Maybe some of the all american readers of IMDb will be insulted by my establishing a certain degree of comparision between this gem of a horror movie and Jackie Gleason's emotionally charged melodrama 'Gigot'. Well, if so, I ask for your pardon in advance, and state that, on no account, is my intention to offend you in any ways.
Nevertheless, the way I envision, this brilliant movie, 'Shanks' is a clever - if unintentional - satire of what would Gleason's Gigot do if he was an actual human being - after all, a man that wonderfully good could not be from this foul Earth of ours.
Marcel Marceau is a deaf mute aspiring to be a puppeteer whose existence is torn to shreds by his shrewish sister and drunken brother in law. Here, the shades of Gigot appear, since Jackie Gleason's character is constantly taunted - not by family, but by acquaintances who share the same street and later on, a woman, with whom he desperately falls in love.
Marceu is invited to work with a dying scientist working on a project to reanimate the dead. When he dies, Marceau uses the techniques trusted to him by his mentor to re-animate him as well. He has a lot of fun improving his work, and controlling his every move through a small remote control. That way he actually becomes more of a puppeteer than ever - only now, his manipulating powers are aimed towards the dead.
His vengeance towards his sister and brother in law are rather obvious, but frightening, nevertheless. He murders them - and deprives them from the little decency that exists in 'dying', by manipulating them, just like they manipulated him, when living. He leads the dead bodies around with morbid pleasure, and degrades them as much as he can, therefore, satisfying his justifiable yearnings. Yet, things begin the go sour after his protegee - a young adolescent whose character bears much of the little girl in 'Gigot' - discovers that those people that are constantly walking down the streets if the small town they live in, are, in fact, dead.
The movie's punch is lost in the ending, when the evil outside Marceau's world of vengeance - represented by a group of hilariously named Hell's Angels - encroaches on the little girl's birthday party. But the ending that examines the possibilities of the entire plot being a dark fantasy that Marceau has while performing for the town's children is absolutely fascinating.
Alex North's musical score replaces the lack of dialog with thorough efficiency. The ragtime and Charleston pieces North has composed for the few scenes in which Marceau's human puppets are performing for the little girl are absolutely brilliant, yet, never do they curtail the morbidness the film bears.
Gigot's vendetta is now, a refreshing reality. Yet, through another movie, 'Shanks', a brilliant, disturbingly delicious study in irony, reality, fantasy, and revenge.
Do forgive for the comparisions. I reiterate that they were not intended to harm any of you Jackie Gleason junkies out there, in any ways... :)
Nevertheless, the way I envision, this brilliant movie, 'Shanks' is a clever - if unintentional - satire of what would Gleason's Gigot do if he was an actual human being - after all, a man that wonderfully good could not be from this foul Earth of ours.
Marcel Marceau is a deaf mute aspiring to be a puppeteer whose existence is torn to shreds by his shrewish sister and drunken brother in law. Here, the shades of Gigot appear, since Jackie Gleason's character is constantly taunted - not by family, but by acquaintances who share the same street and later on, a woman, with whom he desperately falls in love.
Marceu is invited to work with a dying scientist working on a project to reanimate the dead. When he dies, Marceau uses the techniques trusted to him by his mentor to re-animate him as well. He has a lot of fun improving his work, and controlling his every move through a small remote control. That way he actually becomes more of a puppeteer than ever - only now, his manipulating powers are aimed towards the dead.
His vengeance towards his sister and brother in law are rather obvious, but frightening, nevertheless. He murders them - and deprives them from the little decency that exists in 'dying', by manipulating them, just like they manipulated him, when living. He leads the dead bodies around with morbid pleasure, and degrades them as much as he can, therefore, satisfying his justifiable yearnings. Yet, things begin the go sour after his protegee - a young adolescent whose character bears much of the little girl in 'Gigot' - discovers that those people that are constantly walking down the streets if the small town they live in, are, in fact, dead.
The movie's punch is lost in the ending, when the evil outside Marceau's world of vengeance - represented by a group of hilariously named Hell's Angels - encroaches on the little girl's birthday party. But the ending that examines the possibilities of the entire plot being a dark fantasy that Marceau has while performing for the town's children is absolutely fascinating.
Alex North's musical score replaces the lack of dialog with thorough efficiency. The ragtime and Charleston pieces North has composed for the few scenes in which Marceau's human puppets are performing for the little girl are absolutely brilliant, yet, never do they curtail the morbidness the film bears.
Gigot's vendetta is now, a refreshing reality. Yet, through another movie, 'Shanks', a brilliant, disturbingly delicious study in irony, reality, fantasy, and revenge.
Do forgive for the comparisions. I reiterate that they were not intended to harm any of you Jackie Gleason junkies out there, in any ways... :)