Wednesday, September 7, 2011
by Andrew "8 mm" Nette
The Horseman is about the transformation of a balding 44-year-old small businessman into a killing machine as he tracks down the men he holds responsible for the death of his daughter. She died after participating in a hardcore porn film, a videocassette of which mysteriously appears in his post one day.
This 2008 Australian film, which only got local release in 2010, taps into a rich vein of movies about tightly wound white men who’ve played by the rules all their lives but finally snap over one injustice (perceived or real) against them too many.
It immediately reminded me of Paul Schrader’s Hardcore, which featured a conservative mid-west businessman (played by George C. Scott) who ventures into the sordid LA underworld to look for his run-away daughter now making porn movies.
But although both films are about men taking justice into their own hands when the police prove ineffectual, The Horseman is a very different beast to its 1979 counterpart.
The Horseman opens with the central character, Christian, a pest exterminator, beating up a man with a crowbar. After extracting a few answers, Christian douses the man's house in petrol and sets it on fire, presumably with his victim still inside, changing from his work clothes as it burns in the background.
Christian spends the rest of the film traveling up and down the Queensland coast, his journey interspersed with memories of his daughter as a child, locating the men connected with the movie. Each encounter gives him just enough information to move to the next.
He confronts and for the most part kills the men he comes into contact with, including the distributor, the cameraman, and the actors. There is genuine ambivalence in his first decision to kill, but it quickly becomes easier and his methods get more and more extreme. This is fueled by the fact that virtually none of the men are repentant. One even taunts that Jessie, the daughter, came to the shoot of her own free will. It’s the one thing Christian absolutely does not want to hear.
The only break in the killing occurs when Christian reluctantly picks up Alice, a young runaway, to whom he can be the sort of father figure his biological daughter rejected. The film, populated by an almost completely Queensland cast, was shot by first time Australian director Steven Kastrissios on a budget of eighty grand. Not too shabby an effort in anyone’s books.
Reviewers singled out the violence for particular criticism. There’s certainly no shortage of it; knives, pliers and a blowtorch are some of the weapons of choice. There are a lot of fight scenes, some of them unnecessarily drawn out.
That said, the film is well shot and Kastrissios gets good performances from his unknowns, particularly Peter Marshall. As Christian, he brings the required everyman quality and look to the role, although his rapid transformation into a cold-blooded super-killer able to hold his own against hardened criminals undermines this authenticity.
The contrast with Hardcore's Jake Van Dorn, couldn't be greater. Van Dorn’s violent side emerges gradually and the results are mild compared to Christian’s killing spree. Van Dorn hires a cheap private eye, Andy (another fantastic performance by Peter Boyle), to find his daughter after she goes missing on a church retreat in California. Reluctantly, Van Dorn makes the decision to enter the world of pornography by masquerading as a porn producer casting actors in order to get close to his daughter. At the conclusion of Hardcore, the daughter willingly accompanies her father home.
Even if Christian’s daughter were alive, you get the feeling there'd be no such happy ending. Christian doesn’t really want to understand what his daughter did; he just wants to punish the people he holds responsible.
The DVD extras on The Horseman contain a couple of deleted scenes that would have added a lot to the film. This includes a confrontation between Jessie and Christian in which she taunts him over the affair with his secretary that presumably led to the dissolution of his marriage, and threatens to move out. There's a palpable sense the daughter is already involved with the men who will eventually contribute to her death.
The two films have a number of other interesting differences.
It’s been a while since I watched Hardcore, but I vividly remember the scene where the PI, Andy, in an attempt to explain to his client what has happened, takes Van Dorn to a sleazy porn theatre screening the film with his daughter in it.
It’s a throwback to the time when you had to physically go into a cinema to watch a porn film rather than just click three times on your computer mouse. These days, anyone with a hand-held camera and some willing participants can make porn and load it onto the web.
The setting for Schrader's film is the sleazy world of theatres, sex shops and peep shows that used to inhabit the inner urban sections of many cities. The danger in The Horseman lies in the outer suburbs and the bush along the Queensland coast, home to pockets of entrenched disadvantage and one of the most casualised workforces in the Australia.
Indeed, it's easy to see Christian as one of the army of independent contractors who flourished over the decade of conservative rule in Australia before being hit hard by the financial crisis in 2007. His wife has left him, business probably sucks, he’s got mortgage stress up to the back teeth and his daughter hates him.
Perhaps this was part of the point Kastrissios was trying to make. If so, he doesn't quite get there.
Andrew Nette is a Melbourne writer. His blog, www.pulpcurry.com, focuses on crime fiction and film, particularly from Asia and Australia.