scientist conducting experiments outside the bounds of ethical considerations, though I think the notions laid out in Edward Mann and Robert D. Weinbach's screenplay are arguably a bit more well fleshed out than in similar titles. In short order the story to come might be predictable in the broad strokes, but it's still suitably well written and entertaining. It helps that the production design and art direction are so strong and enticing, to say nothing of the hair and makeup work, costume design, stunts and effects, and the cast that includes real sideshow performers. As ever when such a title dallies with such fringes of society it rides a bit of a line in spotlighting disabilities and illnesses as entertainment in and of themselves, though of course it's clear that the performers assembled for this have owned and embraced their unique qualities.
'The freakmaker' carries itself with a measure of restraint; for much of the length it declines utmost active realization of the horror or sci-fi elements, and they feel more thematic than actual or visceral. It does, after all, have a fair bit in common with its spiritual predecessors of 15-20 years prior (or arguably hearkening back all the way to genre flicks of the early 30s), only with storytelling and film-making that generally feels more fluid and natural. This isn't the type of genre flick to immediately reach out and grab our attention; the fun is more in the overarching airs of the concepts on hand, and how they're woven together. For lack of urgency and aspects to help this truly stand out, there's little especial need to watch - but it's still quite enjoyable.
Rounded out with a couple other recognizable names in the cast (Julia Ege, Tom Baker), and capably guided with Jack Cardiff's experienced direction, this is pretty decent overall. The biggest trouble I see is simply that the feature maintains such an even-keeled tone, scarcely achieving any major sense of dynamics or vibrancy until within the last 20 minutes or so. A bit more striking emphasis on the horror facet would have been all that was required to take this to another level. Nevertheless, more so than not the production is rather solid, softly scratching the itch for a satisfying genre romp, and the ending is a cheeky delight. Unless you're a huge fan of someone involved I don't know that this is a must-see by any means, but if you have the opportunity to watch 'The freakmakers,' it's a good time and worth 90 minutes.
The plot explores the familiar space of an enterprising scientist conducting experiments outside the bounds of ethical considerations, though I think the notions laid out in Edward Mann and Robert D. Weinbach's screenplay are arguably a bit more well fleshed out than in similar titles. In short order the story to come might be predictable in the broad strokes, but it's still suitably well written and entertaining. It helps that the production design and art direction are so strong and enticing, to say nothing of the hair and makeup work, costume design, stunts and effects, and the cast that includes real sideshow performers. As ever when such a title dallies with such fringes of society it rides a bit of a line in spotlighting disabilities and illnesses as entertainment in and of themselves, though of course it's clear that the performers assembled for this have owned and embraced their unique qualities.
'The freakmaker' carries itself with a measure of restraint; for much of the length it declines utmost active realization of the horror or sci-fi elements, and they feel more thematic than actual or visceral. It does, after all, have a fair bit in common with its spiritual predecessors of 15-20 years prior (or arguably hearkening back all the way to genre flicks of the early 30s), only with storytelling and film-making that generally feels more fluid and natural. This isn't the type of genre flick to immediately reach out and grab our attention; the fun is more in the overarching airs of the concepts on hand, and how they're woven together. For lack of urgency and aspects to help this truly stand out, there's little especial need to watch - but it's still quite enjoyable.
Rounded out with a couple other recognizable names in the cast (Julia Ege, Tom Baker), and capably guided with Jack Cardiff's experienced direction, this is pretty decent overall. The biggest trouble I see is simply that the feature maintains such an even-keeled tone, scarcely achieving any major sense of dynamics or vibrancy until within the last 20 minutes or so. A bit more striking emphasis on the horror facet would have been all that was required to take this to another level. Nevertheless, more so than not the production is rather solid, softly scratching the itch for a satisfying genre romp, and the ending is a cheeky delight. Unless you're a huge fan of someone involved I don't know that this is a must-see by any means, but if you have the opportunity to watch 'The freakmakers,' it's a good time and worth 90 minutes.