THE KEEP (1983)

Michael Mann's Sophomore Feature is a Failed Horror Epic.

Grade: D

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To cinephiles, Michael Mann is famous for directing stylish thrillers such as Manhunter (1986), Heat (1995), and Collateral (2004). To those who grew up in the 80s, he is known as the executive producer of the hugely popular series Miami Vice (1984-1990). To far fewer people, he is known as the director of The Keep, his second film, made when he was still finding his way in the film industry. Though most of Mann’s films did not do well upon initial release, they were later appreciated as classics or masterpieces. Alas, The Keep is still no masterpiece. Despite an earnest effort by everyone involved, this supernatural horror thriller is ultimately a hokey, muddled mess.

            The Keep is set in an isolated village in the Carpathian Alps in 1941, during World War II. A squadron of Nazi soldiers led by Woermann (Jurgen Prochnow) is tasked with securing the pass through the mountains, so they set up shop in a large stone fortress. While touring the mysterious keep, Woermann notices that the stones on the inside are much bigger than outside, and deduces that it was not built to keep anything out. Shortly after settling, several soldiers in the keep are horrifically murdered by an unseen force, resulting in the lethal, sadistic Kaempffer (Gabriel Byrne) taking command. Jewish scholar Dr. Theodore Cuza (Ian McKellen) is brought to the village along with his daughter, Eva (Alberta Watson) to investigate the killings. Meanwhile, a mysterious man named Glaeken (Scott Glenn) enters the village with his sights on the keep….

            The trailer for The Keep is quite creepy and atmospheric, playing various movie clips to the musical score by Tangerine Dream. At one point, Scott Glenn’s character says, “Did you find what you were looking for? Did you expect to find me?” But he doesn't say this in the movie. Apparently, Mann's original cut ran at a gargantuan 210 minutes; the final version is a mere 95 minutes, which explains its rushed and jumbled feel. After the first incursion by the supernatural evil, Nazi soldiers randomly start firing at something, and it is later said that five more were murdered, though this is never seen. A local priest (Robert Prosky) is initially presented with dignity and compassion, but during a later conversation with Dr. Cuza, he suddenly starts ranting and raving about evil, fitting into the stereotype of a religious fanatic. After Glaeken enters town, he meets Eva, and two minutes later in movie time, they’re making love. In fact, very little development is given to Glaeken, the apparent hero of the story; his origin doesn’t have to be fully explained, but his relationship with Eva and the world as a whole could be fleshed out more.

            Another of the movie’s weaknesses is the Tangerine Dream score. The electronic band’s music had greatly amplified Mann’s directorial debut Thief (1981), but it doesn’t always fit the atmosphere he was apparently going for with this film. For example, the scene where two young Nazis foolishly remove a nickel cross from the keep wall, unleashing the demonic force within, should be suspenseful, but the music makes it sound like a moody 80s music video (the fact that a few shots are centered on them looking into a bright light amid dark surroundings adds to this feel). The same goes for the supposedly thrilling climax, in which Cuza is carrying a talisman out of the keep’s cavernous, foggy bowels. In fact, aside from the actual scary pieces, the score does not match the 1940s setting at all.

            The film’s technical merits are likewise a mixed bag. The production designers and decorators did a great job constructing the interior and exterior of the keep, and the cinematography is outstanding as well. There is a cool shot early on, when the Nazis unleash the evil; one of them has his head poking through the hole he made in the wall, and the camera zooms out to reveal nothing but darkness. Then we see the floor of a vast chamber, lined with strange columns, and a faint light on the soldier’s face is still visible in the distance. Finally, a glowing light zooms forward, flies up, and consumes the light of the soldier’s face.

            Unfortunately, the evil in question-an ancient, demonic entity known as Molasar-looks rather silly when seen in person. Played by Michael Carter, Molasar is big, fleshy, and has a glowing red light emitting from his mouth and eyes. His appearance and mannerisms, as well as his flashy final showdown with Glaeken, reduce the movie to the level of 80s cheese, aided by the film’s fog machine, which does its job a little too well.

            There is a theme embedded in the film, which is never allowed to be fully realized, that being Molasar is a reflection of human evil. Drama is formed when he heals Cuza of the ailment which has left him wheelchair-bound, and orders him to remove the talisman keeping him imprisoned in the keep. Cuza readily agrees when Molasar promises to destroy all the world’s Nazis, thus making a deal with one evil to eliminate another. In the climax, when Eva tries to stop him, Molasar attempts to coerce Cuza to kill her, but he ultimately resists. Thus, McKellan gives the best performance in the film as he openly and loudly defies Molasar.

            Mann’s ambition was arguably The Keep’s ultimate downfall, similar to Taika Waititi and Thor: Love and Thunder (2022). It could be said that he should have known better than to make such an insanely long movie. But would it have fared better if he had been allowed to keep his vision? That’s certainly debatable, since a 210-minute movie was hardly a recipe for success even in the early 80s, when most of the greatest hits were a little over two hours at the most. In any case, much of what it could have been was lost, and the end result pales in comparison to much of Mann’s better work.

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Director: Michael Mann

Screenplay: Michael Mann (Based on the novel by F. Paul Wilson)

Producers: Gene Kirkwood, Howard W. Koch, Jr.

Cast: Scott Glenn (Glaeken), Alberta Watson (Eva Cuza), Jurgen Prochnow (Capt. Klaus Woermann), Ian McKellen (Dr. Theodore Cuza), Gabriel Byrne (Erich Kaempffer), Robert Prosky (Father Mihail Fonescu), Royston Tickner (Alexandru), Michael Carter (Radu Molasar)

Rated: R