Does this herald the true second coming of true exploitation cinema?
Fred Vogel has created monster here. To summarize, the premise of August Underground is that the viewer is a recipient of a snuff videotape. Produced to look like a badly degraded third generation copy of a home movie, AU has all the cinematographic reality that is required to achieve this feat.
** possible spoilers **
The movie follows our main character, an unnamed murderer without apparent purpose, through a snippet of his day to day activities. Naturally, these activities generally include the sadistic slaying of seemingly innocent members of the public. From hookers to shopkeepers, there is no pattern to these murders, the killer seems to pick at random to satisfy his cravings.
This is not a one man operation however - of course, someone is required to hold the camera. but this is not just a cameraman, the accomplice here is reveling in the carnage, in fact the cameraman is actually participating in these event with effort equaling his 'subject'.
The movie launches headlong into the murder spree, with the opening shot of beer pouring from a bottle into a gutter leading hastily into a house, the camera shaking as if it had been taken by old Aunt Doreen feeling the effects of 15 years living with MS. Quickly the movie rolls on into the basement where victim number one is bound. A shocking scene of humiliation follows, setting the tone for the graphic content of the movie ahead. This is followed by a stream of random murders until the ambiguous final killing.
This is basically the plot of August Underground. Many of those who have read the hype would be expecting exactly that. But there is more...
In between murders the killer is shown living his life. These extracts are the factors that add depth to the character presented. He is seen fooling around and generally acting normal, a contrast which poses a dark question for the viewer. By comparing the central character to a stereotype that could theoretically represent the viewer, are the film-makers actually attempting to satire those who seek out august underground for it's shocking reputation with the characterizations of the killer?
At one point the killer is staring at a model railway with a childlike expression of confusion, vaguely reminiscent of the expressions of Krug and his crew in Wes Cravens far superior (but completely incomparable)Last house on the left as they stared upon the lifeless body of their victim. Scenes such as this interspersed throughout the movie seem to offer a fleeting clue as to the troubled mind of the subject.
When it is considered in the cold light of day, I believe that there will be three clear camps for the opinions behind this movie :
1) It's poor and completely over-hyped by its makers and distributors. 2) It has merit for it's shock value (The Gorehound effect!) 3) It is an important independent film that pushes barriers but can be justified by its thoughtful intent.
I couldn't argue with anyone who fell into either of those categories, I would imagine it comes down to what you as a viewer are trying to get out of it.
When considering recent western-made movies that have attempted to take exploitation to a different level, only Eric Stanze's Scrapbook springs to mind, with the arguable exception of Palumbo's Murder Set Pieces. August Underground can be added to that list.
It doesn't attempt to replicate some of the classics such as Deodato's Cannibal Holocaust, D'Amato's Buio Omega or the aforementioned Craven's Last House on The Left. Instead it gives subtle nods to these films in the use of its filming techniques or the makeup of some of the set pieces throughout the film, whilst at the same time fusing some of the extreme lifelike violence of Jaspanese pseudo-snuff style movies of the last ten years such as Guinea Pig and to a lesser extent all night long.
When all the shouting is done I suspect that the cult notoriety of August Underground will carry it's name on for some time to come.
Not a film to watch twice, Approach with caution.
Fred Vogel has created monster here. To summarize, the premise of August Underground is that the viewer is a recipient of a snuff videotape. Produced to look like a badly degraded third generation copy of a home movie, AU has all the cinematographic reality that is required to achieve this feat.
** possible spoilers **
The movie follows our main character, an unnamed murderer without apparent purpose, through a snippet of his day to day activities. Naturally, these activities generally include the sadistic slaying of seemingly innocent members of the public. From hookers to shopkeepers, there is no pattern to these murders, the killer seems to pick at random to satisfy his cravings.
This is not a one man operation however - of course, someone is required to hold the camera. but this is not just a cameraman, the accomplice here is reveling in the carnage, in fact the cameraman is actually participating in these event with effort equaling his 'subject'.
The movie launches headlong into the murder spree, with the opening shot of beer pouring from a bottle into a gutter leading hastily into a house, the camera shaking as if it had been taken by old Aunt Doreen feeling the effects of 15 years living with MS. Quickly the movie rolls on into the basement where victim number one is bound. A shocking scene of humiliation follows, setting the tone for the graphic content of the movie ahead. This is followed by a stream of random murders until the ambiguous final killing.
This is basically the plot of August Underground. Many of those who have read the hype would be expecting exactly that. But there is more...
In between murders the killer is shown living his life. These extracts are the factors that add depth to the character presented. He is seen fooling around and generally acting normal, a contrast which poses a dark question for the viewer. By comparing the central character to a stereotype that could theoretically represent the viewer, are the film-makers actually attempting to satire those who seek out august underground for it's shocking reputation with the characterizations of the killer?
At one point the killer is staring at a model railway with a childlike expression of confusion, vaguely reminiscent of the expressions of Krug and his crew in Wes Cravens far superior (but completely incomparable)Last house on the left as they stared upon the lifeless body of their victim. Scenes such as this interspersed throughout the movie seem to offer a fleeting clue as to the troubled mind of the subject.
When it is considered in the cold light of day, I believe that there will be three clear camps for the opinions behind this movie :
1) It's poor and completely over-hyped by its makers and distributors. 2) It has merit for it's shock value (The Gorehound effect!) 3) It is an important independent film that pushes barriers but can be justified by its thoughtful intent.
I couldn't argue with anyone who fell into either of those categories, I would imagine it comes down to what you as a viewer are trying to get out of it.
When considering recent western-made movies that have attempted to take exploitation to a different level, only Eric Stanze's Scrapbook springs to mind, with the arguable exception of Palumbo's Murder Set Pieces. August Underground can be added to that list.
It doesn't attempt to replicate some of the classics such as Deodato's Cannibal Holocaust, D'Amato's Buio Omega or the aforementioned Craven's Last House on The Left. Instead it gives subtle nods to these films in the use of its filming techniques or the makeup of some of the set pieces throughout the film, whilst at the same time fusing some of the extreme lifelike violence of Jaspanese pseudo-snuff style movies of the last ten years such as Guinea Pig and to a lesser extent all night long.
When all the shouting is done I suspect that the cult notoriety of August Underground will carry it's name on for some time to come.
Not a film to watch twice, Approach with caution.
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