Director Christophe Gans (SILENT HILL) second film paired with actor Mark Dacascos pulls out all the tricks of the trade to create a mesmerizing film that manages to merge horror, martial arts, period drama, classic adventure, and romance surprisingly well.
As Thomas d’Apcher, a witness to the events unfolding recounts in a narrative, the film boldly and disturbingly sets the tone early on with a bone-crushing opening scene involving the beast’s first victim. The editing is highly stylized, much like John Woo’s work added to sharp imagery. The film taunts it’s audience by keeping the mysterious beast unseen for the first half of the film while a challenging plot unfolds that actually pays off in the end despite an overly long running time.
Hong Kong veteran Philip Kwok’s gratuitously satisfying fight choreography is masterfully executed by Dacascos and balances well with the story although the obviously Asian martial arts moves feature prominently. Dacascos, who himself admits to playing characters of few words more than makes up for limited dialogue by exuding a wealth of physical presence as Mani, an Iroquois possessing a Zen-like confidence in his abilities. Similar to many classical male heroes, Mani’s only weakness is falling for the wrong woman.
Samuel le Bihan convincingly plays the roguish Fronsac whose many skills come in handy as he uncovers the secret of the savage beast. Fronsac himself becomes somewhat of a pawn to a mysterious and seductive woman named Sylvia (Monica Bellucci) who has some nasty tricks of her own.
One problem with the film is the sheer complexity of the plot and the film’s inability to keep it wrapped into a more tightly woven narrative. Fronsac’s romantic escapades, the search for the beast and a related plot to undermine the King of France by a secret society is ultimately engaging but could have been cropped. Stunning visuals from costume design to picture perfect location shoots and a constant level of tension help to undermine this fault.
At times the film veers towards traditional period drama with high production values and meticulous attention to detail, then suddenly throws in something you’d expect to see in a fantasy/action genre film. It’s refreshing and sinfully enjoyable to see. Admittedly, this may confound or put off some viewers who are looking for something more conventional.
BROTHER OF THE WOLF also features some disturbing imagery, refusing to shy away from a bit of gore, although the sound effects are more terrifying than any visual to this reviewer. The climatic finale gives in to excessive indulgence and is truly a genre fan’s delight. Faces painted, Fronsac and Mani unleash a storm of wild traps on the creature, before wading into a host of armed men. The last fight even features a multi-section bone sword in an apparent nod to classic Hong Kong wuxia pian.
Gans aims to please with a winning combination of action, romance and chills. Even though his movie is longer than it should be, a distinctive film score, irresistible eye candy and fine writing and acting makes it all work.
by Mark PollardRelated Topics:
Brotherhood of the Wolf (2001) • Mark Dacascos
