New York burger flipper Duane Lewis suffered a traumatising childhood incident that is dragged savagely to the surface whenever he’s exposed to the four-to-the-floor beat and the syncopated electric bass of disco music.Viewed as a narrative catalyst for brutal and bloody murder what it lacks in basic plausibility it more than makes up for in verve and passion, the same of which could be said of this highly entertaining movie as a whole.
Inevitably the Disco rhythms drive poor Duane over the edge of sanity and he is forced into some deadly dance floor moves reminiscent of a vintage Dario Argento.From here on in our protagonist and indeed the film relocates to Montreal as he takes on the role of handyman in a religious girls school.
This sudden change in tone,direction and indeed language is jarring but actually works in Discopath’s favour as the sub-titles lend a credible European feel conducive to it’s perceived time frame and enhances the performances of the cast.
The soundtrack was always going to be the critical component of a film so heavily plot reliant on a particular genre and Gauthier succeeds magnificently in this area.He blends some great original sounds with the use of some well known classics raising more than the odd smile through juxtaposition.Throughout the movie music is strategically deployed as a backdrop during key moments giving them a memorable iconic aura.
“I forced my friend/fellow composer Bruce Cameron to use strictly early 80’s synths for the soundtrack” the director told me and this really shines through in terms of the authenticity that was vital to the overall vibe of the film.
As well as showing a good ear for soundtrack manipulation Gauthier also exhibits a great eye for composition and artistic direction.Some of the scenes in Discopath teeter on the precipice of unintentional farce,creaking under the strain of the budget limitations, but Gauthier steadies the ship with some dynamic camera angles and some gorgeous shot framing.
The gore and violence quota is satisfyingly high with some gruesome imagery and meaty practical effects work easily earning the 18 rating and solidifying it’s independent roots.One of the death scenes is particularly inventive with the aftermath just as disturbing as the murder’s depiction.
Much respect to the filmmakers for having the confidence to avoid the false scratches and burns of fake grindhouse and even more kudos for not feeling compelled to chuck gratuitous female nudity needlessly into the mix as filler.
Discopath clips along at a fair old rate and does not become bogged down with excessive dialogue and surplus exposition and never outstays it’s welcome during it’s wisely economical 81 minute run time.The impressively delivered climax is both hysterical and horrible in equal measures and the twist ending seems appropriately tacked on.
Perfect Midnight showing material it’s a total blast of a flick that wears a plethora of obvious influences shamelessly on its frilly shirt sleeve yet manages to achieve a cohesive and original cultural direction of it’s own. Giallo films ,70’s slashers,grindhouse and even early Scorsese are all channeled here to great effect.
This accomplished first feature is clearly a labour of love for director Renaud Gauthier who squeezes all the blood he can from a meager budgetary stone by keeping proceedings compact and focused.
“We pulled off a small miracle producing this movie for around 200,000$ CAN” Gauthier told me and i think you may well agree once you have seen this future cult favorite.
Genre: Horror,Crime Distributor:Metrodome DVD Release Date:4th May 2015(U.K.) Rating :18 Director : Renaud Gauthier Cast: Jeremie Earp-Lavergne, Sandrine Bisson, IVvan Freud & Francois Aubin