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DIRECTED BY: Richard Stanley
FEATURING: Madeleine Arthur, Elliot Knight, Nicolas Cage, Joely Richardson, Brendan Meyer, Julian Hilliar
PLOT: A meteorite lands at a remote New England farm and spreads alien madness to a family.
COMMENTS: The color out of space is actually lavender, or maybe it’s more of a fuchsia. At any rate, it’s in the pink/purple spectrum. It’s possible that this choice is a nod to From Beyond, which is also inspired by H.P. Lovecraft, and which I once wrote was “the pinkest horror movie ever made.” (Besides Beyond, Color reminded me of a number of 80s horrors, with shadings from The Shining, Poltergeist, and even Society.) Director Richard Stanley is committed to this color palette, which is prefigured in the streak of purple dye in Lavinia Gardner’s otherwise golden hair. In Lovecraft’s original story, a color never before seen by man was a metaphor for the ineffable quality of the alien visitor. In the movie, that color necessarily must be represented literally, and Stanley takes the literalism so excessively—slathering the film with liquid lilacs and violets—that the effect becomes almost as strange as an indescribable extraterrestrial hue. In fact, you only know when the alien presence has departed because the scene becomes drained of all color.
Bookended by quotations from Lovecraft‘s text, Color follows a standard horror movie arc: character setup, arrival of an evil presence, and steadily escalating eerie incidents that come to a climax. There are a lot of unusual sights along the way, however, starting with the purple mutant grasshopper/dragonfly hybrid with tie-dye spider-eye vision and progressing to general madness among the entire cast and a Cronenbergian mother/child re-assimilation. The utter inscrutability of the aliens’ nature and purpose is true to Lovecraft, though it may not be to some modern horror fans’ taste. Questions of whether the color arrives on the pink glowing meteor by accident or purposefully, and why it seems to suddenly depart—or perhaps just to go dormant—are left unanswered. “What touched this place cannot be understood or quantified by human science,” is the best those hoping for an explanation will get.
Despite being featured in the film’s promotion, Cage, as the family patriarch, doesn’t dominate the story. He doesn’t even start Cage-ing until halfway through, going all Jack Torrance after his kids forget to feed the alpaca, gesticulating wildly and switching accents mid-monologue. It’s the young stars Madeleine Arthur (as Lavinia) and Elliot Knight (as the surveyor) who are the main protagonists. I came into the experience looking forward to Cage bringing the crazy, but ended up happy that his peculiar lunacy merely seasoned the film a bit, rather than dominating it.
Due to its provenance— a weird fiction classic that’s been adapted many times, but never properly; a cult director come out of retirement to helm the project; Nic Freaking Cage— Color Out of Space is the hot ticket among cult film fans in early 2020. The movie doesn’t actually do anything truly unexpected, but nor does it disappoint. With Cage, a retro-80s horror pace and feel, and plenty of pretty swirling colors, it’s going to hit the sweet spot for a lot of viewers.
WHAT THE CRITICS SAY:
“Oh, Richard Stanley, how we have missed your intoxicating weirdness… there is no preparing you for this space oddity.”–Preston Barta, Fresh Fiction (festival screening)
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