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The Mist (2007)

Comments Off on The Mist (2007) 21 December 2010

The Mist (2007)

Flawed albeit Creepy, alike a Hollywoodized Romero Film By Nick Schwab Ironically filmmaker George A. Romero, and not the Stephen King source material,

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would be a good first-point reference for the film The Mist: a flick simply about a food store being besieged by monsters lurking in the enshrouded natural occurance of the title. As Romero, director of the 1968 indie-masterpiece Night of the Living Dead, of which this film basically re-imagines, often has a cynical, even pessimistic outlook on humanity in his films. Yet, this tone never seems to be from what you could call a bitter

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old-liberal: rather it’s extremely realist, when looked in context to the themes, social critiques, and other allegorical statements that the films make. As The Mist is never a happy-go-lucky tearjerker, much alike the rest of the output from its director Frank Darabont of The Shawshank Redemption and The Green Mile.

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You could call those other movies ‘cock-and-ball heartbreakers’ making a reference to the way that those films were molded for their audience of typically white-collar, suburban males with their optimistic view of prison life making them

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pretty conservative in their logic. The Mist, however, is the counterbalance of his repertoire, as it is heavily tilted to the liberal side through its depiction of the religious characters as both self-serving and self-righteous, brainwashed zealots. In Night of the Living Dead alike The Mist the main theme was simply people cracking under pressure, and how the means to achieve fulfillment is blurred with right and wrong, or basically, ‘civilized values.’ There is a scene in The Mist in which a character defends the values of humanity by saying that people know the difference between good and evil, sanity and hysteria. The rest of the characters point out in a number of ways that this is, “When

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the machines work and you can still dial 911.” The racial tensions of Night of the Living Dead, however apparent in the satirical way, were still subtle when speaking of thematic development and dialogue– as Romero has went on record numerous times and said that he cast African-American actor Duane Jones not to give his material a social significance, rather Jones was just the best actor that tried for the part. Romero would go on to add a copious amount of subtext in his following films, but has also stated that the intention of his first film was simply to scare people, while the audience saw something much deeper and gave the film its own social critique; meaning that sometimes the best movies are those that are made with a greater concern on character development, story, and the overall emitted feeling. Therefore with those done right your audience will begin to look beyond your film, and create something more inside it. Do also note that movies’ themes almost always correspond to the present world that the film is made in, and especially with horror films, it usually contains the fears, repercussions, and anxieties of society. “Night…” was made in the 1960’s in which racial tensions were extremely prevalent, no small coincidence for the racial subtext. That said, the

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religious sacrifice in The Mist is particularly disturbing, due to not the murderers’ cold-bloodiness, but their desperation, in which they want to find answers and conspiracy in anything, not thinking of the world in realist terms, wanting to fix the problem in a way that is within their control, and by doing so, it hurts others, not creating a better world for anyone. As desperation creates an apathetic world of distraction, a smokescreen if you will, to come to a true peace. This is also

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the main problem in other moments in The Mist– the subtext is just not so subtle, especially in a scene in which the characters literally talk about the self-serving, distrust, and self-destruction of the human race– as if the audience would be too dumb to get it. Moreover, Marcia Gay Harden’s sacrificial-preacher character is nothing more than a cold-hearted bitch, that may be quite creepy, but is pretty shallow. She is more used to give the film its people suck subtext and create an easy sympathy for the main characters. Her evilness is simply so extreme that no one will be on her side, and even if some, like myself, often think that many of the religious right people are self-righteous, brainwashed bigots (as in dogmatic): it therefore does not tell

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us anymore than what we already believe, does it. Yet, despite many of its deeper ideologies getting garbled, The Mist is a good frightmare. The horror scenes, whether they be human or empyreal, are often effective– they are a true achievement in both visuals and directing, as Frank Darabont indeed does know how to create a setup for a scare scene, milk an F/X shot, and as important with a horror picture, he knows that no character is sacred, anyone can die at any given time, which is an ideology of a true realist. Finally, the ending

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may be out of Twilight Zone, but is more akin to that series’ better episodes. It does not feel gimmicky, and actually becomes one of the more startling

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end The Mist is alike a Romero film, just with more gloss and arch– although it may be flawed immensely in some of its artier elements, it is indeed one of the more effective horror films that Hollywood has put out for quite a while.

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