The sad truth is that independent films are, ultimately, not for everyone.
Their stories can be a bit odd at times, never quite feeling as if its storytellers wanted to explore anything greater than a single note or beat. Though they used to be populated with second tier stars and starlets who were trying to stretch creatively if not approach something completely different, these projects seem to have fallen on hard times: very few of them see the light of day any more – a sad fact that might be owed to the presence of so many unknown talents – or they wind up in the direct-to-DVD video bin at your local big box discount store. Film festivals across the fruited plain still manage to serve them up when given the chance; but even those outlets have fallen into disarray as many organizers just can’t quite seem to muster the funds to seem them continued in the modern era.
Thankfully, there are a handful of great distributors out there – like those at Severin Films – who refuse to let experimental and independent cinema die; and they’ve awarded me a fabulously expansive set – All The Haunts Be Ours: A Compendium Of Folk Horror Volume 2 – that I’ve really only begun scratching the surface of. Just as indie far can be a bit hard-to-swallow at times, Folk Horror can be an ‘acquired taste’ for so many. It’s a unique sub-genre that knows no bounds because its parameters can be expanded to new frontiers so long as the core foundation sticks close to rural settings, superstitions, community or even communal settings, and other related things that go bump in the night.
Today’s fright: The Enchanted (1984) was directed by Carter Lord from a story by Charné Porter. It’s the story of a young man who’s found his way back home after seeing the world outside, and now all he wants to do is settle down and tend to his land. Lo and behold, several new faces have taken up this off the beaten track watering hole – a family known as the Perdrys – and he finds himself suddenly smitten with their eldest daughter. But what secret does she and the rest of her kin hide? Why do they shelter themselves away in isolation, cut off from the folks outside, and prefer keeping to themselves?
The answer might make all of us want to stay ‘in the nest,’ as they say.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and characters. If you’re the kind of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Sailor Royce Hagan returns from the sea and occupies his deserted family ranch in a remote part of backwoods Florida. A strange family is living in the woods on his property. A Florida Folk Mystery hangs over the ranch.”
Their stories can be a bit odd at times, never quite feeling as if its storytellers wanted to explore anything greater than a single note or beat. Though they used to be populated with second tier stars and starlets who were trying to stretch creatively if not approach something completely different, these projects seem to have fallen on hard times: very few of them see the light of day any more – a sad fact that might be owed to the presence of so many unknown talents – or they wind up in the direct-to-DVD video bin at your local big box discount store. Film festivals across the fruited plain still manage to serve them up when given the chance; but even those outlets have fallen into disarray as many organizers just can’t quite seem to muster the funds to seem them continued in the modern era.
Thankfully, there are a handful of great distributors out there – like those at Severin Films – who refuse to let experimental and independent cinema die; and they’ve awarded me a fabulously expansive set – All The Haunts Be Ours: A Compendium Of Folk Horror Volume 2 – that I’ve really only begun scratching the surface of. Just as indie far can be a bit hard-to-swallow at times, Folk Horror can be an ‘acquired taste’ for so many. It’s a unique sub-genre that knows no bounds because its parameters can be expanded to new frontiers so long as the core foundation sticks close to rural settings, superstitions, community or even communal settings, and other related things that go bump in the night.
Today’s fright: The Enchanted (1984) was directed by Carter Lord from a story by Charné Porter. It’s the story of a young man who’s found his way back home after seeing the world outside, and now all he wants to do is settle down and tend to his land. Lo and behold, several new faces have taken up this off the beaten track watering hole – a family known as the Perdrys – and he finds himself suddenly smitten with their eldest daughter. But what secret does she and the rest of her kin hide? Why do they shelter themselves away in isolation, cut off from the folks outside, and prefer keeping to themselves?
The answer might make all of us want to stay ‘in the nest,’ as they say.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and characters. If you’re the kind of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Sailor Royce Hagan returns from the sea and occupies his deserted family ranch in a remote part of backwoods Florida. A strange family is living in the woods on his property. A Florida Folk Mystery hangs over the ranch.”
More often than not, independent films are labors of love.
It used to be the some in academia called them ‘vanity projects,’ but that term has pretty much fallen out of favor with so many who talk, write, and speak about film for its negative connotation. Instead, critics tend to respect that good indies are the stuff of guerilla filmmaking – these features get produced on a miniscule budget (as compared to studio outings), everyone involved goes to extreme measures to help make the production possible, and the cast and crew are often made up of what might term ‘locals’ and/or ‘townies’ as opposed to professionally trained actors and actresses. Frequently, talent is drawn from small-town community theaters and the like; but rarely do these pictures have space and budget enough for a marquee star.
That’s why watching a release like The Enchanted can test the patience of some. While its production values are quite good, the end result rarely looks, sounds, or feels like a typical Hollywood outing. The editing might feel a bit jarring here and there – it seams often feel a bit rushed, perhaps as if the technician had to snip a scene short in order to cover up a deficiency or movement that would break the mood – as well as a sequence might go on longer than absolutely necessary. None of this detracts from the central story, and yet The Enchanted never quite shakes that overwhelming sense that perhaps the novice players might’ve gotten it a wee bit better if they had a take or two more.
Royce (played by Will Sennett) returns home after a career in the Navy. Though his parents have passed on, he finds that his neighbor and popular local Booker T (Julius Harris) has stayed around, keeping an eye on things and tending to the property as needed. When Royce suggests that he’s going to now settle down and start raising some livestock (for an income), Booker agrees to lend a hand, but the old timer offers a cautious warning about the Pendrys, a hippie-type family that has taken up a kind of squatter’s living just on the edge of the farmland: “Don’t get too close to them.”
As typically happens in stories of this type, that’s exactly what Royce does. He welcomes the large family onto his property, eventually even hiring them out when he sees just how impressive their basic farming skills are. They’re natural workers, and all they seemingly want to do is help out in exchange for the small plot of land they occupy. Over time and after breaking bread with them, Royce becomes smitten with young Twyla (Casey Blanton), a girl who’s come of age and – at her parent’s urging – might very well be interested in joining the former sailor in his quest to ‘settle down.’
With Booker’s warning a constant threat in the air, director Ford paces out his film nicely, but it does lag here and there when it seems like he’s either repeating himself or amping up the weirdness with no immediate explanation in sight. Not long after Royce has admitted to having feelings for her, Twyla shows up perched in a tree, done up in colorful clothing and face-painted like a piece of candy. Not unlike a peacock would behave, she announces simply that she’s begun conscious efforts to attract him to her … despite the fact that his intentions were already clear. This kind of overkill occasionally waters down those moments that have already worked and established the fact that “there’s something about Twyla,” but Ford persists in adding layers well into the last reel.
Eventually, a predator in the woods begins killing off Royce’s cattle – is this because of Booker T’s prognostication? – and the tale shifts gears to show that the Perdrys themselves aren’t anything like the locals have seen before but have heard plenty about: deep in the woods there is magic afoot, spells that might given creatures big and small the chance to see what life is like on some other post up the evolutionary ladder. While it’s all been hinted at in Booker’s opening narration to the film, the reminders never quite stop. At about the point wherein Twyla is scared beyond belief at the sight of a tiny kitten, audiences have likely figure out just what she might be; and this causes the earlier magic that worked so well to fade. A bit of restraint might’ve had this one turning the corner into more relatable fare, but that rarely happens in the land of forgotten features.
Frankly, I still had a good deal of fun watching The Enchanted.
It used to be the some in academia called them ‘vanity projects,’ but that term has pretty much fallen out of favor with so many who talk, write, and speak about film for its negative connotation. Instead, critics tend to respect that good indies are the stuff of guerilla filmmaking – these features get produced on a miniscule budget (as compared to studio outings), everyone involved goes to extreme measures to help make the production possible, and the cast and crew are often made up of what might term ‘locals’ and/or ‘townies’ as opposed to professionally trained actors and actresses. Frequently, talent is drawn from small-town community theaters and the like; but rarely do these pictures have space and budget enough for a marquee star.
That’s why watching a release like The Enchanted can test the patience of some. While its production values are quite good, the end result rarely looks, sounds, or feels like a typical Hollywood outing. The editing might feel a bit jarring here and there – it seams often feel a bit rushed, perhaps as if the technician had to snip a scene short in order to cover up a deficiency or movement that would break the mood – as well as a sequence might go on longer than absolutely necessary. None of this detracts from the central story, and yet The Enchanted never quite shakes that overwhelming sense that perhaps the novice players might’ve gotten it a wee bit better if they had a take or two more.
Royce (played by Will Sennett) returns home after a career in the Navy. Though his parents have passed on, he finds that his neighbor and popular local Booker T (Julius Harris) has stayed around, keeping an eye on things and tending to the property as needed. When Royce suggests that he’s going to now settle down and start raising some livestock (for an income), Booker agrees to lend a hand, but the old timer offers a cautious warning about the Pendrys, a hippie-type family that has taken up a kind of squatter’s living just on the edge of the farmland: “Don’t get too close to them.”
As typically happens in stories of this type, that’s exactly what Royce does. He welcomes the large family onto his property, eventually even hiring them out when he sees just how impressive their basic farming skills are. They’re natural workers, and all they seemingly want to do is help out in exchange for the small plot of land they occupy. Over time and after breaking bread with them, Royce becomes smitten with young Twyla (Casey Blanton), a girl who’s come of age and – at her parent’s urging – might very well be interested in joining the former sailor in his quest to ‘settle down.’
With Booker’s warning a constant threat in the air, director Ford paces out his film nicely, but it does lag here and there when it seems like he’s either repeating himself or amping up the weirdness with no immediate explanation in sight. Not long after Royce has admitted to having feelings for her, Twyla shows up perched in a tree, done up in colorful clothing and face-painted like a piece of candy. Not unlike a peacock would behave, she announces simply that she’s begun conscious efforts to attract him to her … despite the fact that his intentions were already clear. This kind of overkill occasionally waters down those moments that have already worked and established the fact that “there’s something about Twyla,” but Ford persists in adding layers well into the last reel.
Eventually, a predator in the woods begins killing off Royce’s cattle – is this because of Booker T’s prognostication? – and the tale shifts gears to show that the Perdrys themselves aren’t anything like the locals have seen before but have heard plenty about: deep in the woods there is magic afoot, spells that might given creatures big and small the chance to see what life is like on some other post up the evolutionary ladder. While it’s all been hinted at in Booker’s opening narration to the film, the reminders never quite stop. At about the point wherein Twyla is scared beyond belief at the sight of a tiny kitten, audiences have likely figure out just what she might be; and this causes the earlier magic that worked so well to fade. A bit of restraint might’ve had this one turning the corner into more relatable fare, but that rarely happens in the land of forgotten features.
Frankly, I still had a good deal of fun watching The Enchanted.
While it lacks any signature sequence or rarely finds a stride it stays on for longer than a few minutes, Ford’s tale offers a modest amount of heart in the relationship between Royce and Twyla. If you think of them as star-crossed simpletons – neither are particularly erudite or well-spoken – then their pairing resonates the way any screen romance should. Separately, they may not show a lick of sense, and yet together they complete one another with respectable aplomb. Booker’s threat lingers throughout the couple’s highs and lows, but the pairing still has the spirit wherein audiences root for them to figure it all out in the knick of time … or before Cinderella’s carriage turns back to a pumpkin at the strike of midnight.
Of course, it does help that the silver screen has had its share of tragic romances. Romeo and Juliet were likely never going to be together in life; and, at least, Royce and Twyla might still get to see one another again, albeit not in any form wherein the relationship can be consummated. At least, not in any film I’d watch.
The Enchanted (1984) was produced by Nancy Rachtman Eber. DVD distribution (for this particular release) has been handled by the fine folks at Severin Films. As for the technical specifications? While I’m no trained video expert, I found the provided sights-and-sounds to be largely exceptional on this new scan: I think any deficiencies are likely owed to issues experienced during production, and there’s a bit of grain here and there in darker sequences. Lastly, if you’re looking for special features? The disc boasts two different commentaries, along with an interview, theatrical trailer, and a visual essay. It’s a nice collection, though I found the hosted commentary a bit too chatty in spots. To each his own.
Recommended, but …
It’s occasionally difficult to determine who might best enjoy the indie delights like The Enchanted. As a Horror, there’s very little fright. As a Folk Horror, it’s only temporarily focused on elements, really implying that all of this might be a bit more of backwoods magic – a rural fairy tale, if you will. Still, I have to admit that I was pretty captivated by its simple, blue-collar sensibilities; and the picture never really tried to be anything more than the story of a man, the woman he fell in love with, and what ultimately pulled them apart mythically in the last regard. It’ll strike a chord with some, but I suspect far more will grow impatient.
In the interests of fairness, I’m pleased to disclose that the fine folks at Severin Films provided me with a complimentary Blu-ray of The Enchanted (1984) by request – as part of their All The Haunts Be Ours: A Compendium Of Folk Horror Vol. 2 – for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Of course, it does help that the silver screen has had its share of tragic romances. Romeo and Juliet were likely never going to be together in life; and, at least, Royce and Twyla might still get to see one another again, albeit not in any form wherein the relationship can be consummated. At least, not in any film I’d watch.
The Enchanted (1984) was produced by Nancy Rachtman Eber. DVD distribution (for this particular release) has been handled by the fine folks at Severin Films. As for the technical specifications? While I’m no trained video expert, I found the provided sights-and-sounds to be largely exceptional on this new scan: I think any deficiencies are likely owed to issues experienced during production, and there’s a bit of grain here and there in darker sequences. Lastly, if you’re looking for special features? The disc boasts two different commentaries, along with an interview, theatrical trailer, and a visual essay. It’s a nice collection, though I found the hosted commentary a bit too chatty in spots. To each his own.
Recommended, but …
It’s occasionally difficult to determine who might best enjoy the indie delights like The Enchanted. As a Horror, there’s very little fright. As a Folk Horror, it’s only temporarily focused on elements, really implying that all of this might be a bit more of backwoods magic – a rural fairy tale, if you will. Still, I have to admit that I was pretty captivated by its simple, blue-collar sensibilities; and the picture never really tried to be anything more than the story of a man, the woman he fell in love with, and what ultimately pulled them apart mythically in the last regard. It’ll strike a chord with some, but I suspect far more will grow impatient.
In the interests of fairness, I’m pleased to disclose that the fine folks at Severin Films provided me with a complimentary Blu-ray of The Enchanted (1984) by request – as part of their All The Haunts Be Ours: A Compendium Of Folk Horror Vol. 2 – for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
RSS Feed