DIRECTED BY: Panos Cosmatos
FEATURING: Nicolas Cage, Andrea Riseborough, Linus Roache,
PLOT: Red Miller is a lumberjack, but when a gang of cultists murder his girl, he’s not okay.
WHY IT SHOULD MAKE THE LIST: Oh-ho, there are lots of reasons. The first one that springs to mind is that it’s the only movie I’ve ever seen that requires Nicolas Cage to be utterly berserk just to keep apace with the surrounding madness.
COMMENTS: Word was that tickets had sold out within an hour of being made available. I heard it was a fulfillment of “a seven-year-long promise”. And the special press-only screening was fuller than many general screenings I’d attended at the Salle J.A. De Sève. Even after some hours of contemplation, I’m still processing what it was I saw. Obviously, I saw Mandy—but I imagine you get my meaning. The notes I took were more of a mess than is usual even for me, and halfway through, I stopped bothering. With Mandy, Panos Cosmatos has done nothing less than rip a crimson nightmare from the quintessence of vengeance and pour its spectacle into your eyes and ears.
The establishing shot, in which we learn about Red Miller (Nicolas Cage), a lumberjack in “the Shadow Mountains”, sets the grainy-dreamy visual tone. His wife, the titular Mandy (Andrea Riseborough), is a bookish death metal nerd. They have a pleasant life together of quiet love until Mandy catches the eye of some cultists who are passing through. Their leader, a failed folk singer Jesus-wannabe named Jeremiah Sand (Linus Roache), commands his minions to kidnap Mandy and make her his lover. A demonic biker gang is summoned to nab the girl. When the drugged Mandy ridicules Jeremiah’s advances, the cult leader exacts his petty revenge, setting Red on the path to vengeance against those who have wronged him. All of those who have wronged him.
It may have been the high volume, the sound mix, or my own increased awareness, but this was yet another movie where the score stood out. Jóhann Jóhannsson’s unsettling doom metal compositions complement the unnerving, red-soaked darkness. Cosmatos’ febrile images on the screen become audible with the music—which, in a film with this little dialogue, is key. A fellow reviewer was somewhat dismissive of Mandy‘s visuals, quipping “You’re really into “Twin Peaks“— I get it.” While there is a grain of truth in that, it does not do justice to what Cosmatos is up to. Mandy is unrelenting in its stylized nightmare, rarely giving the audience a breather in its first half, and virtually never in the second. Like the score, one would best describe the film’s tonal flavor as “Doom Lynchian”: as if Cosmatos caught the football thrown by Black-Lodge-Lynch and ran another sixty yards.
And finally there’s the star himself, Nicolas Cage. Mandy seems tailor-made for him as an actor, aware both of his range and his history. When he’s trying, few can compete with Cage for sheer mania. His performance is feral at times, but the intensity fits with its surroundings. Nothing other than a force of nature could hope to survive the infernal journey that takes place in Mandy. I’d go so far as to say no other actor could be relied on to make Red seem both reasonable and completely unhinged at the same time. Whether he’s armed with a box-cutter, a dueling chainsaw, or the sickest-looking axe this side of a bad dream, Nicolas Cage bloodily carries us through Cosmatos’ Bosch-Dante deathscape.
WHAT THE CRITICS SAY:
“…by no means a perfect film and is likely going to turn off a fair number of viewers who aren’t on board for its concentrated, unadulterated weirdness. But for those who are willing to take the ride, you’re in for a bizarre, bloody treat featuring a particularly extra Nic Cage, giving his best performance in years… Mandy is destined to become one of the quintessential cult movies, and a sort of arcane codeword amongst devotees of weird and wild films.”–Dan Casey, Nerdist (Sundance screening)