Producer & director Rick Schmidt has made a career out of producing unusual indie films with unusual characters in unusual situations.  From his early films such as 1988: The Remake (1977) to Morgan’s Cake (1989) to his more recent Tears of Bankers (2012) and Sticky Wicket, which is currently in production, Schmidt is the poster child for the indie film-maker making feature films about whatever crosses his mind at the moment.  His films mix non-fiction with fiction (sometimes with only an outline in hand) and actors with non-actors to create a film that defies easy classification.  With The Higden Man (2004) Schmidt develops his strange aesthetic to deliver a film that may not hit all the right marks but does leave the viewer coming away with an unusual outlook on what is real and what is fiction.

The film centers on two conmen Marion Edwards & Charlie Parker (John Barnum and Stephen W. Gillard, respectfully) who are small time grifters trying to convince the residents of Heber Springs, Arkansas to sale their lakefront property before the government comes in to build a dam that will render the land into a small swamp.  Neither one is particularly very smart but they believe that they will be successful, which is what every good conman believes.  Between day to day conversations with land owners and personal lives which boarder on the pathetic audiences will find some sort of sympathy for the fools.

Like many of Schmidt’s films, real life confessions are sprinkled throughout from some of the actors and non-actors giving the film a very realistic look into the lives of the supporting (and sometimes walk on) characters.  Some of these contribute to the overall film while others seem like simple filler for time but what these little vignettes into the real life of the actors does is to ground the whole film in a pseudo-real world in that all the characters inhabit.  This style of film-making gives Schmidt’s films a feel and style not seen in other film-makers.

What will deter many viewers is the Dogma ‘99 style of film-making from the cinematography to the art design and everything else.  The film was shot on digital video so the quality is not up to the standards of some bigger indie films as little care was taken into consideration in terms of scenes which only use available lighting and using both actors and non-actors always yields mixed results.  What does carry the film is the music provided by Charlotte Taylor & Gypsy Rain and Paul Baker.  The Higden Man may not be a polished film but for those looking small time Americana this may be right up your alley.

THE HIGDEN MAN – Produced/directed/shot/edited by Rick Schmidt; Written by John Barnum, Stephen W. Gillard, and Rick Schmidt; Starring John Barnum, Stephen W. Gillard; Music from Charlotte Taylor & Gypsy Rain and Paul Baker.

I love short films and short films that get to the point are even better since they know what type of film they want to present and what theme they need to follow delivering a very concise and effective story.  If the film has good production values, good acting, and overall cohesive mise en scene then I’m there.  The Beast (2012) is one of these types of rare indie short films that manage to achieve this.  Written, produced and directed by Peter Dukes The Beast is a great example of an affective horror short film.

The film concerns the plight of Michel (Bill Oberst, Jr. who did a fine job as Abraham Lincoln in Abraham Lincoln Vs. Zombies – 2012) whom with his friend Douglas (Peter Le Bas) are preparing to tie up Michel’s son Jacob (Alexander Le Bas) during the night of a full moon.  Douglas, realizing that what he and Michel is doing is futile, tries to convince Michel that he must do the right thing by Jacob by ending the boy’s life.  Michel hears his friend’s words but may not be able to make the sacrifice of his own son despite the dangers present with keeping the boy alive.  As the full moon rises time is running out for not just Jacob whose hands remain unbound but for all three men.

The film is a solid suspense horror film that relies more on the emotional contours of the characters to drive the story rather than on any flashy special FX and gore.  With only three actors to focus on the audience is kept at attention and on the edge of their seat wanting to know what will happen next despite realizing what the final fate of the characters will ultimately be.  Oberst, Jr. shines as Michel, a father with the ultimate decision to make – one that may forever haunt him.

John Snedden is director of photography of the film and delivers the goods as you are constantly aware of the moon slowly creeping into frame.  The impending presence of the full moon is a ticking time bomb for the characters which puts both the characters and the audience on the edge of their seats.  This is enhanced by Giona Ostinelli’s score for the film – a great classical sound for the period setting of the film.

If you enjoy a hirer profile kind of horror film then The Beast will be just right for you.

The opening scene is beautiful with the mountains. It’s definitely a wonderful sight. However, it was ruined with the poor quality of the prosthetic scratch marks on the boy’s neck. You’d think the crew/artist would have done a better job making the marks stick to the boy’s skin. It was coming up around the edges like no scar I’ve ever seen. It also looked like someone’s finger slipped and smeared the powder.

As the scene progresses, I have respect for the acting abilities of the characters. You can see the love the father has for his son and the anticipation the uncle has for the inevitable. The young boy has the acceptance for what he is to become and knowledge of what he has to do to keep everyone safe. It helped make the accents a little more real, yet I wish the son would have picked one. He sounded very American one minute and then Irish later. As the movie progressed, it was more difficult to watch the reactions as the lighting was awful. Even though it was supposed to be nighttime, the use of some lighting is good to see the reactions on the faces. Maybe this would have helped show the fear on the father’s face as he was confronted with the anticipated change of his son. As the father was begging his son, it was completely unbelievable that he was talking to a monster. There was no fear, only pleading. I find this highly unlikely.

When we finally get to see the wolf, we are incredibly disappointed. The costume is mocking us with a cheap headdress on a boy’s body. The only thing I could think about was “when did we enter Where the Wild Things Are?” As an audience, we are always looking for “bigger and badder” werewolves. We want to be awed. This can still be done on a small budget, but this film fell short.

This movie was saved by the climactic ending. The pleading by the father and the end standoff left us wondering how it was going to end, only to be shocked! KUDOS!

The movie was pretty well done and had a great, loving story mixed with supernatural beings and climaxes leaving you on the edge of your seat.

Review by Carole Rice

Pictures Below are of “Little Reaper” Dream Seekers upcoming production and Producer Peter Dukes