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Monkey's Mask, The
The Story: Private detective Jill Fitzpatrick (Susie Porter) is hired by the Norris family to find their daughter Mickey who has vanished into thin air. At first she assumes Mickey, a modern, mopey, teenage Sylvia Plath running around the hipster poetry scene, has just disappeared with one of her many lovers,... that its until the girl turns up dead. During her investigation Fitzpatrick runs across literature professor Dr. Diana Maitland (Kelly McGillis), and is quickly drawn into an affair with the cultured, assured blonde. Although the family still wants her on the case, Jill is distracted by her affair with the professor. As her investigation limps along and she delves Mickey's various literati affairs, she begins to receive disturbing, threatening phone messages from a disguised voice.
The Film: For me, Monkey's Mask doesn't quite hit the bullseye. Its clear that its aim is some fine straddle between some arthouse pretension and the tried and true old detective story ideas, but none of those elements quite gels or feels fully fleshed out. The story unfolds rather tension free, and that's probably the most important element of film noir, tension. There is no immanent threat or dire situation, other than messages on her answering machine like, "Love has the same number of syllables as dead... our word for tomorrow." Tension can save the weakest plotting and the dullest characterization. And as far as its intelligentsia, there really isn't anything fresh, daring, or quirky to the mystery, and the poetry is unintentionally laughable. Likewise, the eroticism isn't really all that interesting or titillating, something like, the somewhat similar, Bound had far less bared flesh and sex, yet its steamy tone was pulled off with far more gusto. It is not that every element is bad, or the film is worthless, its just that its juggles a few different tones, and every one is only fair. For an independent Australian arthouse, destined for late night cable movie, it is fair enough, but otherwise isn't likely to make any big waves.
Kelly McGillis is a strange bird. I honestly never had a thought about her at all until a couple of years ago when I saw her pop up in a late night direct to video/cable thriller called Cat Chaser that I half–heartedly watched because it was based on an Elmore Leonard novel, had Peter Weller starring, and Abel Ferrarra directing. It struck me then that she seemed to have a great run of hits in the mid 80's, artistic smash in Peter Weir's Witness, box office blockbuster in Top Gun, and the critically applauded The Accused. But, she never banked on that huge wave of notoriety, and until picking up Monkeys Mask to review, I hadn't thought about her since that brief puzzle over what happened to her while watching Cat Chaser. Looking at her resume for this review, she mainly did a bunch of lukewarm flops and tv work before eventually going to direct to video land. I don't know what happened- bad agent?, drug habit?, had kids?, joined a doomsday cult?, but Monkeys Mask certainly isn't going to spark her career back to life. And, I'm sure she has some sort of legion of fans out there (Hell, if Steve Guttenberg, Jim Varney, and Carrot Top do, then anyone can), and I guess Monkeys Mask isn't so horrible that her fans may want to take a look. One thing is for certain (and this is not meant as an insult), but in Monkey's Mask her older, mannish looks, bad boob job, and heavier, taller frame make an interesting stereotype of the domineering one in the relationship.
But, McGillis is completely overshadowed; the true star of the film is Susie Porter as Jill Fitzpatrick. She is a great, enigmatic presence. Its just a shame the script doesn't call for more depth, especially puzzlement and stupidity for her character, getting by on gumption and tough street smarts. Instead, after a few unconvincing red herrings, Fitzpatrick unceremoniously finally stumbles onto the answer of 'who did it'. Early on, her character seems to follow a nice blueprint of the in over his head, frustrated, lower classed detective of old. Her internal monologue voice overs (another old film noir staple) are pretty good- referring to missing persons cases, "Never tell em' where their kid is until you get paid.", and her relationships, "In love I have no style. My love is decked out in bright pink track suit pants." The pairing of her and the intellectually inclined teacher seems to further this, the somewhat stupid detective pitted against the higher classed, higher intellect. Even McGillis character at one point says, "You're a great f**k, but a very ordinary detective. ", but like the rest of the films elements its not quite as fleshed out, too languidly conveyed. Porter does a good job. Its just too bad the film is a little too mired in lusty fake lesbian canoodling instead of a convincing/exciting mystery.
The DVD: TVA international/Columbia Tristar Entertainment. Picture- Widescreen. The aspect ratio is off. Looking at the cut off chapter titles on the film, its clear it is intended to be seen in letterbox, not widescreen. But this minor complaint is really only noticeable when they sporadic titles come up, and at the most only a letter is missing. Throughout the rest of the film it is barely noticeable that you are missing picture (although a scene of them in the bathtub does stand out). Color is good, but there is some loss of sharpness and fogging. The film is quite grainy, but some of that seems to be a product of it being low budget and intentionally gritty. Overall it is acceptable. Sound- Dolby Digital 2.0 or 5.1 Stereo. No problems, both tracks are good. Extras- Chapter Selections--- Theatrical Trailer.
Conclusion: If new wave, wannabe art, lesbian film noirs are your thing, then by all means it is a fair enough film and a decent enough transfer. Otherwise, due to the lacking extras, high MSRP, and what I felt to be pretty mediocre execution, give it a rental or late night cable viewing first.
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