Reviewbr> “Little Susan torched her mother in a fire of desire, before she was through she cut her daddy in two.” - Master John
Susan is a part time cold caller for Kiwi Printer Solutions but pretty much spends her time trying to rope in the Roos bounding around her top paddock. She thinks her mother, who has died, is still in contact with her offering advice. If that's not enough to ensure things aren't going to run smoothly then Susan has also done in her incestuous Father, a stage Actor who made the effort to fly over from London for a visit.
Further complicating matters, Tanya a daughter Susan gave up for adoption, is searching for her mother. And if you think Susan is a complete nutter, wait till you meet the suicidal Tanya who has some sort of revenge motive on her mind. Of course this may all be in Susan's head, or it could be a revenant, or it could be possession from beyond the grave. Let's put on a pig mask and check things out as David Blyth delivers a masterpiece.
Wound is one of those movies where once you think you have it worked out the very next scene throws your assumptions onto the mat and pins them. For sure there's a story going down, told in some very weird ways, but you are not quite sure if what you are watching what actually happens or are privy to fragments of Susan's imagination. Characters you think are alive are dead, events apparently taking place during the movie are constructs that reflect what happened to Susan in the past, and before I forget listen to the dialogue, when something happens, for the odd clue. It all adds up to one heck of a movie watching experience as David Blyth redefines what a horror flick can do. Trying to de-construct what Director Blyth has happening in this movie is akin to trying to breakdown an All Black defensive pattern. Thankfully Robbie Deans is tasked with the latter, while I'm going to run up the white flag on the former and claim since we're just a review site we don't have to micro analysis things.
You know during last year how The Human Centipede was being hyped as the most depraved movie ever made, and then it turned out to simply have one idea? Well I'm here to tell you that David Blyth leaves that movie in his wake with Wound. Gentlemen prepare to cross your legs during one scene! Menstrual blood, or maybe that was the end result of an abortion, being lapped up. The bizarre use of a chest deep freeze. And one of the more disgusting yet somehow artistic birth scenes you are ever likely to run across, are just the tip of the iceberg. No wonder they tried to ban Wound in New Zealand, Blyth doesn't pull his punches and doesn't shy away from presenting in graphic detail some seriously deranged concepts. What is amazing is that the Director doesn't have pre-set scenes he wanted to shot, and then built a bunch of joining fluff between them. Wound naturally flows from scene to scene as the Audience are left wondering which scenes are simply in Susan's mind, what might be a re-imagining of events in her past life, how much the supernatural intrudes, and to be honest what it is all about.
While the above might be enough to make a decision about viewing for Downunder dark genre fans, and I would urge you to catch this masterpiece of cinematic brilliance, I should also point out for North Americans that Blyth hits the S&M track with out apology. It's crucial to the movie, but be warned if you are a member of a far right religious group that believes you should keep your undies on while showering, there's some graphic sex floating around the movie.
Behind the camera Blyth is keeping you entertained with change ups, different angles, and a good use of Raimi style track cam at one stage. Added bonus, for those who like something exotic in the mix, is the use of CCTV footage to add a touch of mockumentary for no apparent reason. I was also digging the use of web-cam, this should provide a clue as to what the movie is all about by the way, to further document Susan's treatment and Master John's clothes peg fetish. One of the highlights of Wound is Blyth's use of the camera to make the Audience voyeurs on Susan's life. If you have ever checked out one of those 1980s slashers you'll know what I mean here.
Jed Town adds the orchestral movements, and I was struck by the experimental nature of it. Don't expect grand flourishes in a serious sound scape, Town's score is more schizophrenic in nature adding to Blyth's visuals to deliver a complete package.
Special mention of Kate O'Rourke (Susan) who delivers a stunning performance in a demanding role that would have most Hollywood actors running for the hills. O'Rourke nails it, you get a real feeling of her mental disintegration through the course of the movie. Marvellous stuff, deserved the accolades of the Industry.
Wound is one of those movies you are going to have to wrestle with, Director Blyth doesn't give away it's secrets easily as the viewer is plunged into the mind of Susan who has more than a few Roos bounding away in the top paddock. If you can handle the concepts of mental illness, incest, revenge, and death, then you will find Wound fertile ground for viewing. Don't expect a run of the mill Hollywood horror flick however, David Blyth here is redefining what the horror movie can do as an art-form. It's been about a decade since Blyth last hit a feature length, we're please the dude is back, and more than pleased he's returned to his dark genre roots. Full recommendation on this movie, you are in for one hell of a ride, an absolute masterpiece, arguably the best Downunder horror flick ever made.