Eddie’s TakeĮveryone loves a good “men on a mission” movie, from the big daddy of them all Lord of the Rings through to other gems like Saving Private Ryan, Aliens, Predator and Apocalypse Now, it’s a sub-genre that has often provided us with some of cinemas best offerings. Whether you’re contemplating the foreboding themes, basking in the gloomy surroundings or wincing at the sight of swords, ropes and torture chambers being put to use, there’s something to unreservedly respect about Black Death: an important film that transcends its modest roots. This is a serious journey that required stern determination and commitment from all involved to overcome a narrative that contentiously dabbles in the supernatural, and though subsequently unrelenting in his pessimism and bleakness, it’s never anything but fascinating to watch. Sean Bean owns the screen with his imposing presence and intimidating scowl, as he commands a rag tag crew high on blood lust in a land of witch burning and deathly disease, and Eddie Redmayne too, cast against type and needing to provide an emotional anchor, succeeds in his attempts at conveying deep inner turmoil up until a plot twist changes his desires for good.
The acting, strangely enough in a low budget horror title, is where the power lies. Here is a movie that succeeds tremendously against all odds, breathing authentically polluted life into its Medieval setting and coaxing faultless genre performances from its stars and secondary players alike. Thankfully, that is not how history played out. Shot in Germany with a British cast of opposing strengths and a director who had never previously dabbled with a seriously minded narrative, you could forgive Black Death for culminating in a brave attempt at significance having fallen short of its endeavor with an uneven tone and sporadically decent acting. Consider it our pick in a now established and fictional film club. Here at Jordan and Eddie, we wanted to share our thoughts as to why this is an underrated gem worthy of wider attention. It’s director, Christopher Smith, had previously endeared himself to horror fans with his debut Creep and gory follow-up Severance, and it’s to his credit that this, his biggest risk, stands stoically and surrounded by intrigue a proud film. In 2010 a film crept into public knowledge with little theatrical fanfare but a glut of critical praise from lovers of art-house and independent horror, including industry vet Alan Jones and The New York Times. But our task, to hunt down a demon, was God’s cure. For what sin? What commandment must we break that could earn this? No, we knew the truth. The priests told us it was God’s punishment. Where did it come from? What carried its germ.
A pestilence, that would leave half of our kingdom dead. The plague, more cruel and more pitiless than war, descended upon us. The fumes of the dead are in the air like poison.
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