The Dead Inside - A Review. A Travis Betz Film that answers the question, can a horror musical work? Yes it can.
This was the first film i've seen by this talented indy artist. He may be best known for his original and prolific Youtube content (TheReceptionist) as well as Lo, a demon love story.
The movie opens in a story within a story. A zombie bride and groom out for a quick bite. Though humorous and likable, they are in the end zombies and it's good the plot moves out of their "book in progress" to the real world of writer Fiona (Sarah Lassez) and her photographer boyfriend Wes (Dustin Faschin). Trips back into the zombie story continue as reflections of Fi's emotional state. Their first song presents their artistic dilemmas, she blocked in writing another in a series of books, he unappreciated, artistically trapped in the pay for play world of wedding photography. You immediately empathize because, hey, you're talented and unappreciated, required to do things you don't like, right?
Their mundane problems however are just the beginning, Fi starts to display neurotic quirks foreshadowed by odd sounds while sleeping. A very shocking scene occurs while fighting off the possession of an angry ghost, Emily. Wes agrees to commit her "to fix her" and quickly realizes when she returns that Fi is not at home. Much of the movie is the conflict between Emily and Wes and Wes' internal struggle dealing with the loss of Fi and starting to accept and like Emily.
Like the ghosts in all stories, Emily is ultimately shown to be evil and a liar. Her demise did not occur as she insisted. Even though you sympathize for her emotional situation you and Wes demand Fi back at this realization. She is a cheat and a liar! Get the hell out!
After the cathartic release Emily needed, Wes institutes a confrontation with a Bardesque proportion of drama. A horror ending for a horror tale. The audience is left to decide the final fate on their own, a nice touch.
The cinematography and set design by Shannon Hourigan was visually arresting. Sharp colorful cuts balanced with darkness and shadow for effect. At times perhaps a little heavy handed in the metaphor department, but ultimately successful at creating the moods appropriate to the scenes.
the songs were fantastic allowing soliloquy to express the characters Id and ego, but leaving the superego unexpressed. That only happened at the conclusion of the film without song, dramatically and tragically . The score and lyrics still gave it a broadway feel. This could be very successfully adapted for the stage. The use of limited sets makes you wonder if that was an intent while writing the screenplay. The music for the rest of the film by Joel Van Livet drew you in to the characters dilemma, leaving you anxious for escape from their situation. The music in the scene of Fi's loss of self made any dialogue superfluous. You rode a wave of obsession and horror.
Both leads showed great vocal control and emotional range. Lassez' acting was impressive enough that you knew who was "at home" in the different scene's. Her Emily more likable until revealed a liar. Her Fi, flawed but not too annoying. Faschin begins the movie as a seemingly shallow door mat willing to support his partner emotionally because he needs her to validate himself. As the story continues his conflict with Emily forces emotional growth that a normal life usually doesn't require. Ultimately the movie is about his change and desperation. What would we do for love? Kill? Die?
I would recommend this movie to anyone. It's certainly a lot better than a lot we're getting from hollywood these days.
