Dark Faith (Deadly Blessing, 1981)

Taking on religious zealotry, Deadly Blessing focusing on a couple who live in a farming community of Hittites. Jim was a Hittite, but left the faith when he married Martha. When Martha becomes pregnant, they seek the help of a local midwife who is also not a part of the Hittite community. When Jim is murdered one night, two of Martha’s friends come from the city to help and comfort her.

The women find themselves at odds with the local Hittite leader Isaiah who is certain they are a threat to his community, seductresses who tempt the men. When his son is murdered, things begin to escalate.

There are some pretty good frights in the film, especially some nightmares involving spider. Ernest Borgnine chews some scenery. The nightmare imagery hints at what was yet to come. But the storytelling just barely rises above the level of a TV movie (one of the writers was also a writer on Craven’s Summer of Fear). I never found myself feeling invested in the characters.

This is not a Wes Craven classic, and that is too bad. Seeing Craven explore religious and secular conflict feels like it would be fertile ground for him. But in the end, Deadly Blessing is fairly mediocre.

Uncontrollable (The Wild Bunch, 1969)

Wild_Bunch_PosterPike Bishop and his gang are hoping to retire.  They plan a last big score, but are betrayed by ex-partner Deke Thorton.  The last remaining survivors of the gang make the run to Mexico.

Staying in the hometown of gang member Angel, they find the town ruled by the cruel and brutal General Mapache. Their planned heist goes wrong and they run afoul of Mapache.

The over arching theme of the Wild Bunch is the death of the time of Outlaws.  None of our characters are “heroes”.  Holden’s Pike is a man who has lived outside of the law, and has reached a point where he has grown tired of it.  But the reality is, the life of an outlaw is not one that allows you to exit gracefully.

The Wild Bunch is vicious and violent, but also an absolutely memorable western.  Holden turns in a great world weary performance.  He wants out, but getting out is not an easy road.

Visually, Peckinpah and his team built the film around rapid fire edits that combined normal and slow motion footage. This makes for a visually compelling technique.

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