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SPLATTER FARM
Directed and Written by Todd Smith and Mark and John Polonia
Edited by Mark and John Polonia
Director of Photography - Bill Lenzi
Aunt Lacey - Marion Costly
Joseph - John Polonia
Alan - Mark Polonia
Jeremy - Todd Smith
Woodsman - Jeff Seddon
It would be easy to dismiss Mark and John Polonia's SPLATTER FARM as pure Z-grade schlock, and the reviewer would be completely justified in doing so. Shot on video 20 years ago with consumer grade equipment by a couple of kids, the movie is filled with writing, acting, directing, and effects work that can only be described as "bad." One might wonder whether this sort of movie deserves remastering and the special edition dvd treatment, but to its credit, this "bad" movie shot on video 20 years ago with consumer grade equipment by a couple of kids, is what helped establish the digital horror revolution that's all the rage today (along with other such 80's sov "classics" such as BLOODCULT, THE RIPPER featuring Tom Savini, and CANNIBAL CAMPOUT from frequent Polonia collaborator John McBride).
When you think about it, it's a Catch 22. Nostalgia says it's a bad movie, no matter how much the Polonia's have cleaned it up, but history says it's an important movie with regard to a particular film movement. Who should see it? Bad movie enthusiasts and fans of the Polonia Bros. as well as those who would like to verse themselves in the history of shot-on-video feature filmmaking. Who should stay away? Those looking for a serious horror film. On the commentary track, even the Polonias mock their movie knowing that it's little more then a backyard epic made by horror fans to be shared with horror fans.
Pulling inspiration from THE TEXAS CHAINSAW MASSACRE, the story has been transported to the wholesome greenery of backwoods Pennsylvania where the wacky incestual hijinks of murderous cannibals unfold. The change in scenery works; the generally down home atmosphere contrasts uncomfortably with the bloody goings-on. Instead of the oppressive Texas heat, we get the warm and friendly greenery that only God's Country can provide.
Pairing CHAINSAW's cast down, two in the cannibal clan and the heroes Polonia make four, it's easy to know see who was running the camera at any one time as they're the one not on screen. It reflects the barebones nature of the production and frugal filmmaking stylings of director's Todd Smith and the Polonia's.
The movie opens in media res with Jeremy unloading some EVIL DEAD-style full body dismemberment on an unknown victim. Jeremy is the Leatherface to Aunt Lacey's Hitchhiker, both are sociopathic predators detached from reality to the point where life and death mean nothing, and neither do sexual taboos. The incestuous overtones are often played for laughs, but things go darkly twisted when the movie ventures into rape.
Brothers Joseph and Alan have a history with regard to visiting their Aunt Lacey's farm. Joseph openly hates doing so and Alan is the uncomfortable apple of his Aunt's horny eye. The plan is to spend the summer becoming one with nature. Little do they know how literal that statement will become. As the two spend more time of the farm, tensions grow between all four that culminates with shotgun explosiveness.
The opening shot of Jeremy and his ax sets the tone for the rest of movie, which is to push the limits of shock as far as three teenage moviemakers can. The gore indeed lives up to the title - there's flying splatter right from the get go. The only time the story lags is when events breaks from the four and a random victim needs to be brought in for Jeremy. Those kills don't mean anything other then extra splatter, but it doesn't detract from the quease-inducing, HOSTLE-like violence with which SPLATTER FARM climaxes.
The closing shot helps solidify the CHAINSAW comparison as Jeremy dances his version of Leatherface's chainsaw jig throughout the grassy plains of Aunt Lacey's back forty. While not a direct ripoff, it's easy to see exactly what films these teenagers held dear. In today's day in age where everyone and their mother are turning out Romero zombie riffs, SPLATTER FARM is actually a welcome breath of fresh air.
Despite all SPLATTER FARM's flaws, there's one thing with which the filmmakers excel and that's their camera work. Working with a VHS camera, there are some nicely composed shots that are reminiscent of EVIL DEAD. Too bad Raimi's kinetic style isn't borrowed; it might have lent some panache during the movie's slower moments.
The humerously anecdotal commentary track details much of the effort that went into the remastering of this release including re-editing. It would have been nice if Camp Motion Pictures would have included the original release as an extra to see exactly what it was that inspired national distribution 20 years ago. The Polonia's mention that the initial release was little more then a rough cut that was loaded with excessive padding. From a historical context, with regard to both the Polonia's history and the history of microcinema, including the original version should have made sense, especially for comparisons.
Included on the dvd is a 25-minute documentary that finds the Polonia's returning to the farm where the movie was shot. Not having been there in 20 years, the Polonia's find forgotten memories coming back to them. With no behind-the-scenes footage, the Polonia's make do with photographs. Even more fun is a collection of the Polonia's Super 8 shorts from their childhood. It allows for viewers to follow the seeds of history even farther back to see what directly led to the creation of SPLATTER FARM.
The pros and cons of this new release of SPLATTER FARM balance each other out. Personally, I love to follow the careers and evolution of filmmakers, especially those working independently as the Polonia Bros. Over they years, their body of work has been met hot and cold with the horror community, but it's hard to dismiss their work as unimportant with regard to the commercialization and acceptance of sov horror. For 20 years they've consistently produced work, both good and bad, that has found its way to rental shelves across the nation. Despite whether you enjoy their work or not, it's hard to argue that their love and passion doesn't shine through in their productions which is never more evident then in their fanboy feature length debut. Watching a bad movie made with heart is still a far more worthwhile invest of a filmmaker's time then a bad movie devoid of soul.