Cromosoma 3

I really enjoyed David Cronenberg's film called The Brood. It is about a woman who is being cared for by an eccentric psychologist called Dr. Raglan(Oliver Reed). Who uses theatrical techniques to breach the psychological blocks in his patients. When their six year old daughter comes back from a visit with her mother and is covered with bruises the father Frank Carveth attempts to stop his his wife from seeing their daughter. But the psychologist Dr. Raskin will not stop his wife from seeing the girl. whilst this is happening his daughter's teacher is is attacked by two strange looking deformed children. Her father starts to believe that it is to do with Dr. Rankin and a psychotherapy cult which he may have something to do with it. This film was quite disturbing at times. I thought that Oliver Reed played a very good part in the film.

Nola Carveth is a patient at the Somafree Institute under the care of Dr. Hal Raglan, a leader in an experimental form of therapy known as 'psychoplasmics.' Frank is Nola's estranged husband, who is battling for custody of their child Candice. Nola gets angry and her mental illness makes her unstable around the child. Meanwhile, a strange series of gruesome murders begins, with the victims all knowing the Carveths well. Deciding to learn more about Dr. Raglan and psychoplasmics himself, Frank begins to investigate, finding himself at the center of a mystery that will change his life irrevocably, in David Cronenberg's 'The Brood.'

'The Brood' is full of the blood, body horror and disturbing images that one would expect of a Cronenberg venture. It is tense and brimming with macabre thrills, chills and unsettling scenes. That is not to say the film is without dramatic or intellectual power, because 'The Brood' has more to offer than your average wild and weird horror. A comment about the effects of child-abuse and mental illness in conjunction with parenting and guardianship is being made through Cronenberg's partially autobiographical screenplay, one that is slightly obscured by the violence around it.

Although the murders add another dimension to the story, they take away from the atmosphere of quiet intrigue surrounding Raglan, the Carveths and the Institute; as well as diminish the power of the aforementioned subtle commentary about mental health and abuse. While they serve a purpose and are important to the plot, something a little less sensationalist would have been more in keeping with the eerie tone established early on in the film. In short, the psychological horror elements are fantastic, while the elements of physical horror seem lacking- or even rudimentary- in comparison.

Less rudimentary is Mark Irwin's cinematography, which is striking and stylish work. The pairing of Cronenberg and Irwin is like that of David Lynch and Frederick Elmes: a fruitful partnership with artistic leanings that has resulted in some visually stunning movies. 'The Brood' is a cold and beautiful looking film, with Irwin's use of space and his chosen composition being especially significant. He and Cronenberg made six films together; each one is texturally rich, undeniably impressive and memorable in terms of visuals.

As in most Cronenberg flicks, special effects and make-up is of tremendous importance to 'The Brood,' and Allan Cotter's work does not disappoint. He creates such disturbing, pulsating creatures and attachments that one with a weak stomach may want to forgo the film entirely. His work is on show primarily in the latter half of the film and will leave an indelible impression on the viewer- for better and for worse.

Composer Howard Shore has worked on sixteen Cronenberg films, with 'The Brood' being his first and 2022's 'Crimes of the Future' being the most recent. Shore's work in 'The Brood' is eerie and evocative, though often mournful and mysterious. It is music that helps inform scenes of tone, but never in an overly grandiose manner. For the film, Shore has created subtle, melodically pleasing compositions that linger in the mind long after the credits have gone up and the cinema is empty.

The performances from the cast are also memorable and strong, with Oliver Reed particularly impressing as Dr. Raglan. Reed had a screen presence like no other, with his remarkable calm and brooding intensity, he instantly draws the eye and keeps its' attention. Due to his reputation as a hellraiser, he received relatively few interesting roles or films from the mid-70's onward, and the ones he chose to do generally wasted his immense talents. Cronenberg doesn't let Reed's skills go to waste, and the actor turns in a powerful, reserved performance that will be remembered fondly by any who see the film.

Art Hindle and Samantha Eggar star as Frank and Nola, facsimiles of Cronenberg and his first wife Margaret Hindson. Both deliver strong performances, though Hindle fades into the background somewhat; one gets the feeling that many other actors could have played that part. Not so with Eggar, she is intensely assured and captivating, making Nola the epitome of the unhinged housewife. She is like a black panther on a moonless night, alluring, understated and unquestionably deadly. It is a fine performance of no vanity that'll be remembered and appreciated for as long as cinema lasts.

'The Brood' is a strange, intense horror that contains delicacies of an intellectual and of a visceral kind. Featuring gory scenes and body horror a-plenty, it also explores the topics of mental health and abuse in an informed and measured way. Cronenberg's direction and screenwriting is impressive, while he makes the most of talented actors like Oliver Reed and Samantha Eggar; extracting from them fine, subdued and deeply affecting performances. While it is not perfect, 'The Brood' is an interesting, entertaining film that offers a lot more than your average slasher. If you like your movies on the dark side; it's one you're going to love.

One of Cronenberg's best films! It has some moments that will stick with you for a while. When the brood first appears and the beatings begin, I was not only disturbed by them, but the way that their faces look was burned onto my brain. I once read that Cronenberg calls this film his KRAMER VS. KRAMER. I think that's very interesting. He's taken the pain that he went through in his own life and manifested it in the physical form of these creatures. I find this kind of creativity to be associated only with some of the more visionary contemporary filmmakers. Cronenberg is that, there is no question. Performances by the late great Oliver Reed, Samantha Eggar and Art Hindle are perfect for the film. It is scary and disturbing and should be seen by all horror film fans. I find it to be a sadly neglected classic.

David Cronenberg plainly still carried a lot of baggage about the opposite sex when he embarked on his final film of the seventies. Described as "ludicrous" by David Shipman and designated a 'BOMB!' by Leonard Martin, which makes it sound a lot more fun it actually proves to be. A large cast never really mesh as they just mill about and talk and talk before coming to gory ends committed by ugly little trolls in bright red anoraks. Oliver Reed somehow keeps a straight face as a seriously crazy psychiatrist while it's fun to hear Samantha Eggar talking like a little girl under the influence of regression therapy.

David Cronenberg's "The Brood" is both frightening and shocking. A tale of psychological horror guaranteed to make even the most jaded horror fan recoil in disbelief. The plot in a nutshell - In the care of an eccentric therapist (Oliver Reed), a woman (Samantha Eggar) undergoes an experimental form of anger management; while parallel to her treatment are a serious of bizarre and questionable murders. At the heart of the story is her husband (Art Hindle), who is in desperate search of the truth behind the strange goings on. The film is especially visually appealing; with perfectly framed scenes, cold & stark cinematography, and classy looking 70's costume design. The special effects though minimal throughout the film, are both amazing and disturbing. Cronenberg masterfully stages the murders in a thrillingly suspenseful and brutally violent manner, effectively balancing the terror between what is seen and not seen. It is questionable if filmmakers in today's world would be bold enough to make this film. The eerie musical score by (now veteran) Howard Shore creates an extra degree of tension to the unfolding events. The performances are all convincing, and definitely above par for a horror movie. With a shocking final twist; this movie is not to be missed, a highly recommended 9/10!