The most horrific thing about the modern horror film is just how far they have strayed from the defining tenants that made this such a popular and enduring type of film. If you can remember the classic monster movies that were made by universal in the thirties and forties then you can understand this statement. Creatures like the Frankenstein monster, the Wolf Man or Dracula generated terror in the mind relying on building the story through the steady deployment of physiological elements letting the imagination of the audience to generate and sustain the requisite mood. While this tradition has be retained to a more satisfactory degree in Asia movies here in the States the majority of wannabe masters of horror have become overly dependent on the cheap and quick visceral shock. At the most extreme, some would say disgusting, end of the spectrum lies he flicks aptly referred to as torture porn. These are inclusive of suck explicit faire as the ‘Saw’ and ‘Tourista’ franchises. In lieu of a plot the filmmaker depends entirely on devising increasingly complicated and gross ways of dispatching horny teens. I suppose the landscape of cinema is sufficiently varied to encompass even movies like this. However, it does leave me and many others lamenting for the films of our youth, you know, the ones that had coherent stories. A public and critical community that has come to expect the ultra violent movies may be too jaded to fully appreciate when a well constructed film of this type comes along. I see this as applicable to the movie under review here, ‘The Undying’. A realistic case may be made to assign this film along with thrillers rather than predominately horror. Since the film is thankfully devoid of the gallons of fake blood, butcher shop derived entrails and gratuitous nudity this film does not meet the unfortunately generally accepted aspects necessary for classification as horror. Terms like slow or uneventful may be bandied about but upon consideration a dedicated cinemaphile will certain be able to discern the care and talent that went into the creation of this film. Sure, it has its faults and is not going to be on any end of year lists but it represents an honest attempt to make the best possible film they could. What they did succeed in accomplishing was to present a solid piece of entertainment.

Do not go into this film expecting a horror story, at least not in what is the usual sense. It is best viewed through the prism of a taut thriller unfolding against a supernatural landscape. Dr. Barbara Haughton (Robin Weigert) who takes a night shift position in order to isolate herself from humanity at large. And the center of her compulsion for such isolation was quite understandable. She is still in morning over the tragic death of her fiancé Kevin in a bizarre accident. One element in common with classic horror is her primary response to this event, she moves out of the bustle of the city to house in a very remote location. The house is furnished, a good thing since Barbara has little inclination for interior decoration. One incidental item in her new abode is a vintage photograph dating back to the Civil War. The picture is tied to the background of the house as explained by the rental agent, Henry (Franklin Ojeda Smith). Confederate soldier Elijah (Paul David Story) and his young fiancée were murdered in the house. Local legend maintains the spirit of the young man is unable to rest and continues to haunt the house. This is so strongly beloved that it is impossible to sell the house. Initially, Barbara sees this as a factor that reduced the rental price to a very affordable rate. It takes a little while but soon Barbara is confronted with the possibility Elijah’s ghost is more than a spooky local story. She begins to have nightmares featuring a Civil War era figure. This could have been easily dismissed as the story being fresh in her mind but then Barbara starts to see the apparition manifest for a moment only to disappear in a puff of smoke or as a fleeting glimpse in the mirror. She arrives at the conclusion that the disembodied spirit requires a mortal body to make peace and finds just what the doctor ordered, so to speak, at work in the comatose patient, Donovan (Anthony Carrigan). Barbara manages to hold on to at least a modicum of profession ethics waiting for the hapless patient to die. She covertly resuscitates him and transports him to her home. This does bring taking you work home with you to an entirely different level. Although the spirit of Elijah appears to be harmless unbeknownst to the good doctor David was a bat guano crazy homicidal maniac. I suppose his brain was abby-normal.

First of all I acknowledge there are significant plot holes in the screenplay co-authored by David M. Flynn and director Steven Peros. It does require a greater than usual ability to suspend disbelief but there are elements present that make it worthwhile. First of all story telling can depart from the laws of nature and include incredulous situations. Sometimes you are asked to shut off the reasoning center of your brain and just surrender to the tale at hand. This is such a case. I found that Peros was capable of glossing over the shortcomings of the script with a well paced, intriguing style of direction. He allows the elements of the story to properly simmer trysting in his audience demonstrating enough patience to allow the mood to build until it culminates with a reasonably satisfying ending. If you can surrender in this fashion then concentrate on the emotional impact of the film. It is reminiscent of a tone poem, a literary device where the focus is placed on the way the feelings of the audience are expertly manipulated. In similar approach this film carefully enfolds the audience not with reason or rationality but by its emotional effect. You might recognize Robin Weigert but not quite place her. She is one of the most successful character actresses hard at work today. Ms Weigert was brilliant as Calamity Jane in the exceptional HBO western, ‘Deadwood’. She has also been a standard fixture in a string of films and television series doing precisely what a character actor needs to do, provide the foundation for the project. This film demonstrates that this versatile woman can handle center stage. She infuses her role with nuances that contribute to the film’s entertainment quotient. Keep an open mind and enjoy this movie.