“Descent” is a movie about young women trapped in a foul subterranean pit, confronting gruesome challenges, not the least of which is that they are being stalked by sub-human monstrosities eager to devour their flesh. This sounds an awful lot like high school, and I would say that demographic will provide the bulk of their audience. With beautiful young women writhing, fighting, squeezing through tunnels, the appeal to the boys is obvious. With a general “girl power” theme centered around 6 athletically vigorous women taking on challenges of rapids, mountains, and here, cave exploring, there’s something for the girls as well.
For the somewhat innovative setting, and some decent timing to induce chills and shock, this is a fairly-by-the numbers hash of familiar formulae. It doesn’t take a lot to guess early on who will survive. The casting was clearly more about athleticism than acting skill, but given the script all in the cast rise to the challenge, giving their parts at least as much as they have to work with. It’s not the best movie I’ve seen this week, and having just been through a film festival I can even say it’s not in the top ten.
If you like creepy ooky things in the dark, quasi-cannibalistic gore and disembowelment, and girls who have moxie but still scream a lot, this isn’t really a bad flick at all.
“Pandora’s Box” (G W Pabst, 1928) is one of the classic Vamp flicks – that is “Vamp” in the sense of a femme fatale. Louise Brooks illuminates the screen as Lulu, a thoughtless, childishly selfish, but beautifully sensuous woman who is the utter destruction of all who love her. This silent film, readily available on DVD and VHS, shows off Pabst’s sophisticated use of German expressionist style, and the high contrast of backgrounds plays up Brooks’ beautiful pale complexion framed by her short, black hair. Captivatingly beautiful at any rate, Louise Brooks is captured in some scenes as being irresistibly beautiful. Brooks’ acting is so subtle by the standards of silent film that at the time it came out critics thought she was not quite all there. Now her complexity is more apparent, and one can get lost in the layers of her performance as her seduction of those around her also draw in the viewer. Pabst’s direction and Brooks’ performance contain such depth and subtlety that one can watch this over and over again always seeing something new.
For young Americans who think of older films as being sanitized and prudish the frank sexuality and in particular the overt lesbianism may be a revelation. (Film prudery is really an anomaly of America from 1934-1958 under the censorship of the Hays office.) For viewers of all ages, and even those who have already seen it, this film is always a revelation. This is not just a classic that must be seen by anyone who cares seriously about cinema. This is a legendary performance in one of the greatest films ever made.
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