Blu-ray Review - HENRY: POTRAIT OF A SERIAL KILLER - Gritty & Disturbing
Refraining from playing up to the vulgar stereotypes of cheap shocker cinema, Henry: Portrait of a Serial Killer is an exceedingly intelligent and thought provoking film.
rating: 3.5
Films based on real life crime sprees are often some of the most intense an unsettling pieces of cinema, particularly with their ability to depict just how senseless and erratic such criminals actually are. John McNaughtons infamous low budget chiller Henry: Portrait of a Serial Killer, which makes its way on to Blu-ray and DVD this week, is certainly one such film. Follow the jump for our review Loosely based on the real life crimes of American serial killer Henry Lee Lucas, John McNaughtons haunting docudrama sees Michael Rooker take on the role of Henry, a demented man who arrives in Chicago to move in with an ex-con acquaintance, Otis (Tom Towles). Otis kid sister Becky comes to live with her older brother after a falling out back home, deciding to head out to the big city to find a new life. We follow the three along Henrys murderous trail as he starts to school Otis in the ways of the serial killer. Becky becomes ever more enamoured with Henrys stories of violence, all the while his pent up rage and sexual frustrations fuel the madness locked deep inside his psyche Cinema violence has never been more unnerving or disturbing as it is in Henry: Portrait of a Serial Killer. Without any of the comedy or almost comic book styling that so many films that feature violence have, the overly realistic portrayal of the gruesome murders Lucas commits is downright frightening. Although the film which was made in 1986 does look rather dated in places these days, McNaughtons dedication to trying to capture the most authentic sense of Lucass depraved crime spree means that it remains a truly remarkable and powerful piece of cinema. As much a comment upon audiences own relationship with on screen violence as it is about recounting Lucass murders, the film directly calls into question viewers own voyeuristic pleasure with this. By filming such brutal, disconcerting and realistic murder scenes McNaughton jars audiences by shocking them and having them analyse this relationship with violence. The director deliberately refrained from showing any police characters on screen in order to heighten the sense of lawlessness within the film and prevent viewers from having the comfort of seeing a reassuringly good character on screen. This also enhances viewers analysis of their own connection with violence on the screen and in reality: by removing any sense of morality and decency within the fictional realms of the film it becomes an expression of violence as the realistic norm and not something distanced (or separated by an invisible fourth wall). The pacing of the film is solid, preventing the film from appearing too focused on this sense of allegory and there is definitely an air of tension and a sinister underlying tone throughout the narrative. The direction is ample, effectively working to achieve the right amount of suspense and providing enough shocks to swiftly carry the narrative (and the audiences attentions) forward. McNaughton and co-writer Richard Fires screenplay is refreshingly frank and honest in its depictions, elevating the film out of the lowly realms of a cheap, simple shocker. With much more depth and complexity within both its narrative and its character developments, the screenplay offers viewers a distinct sense of realism that makes it an even more uncomfortable watch. The film is definitely a performance driven piece, with fantastic work from its main cast. Michael Rooker gives a star performance as Henry Lee Lucas, portraying the unrepentant monster with an intensity and fundamental sense of evil. Although the character is rather soft spoken and not particularly nasty looking at a glance, Rooker perfectly manages to capture a distinct sense of psychological imbalance within his portrayal of Lucas. Rooker is pivotal to the success of the film, capturing audiences attentions immediately and holding them captivated with his uncomfortably realistic performance throughout the runtime. From his ability to evidence sheer anger in a mere facial expression to his viciously physical performance, Rookers turn as Lucas will remain with audiences long after the end credits start rolling. Tom Towles as Lucass protégé, Otis, gives a terrifying performance in a role that creates a truly unpredictable and ruthlessly maniacal character. Towles immediately looks unsavoury with his grotesque comb over hairstyle and expressive face. His efficiency as a killer and his emotional detachment mean that Otis is a distinctly unlikeable and inhuman character. Towles manages to effectively capture this in his portrayal, but also refrains from turning Otis into a simple, two-dimensional portrait of pure evil. The only positive character within the piece is Becky, played well by Tracy Arnold. Her performance is stellar and the contrast between Lucass character when he is with Becky and when he is with Otis is distinctive. Becky poses the opportunity of a far brighter future for Lucas, but this is still not enough to prevent him from committing murder. Having being abused both emotionally and physically, Becky has some of the same psychological torments as Lucas and Arnold manages to imbue her with a complexity and likeability that finds audiences hoping she will have a profound positive effect on him. These three principal actors each bring their own unique charms and repulsions to the screen, which ultimately heightens the duality of Henry: Portrait of a Serial Killers complex narrative.