Directed by Simon Nuchtern. Written by Bob Zimmerman & Bill Milling. Additional Dialogue by Nelson DeMille. Stars Belinda Montgomery, Viveca Lindfors, Solly Marx.
1984, 93 minutes, Color, Rated R.
1984, 93 minutes, Color, Rated R.
When a glitch in the computer system at an asylum for the criminally insane results in the release of the wrong patient - a giant-in-stature homicidal maniac named Howard Johns, who has a penchant for killing college coeds - it’s up to one of the institute’s top doctors to track him down. Unfortunately, it’s not just Howard she has to worry about, as the administration of the asylum has decided to cover up the error to avoid bad press, going as far as to hire a duo of thugs to permanently ’silence’ the good doctor. Soon enough, Howard finds his way back to the sorority house he once terrorized and sets out to murder the latest batch of nubile coeds who have taken up residence in the stately manor.
3D Rating: **** out of *****
What makes a good 3-D film? One could argue that the same rules that apply to 2-D films should apply to 3-D. Good is good, right? But that is not the case. Any movie can be better in 3-D. I'm not talking novelty--I mean the very nature of it's dimensionality can enhance a dramatic work in unexpected ways. This is where "real" 3-D sets itself apart from "converted" 3-D. Real meaning either two cameras or lenses captured the spatial information real-time on a set. Converted meaning a 2-D image was processed to artificially create the two images used to make the 3-D image.
In a converted film, the visual effects technician has to manually determine what the dimensionality will entail, and how nuanced it will be. This is not unlike what a cameraman using a 3-D rig would do on set, but the difference is every shot converted to 3-D costs money, and by and large only a certain amount of money will be spent on something as innocuous as someone walking down a corridor to get from point A to point B. Certainly, some fine conversions are out there, but even in the best conversion there will be aspects that don't take full advantage of the third dimension. And the reasons for that can be varied but it usually comes down to either money, or the filmmakers playing down the dimensional effects because they do not want "gimmicky" 3-D.
However, when you talk about a "real" 3-D film all of that depth and real world spatial orientation is just THERE. True, the camera system used was adjusted to affect depth, but by and large when real 3-D is both filmed and presented correctly it's an amazing experience. One of my film truisms is that a great presentation will always make marginal entertainment more watchable.
Which brings us to SILENT MADNESS.
Now, this is not a great film. I had never heard of this before seeing it for sale on Black Friday 2020, and only bought it largely due to it being released by Vinegar Syndrome and featured 3-D restoration work by the 3-D Film Archive. There would be a vigorous discussion about whether to call it a "good" film. The acting is variable, and the story is pretty dumb, but even in 2-D it achieves some suspense and atmosphere.
However, it is fabulous 3-D entertainment. Truly, this is one of best 3D experiences I have had in many years.
3D disclaimer: I have a LED TV that can display digital 3D. My 3D reviews are based on how things look on my set. I am aware that other methods of displaying 3D may be different.
SILENT MADNESS does not have a great story. According to the supplemental features on the disk, the film started as one kind of film but ultimately morphed into a slasher film. As such, the film is a little clunky, characterizations are a bit thin, and the acting is a bit variable. The film does tell a (generally) coherent story and generates suspense, so it satisfies as early 1980's horror film even without the third dimension.
When viewed in 3-D, however, the film is an absolutely hoot. Real care was taken to highlight the dimensionality of the different locations, and there are numerous "pop out" effects. Additionally, the final chase sequence adopts a filmic style with colored gels that is quite different from what preceded it. Think Mario Bava as opposed to FRIDAY THE 13TH and you get an idea of what I mean.
The Blu-ray is taken from a release print, as the original negative appears to be missing. The print used for this release is not great. Many of the same faults found in the other Arrivision 3-D films JAWS 3-D and FRIDAY THE 13TH 3-D are also present here--alignment issues and a general all around softness. These faults are largely baked into the print used, so while The 3-D Archive has done a remarkable job making it look as good as it does here, there was also only so much that could be done.
Also included on the disc is a "sizzle reel" which is in better condition than main feature. This sizzle reel includes footage not in the final film and also presents a black and white flashback sequence in full color. It's an interesting extra. Colors are stronger as well, which suggests that a scene in an experimental hospital wing was influenced by the body farm in COMA (1978).
Also notable is that the release includes two 3-D versions of the film. There is the digital 3-D version, of course, but there is also an anaglyph version. I wasn't interested in this when I bought it, but I have to admit it works far better than I expected. My experience with anaglyph 3-D was limited to broadcast "special events" when I was growing up, which typically did not work very well due to inherent limitations of NTSC. However, the good folks at the 3-D Film Archive have developed a proprietary anaglyph process that works really well. Watching it in anaglyph is a very viable alternative if you are not equipped for digital 3-D. I've included some screenshot examples of anaglyph from the sizzle reel. If you have the appropriate glasses, the 3-D should work well on your computer monitor.
Vinegar Syndrome also includes at least one pair of anaglyph glasses and an embossed slip cover.
