STAKE LAND

US, 2010, 98 minutes. Colour.
Nick Damici, Connor Paolo, Kelly Mc Gillis, Danielle Harris, Sean Nelson, Michael Cerveris.
Directed by Jim Mickle.

What is the meaning of the seemingly inordinate amount of interest in vampires on the big screen and on the small screen in recent years? Is it simply an enjoyment of the horror genre and the fans’ exhilaration at yet another variation on the themes? Is there more? It would seem that the Twilight series indicates that there could be more – and that the different films respond to different age groups.

Stake Land is a modest contribution to the vampire films. It is rather more like a zombie film rather than a vampire film that the dialogue indicates. But, it also joins a growing number of ‘post-apocalyptic’ stories where survivors roam a devastated and plague-ridden America, destroying the monstrous living dead and journeying in hope towards a promised land. Films as diverse in intention and tone as The Road, The Book of Eli and Zombieland come to mind. These films are wake-up calls to re-assess our attitudes towards the environment, the possibilities of cataclysms and the puzzle of the good and evil that is in all of us.

Not all has been lost in Stake Land. There are vamps and living dead but there are also isolated communities, healthy survivors, some of whom have travelled north to find ‘New Eden’. Older Clint Eastwood westerns have suggested themselves to some reviewers, especially The Outlaw Josey Wales. This means that Stake Land is not just your average zombie and slasher thriller. There is more substance (along with some gory despatching of the vampires) in the story and screenplay, more worth thinking about. There is much greater sense of humanity in the characters and their plight as a small remnant, like that in Josey Wales, follow a leader who could save them from the enemy and lead them to a hopeful future.

The leader is Mister (played by the writer of the screenplay, Nick Damici). He saves a young lad, Martin (Connor Paolo) when his parents are killed. Along the way, where Mister is the slayer of the monsters, they encounter a pregnant young woman, a black man and a middle-aged nun (who seemed to resemble an older Kelly Mc Gillis until the final credits tell us that it was Kelly Mc Gillis) who is pursued by a madly zealot group, part fundamentalist Christian, part neo-Nazi. Her character, with habit initially, with crucifix and a small statue of Mary, gives the film an added level of interest, especially in the moral choices she has to make in situations of dire peril.

What adds to the quality of what is basically a genre piece is the fine photography of the American landscapes and their remote beauty, surviving the catastrophes, and the often quiet piano score which gives pause for reflection instead of out and out action.

A surprisingly better and more interesting take on survival in a post-apocalyptic world.

1. The popularity of vampire films? In the 21st century? The transformation of humans into the Living Dead? The combination of the vampire and zombie genre? The use of the conventions?

2. The popularity of post-apocalyptic films in the 21st century? World catastrophe, the devastation of the land, the resources, the lack of food? Monsters roaming the land, murder and destruction?

3. The themes of hope – a promised land, this film and the New Eden?

4. The photography and its beauty for this kind of film, absorbing the gory moments? The piano score, the plaintive touches?

5. The setting, Martin and his parents, their work, the vamps’ attack, Mister and his arrival, his wreaking havoc, the deaths, rescuing Martin? The hero?

6. Mister and Martin, Mister as a father figure, the master-apprentice relationship, the tools, the martial arts training, driving a car? Martin and the bond with Mister and his dependence on him?

7. The film as a road movie, travelling the road in the post-apocalyptic disaster? Killing vampires, hunting them down? The visuals of the road, the visuals of the desperate confrontations, the visuals of the deaths?

8. The religious group, the neo-Nazi look, the Christian fundamentalism? Jebedia and his hold over the others?

9. The radio broadcasts, the messages, information, religious dimension?

10. The individual survivors, the communities, the bar, the boy at the counter and his enthusiasm listening to Martin, the pregnant woman and her singing, finding the community, the carnival atmosphere, hospitality and hope?

11. The men pursuing the nun, the violence, Mister and his killing them? Jebedia, confronting Mister and Martin, his anger, his wanting vengeance, the death of his son, his pursuit?

12. Jebedia and the confrontation with Mister, audiences thinking he was dead, his return, taking Mister, nailing him? Martin and Mister defeating Jebedia?

13. The character of the nun, wearing her veil and habit when she was being pursued, the violence of the attack? Her being saved? Her sharing life with Mister and Martin? The crucifix, the statue of Mary? The confrontation with Jebedia, her staying with Jebedia and resigning herself to his attacks? The sexual implications? Her return to the group, sharing with them, Jebedia and the pursuers arriving again, the gun, her deciding to shoot herself, her final prayer? The extra dimension to the film with this religious atmosphere and the character of the nun?

14. Willie, the background of his work, joining the group, helping, the violence of his death?

15. Belle, singing, pregnant, going with the group? Her being abducted, tied up, the pathos of her death? The effect on Martin?

16. Martin and Mister, the effect of the attack by Jebedia and his followers? The death of Belle? Going on the road again? Mister and his strength? Martin’s vulnerability? Their coming to the diner, almost at New Eden? The remoteness? Staying at the inn? With the girl? Her memories?

17. Mister, his decision to leave, his leaving the emblem? Martin putting it on?

18. Martin and the girl, the vehicle, determined to find New Eden, crossing the border into Canada?

19. The film as satisfying the horror fans? But giving extra dimensions to the characters and stories as well as the issues?