(2018) Thriller (IFC Midnight) Caitlin Gerard, Julia Goldani Telles, Ashley Zuckerman, Dylan McTee, Miles Anderson, Martin C. Patterson. Directed by Emma Tammi
When we think of the early settlers of the West, we think of covered wagons, saloons, small towns with good hard-working people in them and undoubtedly all of the above were there. However, many pioneers were on their own, alone in an unforgiving land, relying on what they themselves could accomplish in order to survive.
Isaac (Zuckerman) and Lizzy Macklin (Gerard) are just such pioneers. They live alone on a deserted prairie with town more than a day’s ride away. The journey to town wasn’t without peril, so generally Isaac would go, whether to pick up supplies or to bring in what produce and animals he could sell. While Isaac is gone, Lizzy is alone; in fact, Lizzy is alone much of the day. She doesn’t seem to mind much, other than the whisper of the ever-present wind which some nights grows to a deafening howl.
Into their world comes Gideon (McTee) and Emma (Telles) Harper; they are “neighbors” if a walk of several hours can be called a neighborhood. They are young and perhaps a bit green; Emma’s skills as a cook are pretty weak and the more “worldly” Lizzy offers to teach her how to improve. In turn, Gideon has a lot to learn about working a farm and the generous Isaac is often at the Harper place helping Gideon get by.
Naturally Lizzy and Emma become friends, and when Emma becomes with child, Lizzy promises to help in every way she can. Emma though is growing frightened; how is she going to give birth and raise a child so far from civilization? And in the sound of the wind she begins to hear other things and she becomes absolutely convinced that there is something out there. Gideon is sure that Emma is imagining things and at first Lizzy is too. Then she begins to hear them.
After tragedy strikes the Harper family, Lizzy is more alone than ever but now she is sure that there is something out there too. Isaac is as skeptical as Gideon was but Lizzy is adamant. While Isaac is away returning Gideon to civilization, things come to a head with Lizzy and the dweller of the prairie but is it real? Or has Lizzy gone mad?
Tammi, heretofore a director of documentaries, acquits herself honorably on her first narrative feature. She manages to create a real sense that there’s something not quite right going on, that the environment is far from benevolent and that the people in it are highly vulnerable. She also does a great job of realistically portraying the pioneer life; the women work as hard if not harder than the men (I’d wager most women would agree with me that some things haven’t changed).There are no modern conveniences; laundry must be hand-washed and hung to dry in the wind; if she wanted bread with dinner, she had to make it and often meals consisted of whatever they had on hand which was often not much.
The heart and soul of this movie is Lizzy and Tammi cast Gerard wisely. The actress isn’t a household name – yet – but she carries the movie effortlessly, her haunted eyes and stretched face telling the story. The movie begins moments after the Harper tragedy occurs and we see Lizzy emerging, zombie-like. It’s a powerful moment and we have no explanation as to what happened. Gradually, through flashbacks, we learn what happened in the cabin until the audience catches up with the story, after which we resume with Lizzy’s own ordeal.
Although many are categorizing this as a horror film, I’d prefer to describe it as a psychological thriller with elements of horror. There’s enough gore and disturbing images to satisfy horror fans as well as some fairly interesting special effects that give us some insight as to what Lizzy is imagining (or experiencing – we’re never really sure). The budget on this probably wouldn’t cover the electrical tape budget on any of the Conjuring series movies but Tammi makes effective use of every penny.
On the technical side, the movie makes a wonderful use of sound, from the whistling, howling and whispering of the wind to the unearthly shrieks that emanate from the prairie, helping to create that atmosphere I referred to earlier. Cinematographer Lyn Moncrief makes excellent use of light and shadow, keeping that feeling of something menacing in the darkness. There aren’t really any jump scares here so the horror comes honestly.
There are a couple of drawbacks. The editing is at times ragged and jarring. Also, some of the performances (other than Gerard) were a mite stiff at times. However, those are largely sins that don’t disrupt the overall enjoyment of the movie and it is enjoyable, not just for horror fans. The last 20 minutes of the movie incidentally will have you white-knuckled and trying not to jump out of your own skin. The “twist” isn’t a game-changer but it does fit nicely.
All in all, this is the kind of movie that should be celebrated by cinephiles and horror fans alike. Indie horror movies have been extremely strong of late and The Wind is right up there with some of the best of them, even if strictly speaking it’s not completely a horror movie. Still, this is a movie well worth your time and effort.
REASONS TO SEE: The last 20 minutes are gut-wrenching. Tammi elicits a real sense of unease, that something is off. The filmmakers use light and darkness effectively as well as sound effects and the soundtrack.
REASONS TO AVOID: The acting is a bit stiff in places and some of the editing is a bit abrupt.
FAMILY VALUES: There are some gruesome images, gore, violence, partial nudity and sexuality,
TRIVIAL PURSUIT: This is based on the 1928 silent film The Wind which starred Lillian Gish.
CRITICAL MASS: As of 4/7/19: Rotten Tomatoes: 72% positive reviews: Metacritic: 67/100.
COMPARISON SHOPPING: Centennial Episode 11: The Winds of Death
FINAL RATING: 8/10
NEXT: Storm Boy