The Grim Cellar

2005, France, Directed by Alexandre Aja

Colour, Running Time: 88 minutes

DVD, Region 2, Optimum, Video: Anamorphic 2.35:1, Audio: Dolby Digital 5.1

Clearly the film that catapulted the Parisian Aja into the eye (almost literally) of a gore-hungry public, the director of the potent Hills Have Eyes remake was up until this point working in his native language. It proved to be a controversial outing primarily due to the subversive conclusion, more of which later, but there’s nothing like a bit of controversy to get oneself noticed. Story introduces us to two young carefree French girls, Marie and Alexia, who are driving out to stay at Alexia’s father’s house for a few days. It all starts off deceptively optimistic, a tool I often like in horror movies when skilfully executed for the simple reason that it creates an acknowledgeable contrast providing contextual perspective for the terror to come. Arriving at the house Marie is introduced to Alexia’s father and they’re all soon settling down for the evening in their separate rooms for a good night’s sleep, or so they’re hoping. As the dark descends Marie is disturbed by violent noises downstairs. She realises that there’s an intruder in the house and the man has quickly and brutally murdered Alexia’s father, working his way through the house generally causing carnage. Marie manages to keep herself concealed, avoiding the killer’s detection, but he kidnaps her friend and loads her into a van outside, tied up and beaten badly. Marie manages to get into the van without the killer realising but before she can release her friend they’re being driven elsewhere. At a gas station Marie escapes from the truck with the idea of alerting the police, but soon the killer is driving off with Alexia and Marie has to lay chase if she’s any hope of saving the injured girl.

On the surface it’s a straightforward, albeit very well shot slasher but in the final act the entire story is turned on its head with a twist that shifts audience perception of what has previously happened to an entirely different understanding. It’s this twist that caused split opinion. Some people thought it was incredibly smart, others decided it was illogical and gimmicky at best. Obviously Aja was attempting to inject the tired slasher genre with a little new life by trying something unusual and on first viewing, for me, the film proved to be a reasonably effective experience. There is, as the French title suggests, plenty of high tension and this is well maintained, keeping unsuspecting audiences on their toes throughout - this upholding of tension is helped by a modest running time. Recently I watched it for the second time and therein the problem became apparent: it simply doesn’t work on repeat viewings. Where Sixth Sense, for example, was well thought through (though my appreciation of that film has diminished over the years) and enabled audiences to pick it apart in their hunger for logic, as much as is possible with such material. I’m sure that Haute Tension isn’t quite in the same category as we can’t help but look at the story differently once we realise what’s going on and it just doesn’t seem to glue together. I won’t go specifically into the illogicalities for fear of spoiling it for others, but they are there in abundance. In addition there appears to be little foundation is academic Psychology and I think the writers could have done with some real research into abnormal psychology before undertaking such a project where certain explanations are anchored so heavily in the field. There are hints of Giallo-style motivations evident and this homage, whether intentional or otherwise, is pleasing, almost as if the film is a hybrid between the slasher film and its more stylish Italian cousin. What’s really working in the film’s favour is the stupendous sound design, a really incredible soundscape that aids viewer immersion into the horrifying world that Aja and cinematographer Maxime Alexandre creates. Brutality, as one might expect if Hills Have Eyes has already been seen, is notched up as high as possible with plenty of particularly unpleasant gore effects to squirm at, courtesy of genre maestro Giannetto de Rossi (who should need no introduction to horror aficionados - Zombi 2 anyone?). Haute Tension is worth taking a look at because, although it won’t stand up to scrutiny many people wet themselves with excitement when it first shook the slasher world and it does indeed demonstrate effective shock tactics, but don’t expect enjoyment for years to come. If you want to struggle to make sense of what really happened where then it may barely be possible, and as such a minor classic could have been born, but it may also be possible that the writers were simply trying to dupe their audience into thinking they had something genuinely innovative on their hands - it’s for the individual to decide.

The DVD from Optimum is not at all a bad effort. The image is mixed: darker areas look excessively grainy whereas lighter scenes look spectacularly colourful and detailed. Where the transfer excels further is with the 5.1 track, this being truly cinematic and atmospheric, plus there‘s some nice use of modern music. The dialogue is thankfully presented in its original French language with burned-in English subtitles, though there is a dubbed version available in the US if you‘re really lazy. Optimum are to be commended on securing a UK exclusive audio commentary with the director, principle actor, and the features editor from Total Film magazine, as well as including over an hour of documentary footage and interviews.