This “Limited Edition” 4K Ultra HD release from Arrow Video will be available for purchase on October 28th.
While most admire genre filmmaker John Carpenter, many of his classic titles took some time to gain their stellar reputations. Yes, the majority of his 1970s and 1980s movies were financially successful (with the exceptions of studio efforts The Thing, Staman and Big Trouble in Little China, which underperformed), but the status of every one of his titles has only increased year after year. He is a legendary filmmaker who has been ahead of his time in many respects, and beyond his sharp storytelling skills, the movies contain deeper thematic ideas (often critiquing capitalism, repressive governments, as well as other subjects) that keep viewers coming back for more.
At the beginning of the 1990s, Carpenter once again attempted to make a studio picture. It was Memoirs of an Invisible Man, and it marked another box office flop. The picture actually has its moments, but didn’t connect with critics or theatergoers. Like many who had thrived in the 80s with genre pictures, horror movie attendance was dwindling. Thankfully, Carpenter found himself an exciting project with In the Mouth of Madness (1994) from New Line Cinema. While it wasn’t a big production, it was every bit as dynamic, scary and thought-provoking as his 70s and 80s work. It didn’t initially light the North American box office on fire, but the film did slowly build a following on disc over time.
Now, Arrow Video is delivering a 4K Ultra HD “Limited Edition” of the title that is a must-own for the filmmaker’s enthusiasts. The image quality is vastly improved from previous DVDs and Blu-rays, and the set comes with all kinds of fun commentaries and other bonuses that will inform and delight those who admire the work. If you like this filmmaker’s work, this release is a must-own.
John Trent (Sam Neill) is a cynical insurance investigator who can debunk just about any false claim there is. When he’s asked to go to publishing house Arcane and help Jackson Harglow (Charlton Heston) and editor Linda Styles (Julie Carmen) locate missing author Sutter Cane (Jurgen Prochnow), Trent comes in confident and ready to prove it’s all an elaborate publicity stunt. But there are strange aspects to the case. Cane’s fans are almost mob-like addicts and when Trent reads the books, he finds them more effective than anticipated. So much so that he begins having visions. Trent thinks he’s found a lead and takes Styles with him to a small, off-the-grid town where he believes Cane might be hiding out. But when they arrive, things get even more unsettling, to the point where Cane himself asserts that his books are manifesting creatures to life that will cause the end of the world. Trent tries to make sense of the scenario, eventually wondering if his own existence is a work of fiction.
The pacing is quick, but never confusing. It is suggested to the viewers early on that they will be witnessing Trent going down a dark hole from which there is no escape. You are simply going along for the ride and experiencing what he does. This is all played with a tinge of dark humor, making it a bleak but enjoyable ride. Neill is fantastic as the lead character, who is understandably sarcastic given his line of work, and tries desperately to hold it together as everything that he is certain about soon starts to disintegrate. Carmen is impressive as well as the editor. She is charismatic, yet difficult to get a read on as far as exactly she really knows about the situation.
There are some wonderful images and effective jolts as the pair enter the strange town and react to bizarre events. A looming cathedral in the tiny town is immense and intimidating, as are the numerous unsettling interactions with oddball locals (a reveal of the inn owner and what’s going on behind the front counter isn’t easily forgotten). And a climactic vision of Trent running down a darkened hallway while being pursued by a wall of grotesque monsters is a spectacular sequence that makes a permanent impression on viewers.
While many films of its era featured very young characters being hunted down and slain by a killer, this effort immediately stands out as something very different. The lead characters are all adults, as are the themes, and the references to author H.P. Lovecraft are apparent throughout. Additionally, the slimy and often tentacled otherworldly monsters are menacing and unique, and the film’s themes address issues of sanity and reality. If that wasn’t enough, the screenplay takes on the media, the power of art, obsessive fans, and even those who are critical of the horror genre. The movie doesn’t explicitly wave its finger and tell you what to think, but the layers are all there when you watch the film. Repeat viewings result in more thought about these subjects, which is why the movie is so good and continues to resonate with viewers.
The image quality on the disc is exceptional. The 35mm camera negative was newly scanned for this release and is presented in Dolby Vision. It’s a very sharp and clean picture. So much so that you can really take in the impressive color in the eyes of readers who have lost their minds. The locations are great, including the psychiatric institute. There are a few interior studio scenes that have a normal filmic look, but I’ve never seen the movie looking so sharp. The big monster chase during the climax down an eerie tunnel looks phenomenal in 4K. This is a movie full of fantastically weird visions and they look gorgeous. It’s hard to imagine this title looking any better.
As mentioned, there are some notable bonus features as well. The first is an archival commentary track in which director Carpenter and his wife/producer Sandy King, go over the details of the production. The second archival track features Carpenter and cinematographer Gary B. Kibbe. Anyone who has ever heard an audio track with this filmmaker knows that he’s one of the best speakers there is. The filmmaker is honest, amusingly blunt, and tells great stories.
During the first track, Carpenter talks about shooting in Toronto, and having fun working with Sam Neill, as well as the rest of the cast. He also notes that the locations manager at the time had picked a different church for them to shoot at. On the way out to the original site, Carpenter saw the cathedral, made them turn in and insisted this was the location he wanted. The locations person wasn’t happy with his decision and quit the picture. You’ll also learn that Sandy King didn’t get on particularly well at the time with New Line head Robert Shaye. The second track is more focused on the photography, lighting and shooting in Panavision (Carpenter’s favorite shooting format).
There is also a new film historian commentary. The critics go over biographical information on everyone involved and provide a lot of background details. They note that this title is a really early “meta horror” film (along with Wes Craven’s New Nightmare) and feel it was simply too ahead of its time to reach a massive audience. It also becomes clear after listening to all the tracks that the movie looks a lot more expensive than it was and that they used every penny allotted to them in the best way possible.
There are several new interviews on the disc as well. Sandy King describes her memories of the film and how they saved money and managed to get their apocalyptic story made for under $8 million dollars. Amusingly, they managed to secure the surreal church location because the interiors weren’t yet completed. She offered to carpet the building in exchange for shooting exteriors there, and the church agreed. She also notes that while the movie didn’t do well in North America, they later learned that it was very successful and well-regarded in Europe.
Jurgen Prochnow also talks about getting involved in the picture and how much he enjoyed working on the project. He also notes that the movie’s fanbase has really grown over the years and that he regularly gets asked about the movie. Julie Carmen discusses how interesting the story was and her experiences on set. And Greg Nicotero relays how the elaborate practical effects were done, and goes into detail on the monsters featured in the large hallway. There’s one creature in particular that is a lot of fun once you see it clearly (it was Carpenter’s favorite monster) and this extra shows it in detail.
There is a new appreciation of the movie from three individuals in which they talk about specific story elements and their personal thoughts on them. Truthfully, it’s a bit silly, but those who want to hear some wild ideas about the picture and its hidden meanings may find it fun. The visual essay on the picture by Alexandra Heller-Nicholas is much clearer and offers more convincing insight into the themes of the movie, as well as how they are presented.
There’s a featurette about the various locations, with the host traveling around Toronto to see what they look like today (at least. Most are still present and recognizable (including the church), but like everything else, the city has built up around some of these sites so most look a little different today. You’ll also get behind-the-scenes footage from the shoot, a vintage making- of, a trailer, TV spots and an image gallery. It’s all presented in an impressive package that includes a slipbox with a book containing essays on the movie, a double-sided fold-out poster and more.
After three decades, it’s safe to say that In the Mouth of Madness is another Carpenter classic and it is fantastic to see the film getting the respect it deserves. The 4K Ultra HD “Limited Edition” features a new 4K restoration and the movie looks better than it ever has before. The release also contains a ton of informative and fun extras that will impress fans. This title is highly recommended to any horror fan.