Maniac (1980) ****
Maniac (1980) is an exploitation classic, a film that caused much controversy on its initial release, and I love it to pieces. While the (great) gore f/x by master Tom Savini seem tame by today's standards, they're still brutal and indelible. For me though, Maniac is most memorable for the gusto performance that Joe Spinell gives as Frank Zito, the second greatest screen psychopath with mommy issues, after Norman Bates.
Sure, Maniac is clunky at times. And it's pretty unbelievable that a beautiful fashion photographer like the one played by Caroline Munro or any of her models would give sweaty, greasy Frank the time of day. But I've always found Spinell's performance, with its creepy voice-over and labored breathing (a la Black Christmas (1974)), genuinely effective—elevating the film beyond mere trash.
The guerrilla filmmaking by director William Lustig provides a time capsule of early 80s New York City. The excellent production design of Frank's apartment, with its bloody mannequins, purple walls, and odd assortment of knick-knacks further expands the sense of dread and depression of our deeply disturbed protagonist. Jay Chattaway's score is also of note, shifting from the melancholic flute and bass-driven theme to haunting analog synth drones and jarring stings to Goblin-esque prog with ease. Plus that fashion shoot "Showdown"—humorous but unforgettable! Throw in a sleazy, iconic theatrical poster and you have a cult horror film for the ages.
Sure, Maniac is clunky at times. And it's pretty unbelievable that a beautiful fashion photographer like the one played by Caroline Munro or any of her models would give sweaty, greasy Frank the time of day. But I've always found Spinell's performance, with its creepy voice-over and labored breathing (a la Black Christmas (1974)), genuinely effective—elevating the film beyond mere trash.
The guerrilla filmmaking by director William Lustig provides a time capsule of early 80s New York City. The excellent production design of Frank's apartment, with its bloody mannequins, purple walls, and odd assortment of knick-knacks further expands the sense of dread and depression of our deeply disturbed protagonist. Jay Chattaway's score is also of note, shifting from the melancholic flute and bass-driven theme to haunting analog synth drones and jarring stings to Goblin-esque prog with ease. Plus that fashion shoot "Showdown"—humorous but unforgettable! Throw in a sleazy, iconic theatrical poster and you have a cult horror film for the ages.
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