During World War II, a small platoon of Nazis is sent to guard an ancient and mysterious fortress in the Carpathian Mountains in Romania. When one of their number unwittingly unleashes a powerful, supernatural force that has been kept imprisoned within its walls. An enigmatic stranger known only as Glaeken senses this from where he lives in Greece, and travels to the keep. The purpose of which is to destroy the force of evil that has been released. As soldiers fall prey to the demonic being, an elderly Jewish man Dr. Theodore Cuza, and his daughter Eva are brought to the keep, as they know of it, and it is hoped they may be able to uncover what is going on.
Directed by Michael Mann The Keep was his second theatrical feature after the neo-noir, heist action thriller Thief. Going in a different direction genre-wise, although certainly not tonally. Mann's adaptation of the novel of the same name by F. Paul Wilson consists of much of the stylistic and visual flourishes that he has become synonymous with. With a haunting and atmospheric score composed by Tangerine Dream who he had previously employed on Thief, and who would later work on other 80's fare like 1983's teen comedy Risky Business and 1985's dark fantasy adventure movie Legend. The Keep for all of its brooding, intense ambiance that would become very much a staple of Mann's work, is a laborious, incoherent turgid mess of a movie.
Filmed in Wales and at Shepperton Studios during the autumn of 1982, it arguably didn't help that the movie befell numerous post-production issues. Not least of which was the death of special effects supervisor Wally Veevers who passed away before he had completed work on the movie. Then there were numerous editing problems, a result of overbearing studio interference where Mann's original 210-minute cut of the movie was whittled down to 120 minutes. If that wasn't bad enough, after less than positive reviews at test screenings it was further cut down to 96 minutes. It's therefore that it comes as little or no surprise that the end theatrical result was and still is an unintelligible shambles. With many pertinent plot points that would have much-needed context to who Glaeken is, and what his link to the demonic force known as the Molasar among other key details.
One might postulate that Mann may have been a victim of his creative ambitions, as well as underestimating the concerns that may have arisen from studio execs. Who may have not been willing to sign off on a three-and-a-half-hour horror movie? Up until then, it was something very much unheard of for a movie its ilk. But where fault may have lied with both Mann and the studio, there can be none leveled at its cast who deliver the goods in regards to their quality performances. First and foremost Scott Glenn cuts a striking and enigmatic presence as Glaeken, while veteran actor Ian McKellen is on top form as the wizened but no less formidable Dr. Theodore Cuza. Alberta Watson makes for a beautiful and headstrong, determined presence as Cuzas' daughter Eva. With a cohesive supporting cast that includes Jürgen Prochnow, Gabriel Byrne, and another veteran Robert Prosky rounding them off.
There is very Mann's propensity for utilizing shades of blue, green, and purple in his color scheme, it's the use of such that compliments the Gothic appearance of the eponymous Keep. He also uses old tropes like swirling fog which he throws into the mix, which admittedly adds to the right touch of supernatural, haunting ambiance. Although he is all too heavy-handed with his use of Tangerine Dream's score which while intoxicating becomes too loud and overbearing, to the point it drowns out some of the dialogue. The movie's prime antagonistic monstrosity the Molosar although effective enough in design, hasn't altogether aged well in terms of the overall practical effect. Which today would probably be rendered with CGI, and likely more to its detriment. It is never the less voice with a commanding otherworldly authority and resonance by Michael Carter.
Receiving mixed reviews, and perplexingly something of a cult following there have been calls for Mann and Paramount Studios to release a director's cut of the movie. Much of this adds further backstory behind Glaeken and the Molasar, the former, and Eva falling in love, as well as a happy ending that was added to television screenings of the movie. As well as Glaeken kills the captain of the boat who brings him into Romania, and who tries to steal his "weapon" which he uses in the end to kill Molasar. Further scenes between villagers and with Father Mihail and Alexandru, and Alexandru being killed by his sons when he proceeds to corrupt the village. The original cut, even if it were merely an 180-minute cut may do something to repair the damage done by the studio. However, they as well as Mann have remained uncooperative regarding this.
The Keep until then remains a monumental narrative disarray that feels as if it's been pillaged by ample screen time that may have made it more work coherently as a cinematic story. It remains something of a curiosity due to the big-name director behind it, although it's one of a dubious nature. Just don't expect anything anywhere near resembling a decently told, solid plot. Because you won't get one.
Directed by Michael Mann The Keep was his second theatrical feature after the neo-noir, heist action thriller Thief. Going in a different direction genre-wise, although certainly not tonally. Mann's adaptation of the novel of the same name by F. Paul Wilson consists of much of the stylistic and visual flourishes that he has become synonymous with. With a haunting and atmospheric score composed by Tangerine Dream who he had previously employed on Thief, and who would later work on other 80's fare like 1983's teen comedy Risky Business and 1985's dark fantasy adventure movie Legend. The Keep for all of its brooding, intense ambiance that would become very much a staple of Mann's work, is a laborious, incoherent turgid mess of a movie.
Filmed in Wales and at Shepperton Studios during the autumn of 1982, it arguably didn't help that the movie befell numerous post-production issues. Not least of which was the death of special effects supervisor Wally Veevers who passed away before he had completed work on the movie. Then there were numerous editing problems, a result of overbearing studio interference where Mann's original 210-minute cut of the movie was whittled down to 120 minutes. If that wasn't bad enough, after less than positive reviews at test screenings it was further cut down to 96 minutes. It's therefore that it comes as little or no surprise that the end theatrical result was and still is an unintelligible shambles. With many pertinent plot points that would have much-needed context to who Glaeken is, and what his link to the demonic force known as the Molasar among other key details.
One might postulate that Mann may have been a victim of his creative ambitions, as well as underestimating the concerns that may have arisen from studio execs. Who may have not been willing to sign off on a three-and-a-half-hour horror movie? Up until then, it was something very much unheard of for a movie its ilk. But where fault may have lied with both Mann and the studio, there can be none leveled at its cast who deliver the goods in regards to their quality performances. First and foremost Scott Glenn cuts a striking and enigmatic presence as Glaeken, while veteran actor Ian McKellen is on top form as the wizened but no less formidable Dr. Theodore Cuza. Alberta Watson makes for a beautiful and headstrong, determined presence as Cuzas' daughter Eva. With a cohesive supporting cast that includes Jürgen Prochnow, Gabriel Byrne, and another veteran Robert Prosky rounding them off.
There is very Mann's propensity for utilizing shades of blue, green, and purple in his color scheme, it's the use of such that compliments the Gothic appearance of the eponymous Keep. He also uses old tropes like swirling fog which he throws into the mix, which admittedly adds to the right touch of supernatural, haunting ambiance. Although he is all too heavy-handed with his use of Tangerine Dream's score which while intoxicating becomes too loud and overbearing, to the point it drowns out some of the dialogue. The movie's prime antagonistic monstrosity the Molosar although effective enough in design, hasn't altogether aged well in terms of the overall practical effect. Which today would probably be rendered with CGI, and likely more to its detriment. It is never the less voice with a commanding otherworldly authority and resonance by Michael Carter.
Receiving mixed reviews, and perplexingly something of a cult following there have been calls for Mann and Paramount Studios to release a director's cut of the movie. Much of this adds further backstory behind Glaeken and the Molasar, the former, and Eva falling in love, as well as a happy ending that was added to television screenings of the movie. As well as Glaeken kills the captain of the boat who brings him into Romania, and who tries to steal his "weapon" which he uses in the end to kill Molasar. Further scenes between villagers and with Father Mihail and Alexandru, and Alexandru being killed by his sons when he proceeds to corrupt the village. The original cut, even if it were merely an 180-minute cut may do something to repair the damage done by the studio. However, they as well as Mann have remained uncooperative regarding this.
The Keep until then remains a monumental narrative disarray that feels as if it's been pillaged by ample screen time that may have made it more work coherently as a cinematic story. It remains something of a curiosity due to the big-name director behind it, although it's one of a dubious nature. Just don't expect anything anywhere near resembling a decently told, solid plot. Because you won't get one.
