Haiti has had its fair share of international attention. Last year's earthquake united the world in support of the devastated country. Poverty lingers heavily upon the people and widespread humanitarian groups have tried to challenge the issue. But, unfortunately, Haiti is most notorious for the practice of Voodoo (the correct word is Vodou but I will use the more familiar spelling). Horror director Wes Craven explores that particular subject in his 1988 movie, "The Serpent and the Rainbow". Although it contributes misconception to the practice of Voodoo, the film should be applauded for its graphic methods, scare tactics, and approach to anthropology and cultural practice.
In 1985, Harvard ethnobotanist Dennis Alan (played by Bill Pullman) is given an assignment by a pharmaceutical company. His objective is to travel Haiti and gather information about a certain drug practiced in Voodoo rituals. The substance is said to induce a being into a deep sleep-like state for hours while all other signs indicate the person has died. Afterwards, the subject is buried underground for a given amount of time, exhumed, and resurrected. The practice has been referred to as zombification, the process of making zombies. Alan accepts the quest and teams up with psychiatrist Marielle Duchamp (played by Cathy Tyson) in Haiti. But the two are caught in the middle of a boiling revolution but that is the least of their worries.
As a doubtful yet inquisitive man in an unsettling setting, Bill Pullman succeeds and rises above the usual expectations towards him. I have always felt that he underperforms his characters but remains likable almost all the time. But in "The Serpent and the Rainbow", he shines a decent performance and narration while maintaining the sympathy from the viewers. Cathy Tyson carries out her role with firmness and a sprinkle of delicacy. She is an unorthodox damsel-in-distress who steadies a strong demeanor towards her oppressors until the final act. The main antagonist is Peytraud (played by Zakes Mokae). He is the callous captain of the secret police who is "beneath contempt" and intends to prevent anarchy through any viable methods at his disposal. If he wants you to scream, you better scream.
What makes "The Serpent and the Rainbow" stand out is its study of an unfamiliar society. My mother visited Haiti in 1984 and she can testify how bleak life was under the rule of Baby Doc (she actually got a view of his yacht). As desolate as it may look, Haiti has a mystifying atmosphere filled with a certain kind of blackness. Dr. Alan senses the "dark presence" as he traverses the barren streets and tracks the ghastly cemeteries. I cannot help but notice that some of the interiors of the buildings look as if the Haitians were celebrating Halloween. The audience is allowed to become acquainted with the Haitian setting, customs, and culture as if they were on a tour. Meanwhile Wes Craven preps the macabre terror to spring when the time is right.
Like "A Nightmare on Elm Street", Craven contrives vivid, haunting dream sequences to break the boundary between reality and illusion. He crafts the scenes with a fine hand to ensure nobody can distinguish the two. The applied imagery is designed to trigger the most innate fears known to mankind. Drowning is horrifying but what if a person were to be placed in a coffin, only to be filled with blood? While there is a small amount of scare clichés including jump scares, the film provides mind- bending visuals, creepy make-up, and creative camera techniques to further intensify the confusion and torment in the audience. With clear direction and intention, "The Serpent and the Rainbow" proves that any subject including anthropology is palpable to horror.
My Rating: 9/10
In 1985, Harvard ethnobotanist Dennis Alan (played by Bill Pullman) is given an assignment by a pharmaceutical company. His objective is to travel Haiti and gather information about a certain drug practiced in Voodoo rituals. The substance is said to induce a being into a deep sleep-like state for hours while all other signs indicate the person has died. Afterwards, the subject is buried underground for a given amount of time, exhumed, and resurrected. The practice has been referred to as zombification, the process of making zombies. Alan accepts the quest and teams up with psychiatrist Marielle Duchamp (played by Cathy Tyson) in Haiti. But the two are caught in the middle of a boiling revolution but that is the least of their worries.
As a doubtful yet inquisitive man in an unsettling setting, Bill Pullman succeeds and rises above the usual expectations towards him. I have always felt that he underperforms his characters but remains likable almost all the time. But in "The Serpent and the Rainbow", he shines a decent performance and narration while maintaining the sympathy from the viewers. Cathy Tyson carries out her role with firmness and a sprinkle of delicacy. She is an unorthodox damsel-in-distress who steadies a strong demeanor towards her oppressors until the final act. The main antagonist is Peytraud (played by Zakes Mokae). He is the callous captain of the secret police who is "beneath contempt" and intends to prevent anarchy through any viable methods at his disposal. If he wants you to scream, you better scream.
What makes "The Serpent and the Rainbow" stand out is its study of an unfamiliar society. My mother visited Haiti in 1984 and she can testify how bleak life was under the rule of Baby Doc (she actually got a view of his yacht). As desolate as it may look, Haiti has a mystifying atmosphere filled with a certain kind of blackness. Dr. Alan senses the "dark presence" as he traverses the barren streets and tracks the ghastly cemeteries. I cannot help but notice that some of the interiors of the buildings look as if the Haitians were celebrating Halloween. The audience is allowed to become acquainted with the Haitian setting, customs, and culture as if they were on a tour. Meanwhile Wes Craven preps the macabre terror to spring when the time is right.
Like "A Nightmare on Elm Street", Craven contrives vivid, haunting dream sequences to break the boundary between reality and illusion. He crafts the scenes with a fine hand to ensure nobody can distinguish the two. The applied imagery is designed to trigger the most innate fears known to mankind. Drowning is horrifying but what if a person were to be placed in a coffin, only to be filled with blood? While there is a small amount of scare clichés including jump scares, the film provides mind- bending visuals, creepy make-up, and creative camera techniques to further intensify the confusion and torment in the audience. With clear direction and intention, "The Serpent and the Rainbow" proves that any subject including anthropology is palpable to horror.
My Rating: 9/10