Original Airdate: December 16, 2005
Writers: Drew McWeeny, Scott Swan
Director: John Carpenter
Executive Producers: Mick Garris, Keith Addis, Morris
Berger, Steve Brown, Andrew Deane, John W. Hyde
Cast: Norman Reedus, Udo Kier, Zara Taylor
“Film in the right hands is a weapon.”
A character intones this in “Cigarette Burns,” and after
watching the violence caused by “The Innocence of Muslims” and the domino
effect that continues, my mind kept drifting back to this episode of “Masters
of Horror,” in which an evil film becomes a cause for pain, torture and riots.
Here is an episode of television with gigantic, far-reaching ambitions that
just exceed the grasp of the filmmakers creating it – but watching them try to
pull it off is some kind of wonderful.
When I say the movie in “Cigarette Burns” is evil, I don’t
mean it in the same manner I do the inept and disgusting “The Innocence of
Muslims.” The film in question, “La Fin Absolue du Monde” (translated to “The
Absolute End of the World”) is actually evil. It depicts, among other
atrocities, an angel having its wings savagely torn from its body. We learn
that there was only one screening, at a festival in the ‘60s, where the
audience rioted and attacked one another until the aisles were slicked with
blood. After that, it seemingly disappeared into the ether.
Kirby (Norman Reedus), a film historian who has a reputation
for being able to find any lost film, is hired by a rich man named Bellinger
(Udo Kier doing a great Peter Lorre impersonation) to track it down. Bellinger
is obsessed with “La Fin Absolue du Monde” and has several props from the film:
The pair of wings torn from the Angel framed on his wall…and the Angel trapped
in chains in his basement. Kirby is a recovering junkie who recently lost his
love Annie (Zara Taylor) and takes the job because he owes a lot of money to
Annie’s father (Gary Hetherington). He’s already emotionally fragile from his
loss – and from the moment he begins his pursuit we can tell he is going to
fall into the same cycle of obsession Bellinger cannot escape from.
Kirby seeks out to find information about “La Fin Absolue du
Monde” from several people, and we make the quick realization that any person
even slightly associated with the missing film has been mentally (or, in some
cases, physically) destroyed. Hell, the director, Hans Bakovic, has also seemed
to disappear completely. Most memorable among those Kirby can track down is an
audience member (Chris Britton) from the first screening who has spent decades
attempting to pen a worthy review of the film, writing tens of thousands of
pages in the process. Surrounded by the pages, he speaks in a horrifyingly calm
tone to Kirby:
“We trust filmmakers. We sit in the dark, daring them to affect us, secure in the knowledge that they won’t go too far…Hans Bakovic is a terrorist. He abused that trust we place in filmmakers. He didn’t want to hurt his audience – he wanted to destroy them completely.”
More than that, the film is physically manifesting itself
for Kirby the closer he gets to it. He begins seeing “cigarette burns,” those
circles you see at the top of a film frame when you’re at the movies that
signals it’s time to switch reels, and though he keeps telling others that he
doesn’t want to see the movie, we know he won’t be able to escape it.
The co-writers, Drew McWeeny and Scott Swan, have set up an
incredible concept (the horror version of “Raiders of the Lost Ark” in many
ways) and beautifully build suspense throughout the episode. There are many
scenes where characters say some version of “This movie is fucking evil,” but
McWeeny and Swan manage to find interesting variations and ways to continue the
escalation. John Carpenter, who also directed the film masterpieces “Halloween”
and “The Fog,” is expert in maintaining tension and his touch is apparent
throughout, despite an over-reliance on gore that became both a hallmark and
problem for most of the “Masters of Horror” episodes. Particularly out of place
is a scene where Kirby is tied to a chair and must witness a psychopath (driven
mad by the film, of course) behead a woman by repeatedly chopping into her neck
with a machete. The scene feels exploitative and done because the audience
expects it more than because it serves the story. It also doesn’t work on a
technical level – the psychopath makes a point of talking about how powerful a
murder would be if shot in a single take, but what power the moment might have
is undercut by the editor’s constant snipping.
Kirby finally gets his hands on “La Fin Absolue du Monde”
and here is where “Cigarette Burns” stumbles, but that’s not to say there
aren’t thrilling moments in the climax. It’s just that, unfortunately, the
writers did such a fantastic job of building to the moment that nothing could
possibly live up to the viewer’s expectations. Carpenter unwisely made the
decision to actually show sections of the “La Fin Absolue du Monde”
instead of just letting our imaginations do the work, and that stops the
episode dead in its tracks. One scene looks like something from “The Blob,” and
the others are nothing we couldn’t see in any “Saw” or torture-porn flick. In
many ways it is reminiscent of the third-act problems with Carpenter’s
near-masterpiece “In the Mouth of Madness,” where he literally found himself
written into a corner (those who have seen the film will get the pun).
But there is great stuff in those final moments. Bellinger’s
butler has such a visceral reaction to seeing the film that he stabs both his
eyes out. Bellinger falls deeper into madness and actually tears out his small
intestine and begins running it through the projector, which is one of the most
disturbing/amazing death scenes ever placed on film. And the final beat, with
the Angel taking back the film and escaping from the destruction, is rightly
moving.
By naming his show “Masters of Horror,” Mick Garris set an
impossible standard for his anthology series. He did recruit some of the best
names in horror: Carpenter, Joe Dante, John Landis and Dario Argento, among
others, to direct the episodes but, as with most anthologies, the episodes vary
widely in quality, with many way too gory for their own good (even the Masters
often forget that more blood doesn’t automatically equal more horror). One
episode in particular, “Imprint,” (directed by Takashi Miike) involved so much
blood, gore and aborted fetuses that even Showtime found it too disgusting to
air. But several, like “Cigarette Burns,” Dante’s “Homecoming” (a brilliant
dark comedy where all the soldiers who died in Iraq raise from their graves…to
vote against George W. Bush) and Landis’ “Family” (in which a deranged family
man wants to murder his neighbors and adopt them into his home) are genuinely
awesome. After two seasons on Showtime the show moved to NBC with a new title,
“Fear, Itself” and leveled out in quality right before its cancellation.
I love “Cigarette Burns” for what it aspires to be, and it
is one of the few modern horror works that actually got under my nerves and
affected me on a visceral level. At its very best (or very worst), film and
television can affect a viewer deeply in a manner no other artistic outlet can,
which can be both lovely and horrifying, depending on your perspective.
“Cigarette Burns” is available as an individual episode onDVD or as part of the “Masters of Horror” season one boxed set. It’s also
available on iTunes and on Hulu.
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