La fortezza

Possibly this isn't Michael Mann's best - or even next to next to best - movie, but I make no apologies for liking it quite a lot. In fact, my chief complaint about this movie is that it has never been released on DVD so that the full texture and sense of this piece could be better experienced and appreciated. It is a travesty with all the tripe that leaps from the undergrossing screen to overblown DVD these days, that no studio has had the stones to release THE KEEP on DVD.

In a weird, connect the dots fashion, I consider this film to be a critical milestone in Mann's directorial evolution. In and of itself, this makes the film entirely watchable, if not "important". The movie should be indispensable to Mann's devotees, and I find it surprising that it is not. As much as Manhunter (one of my all time favorites) and Heat (right up there with them) are ranked by most as very good films, THE KEEP, if for no other reason than its novelty should be accorded more respect than it gets.

Read the other reviews here and you can more or less understand the story line. The salient facts are there. I differ on several points, however.

First, I don't consider THE KEEP to be a 'horror movie' or even sci-fi, although it certainly has elements of both. I have no recollection of how the film was billed when it opened in '83 (in fact, I didn't see it until it appeared on Showtime, significantly later), but if you are looking for a 'horror' or 'sci-fi' flick, THE KEEP will leave you short. It is more of a 'thriller' if you had to pigeon-hole it, but even that doesn't really work, and this is what I think what confuses many who have seen and subsequently slammed this movie. To those who want a nifty tight film with all the proper cinematic and artistic "T"s crossed and "I"s dotted, you won't find it here and you will be eternally frustrated. What you will find is a unique, visionary realization of an essentially often told story of conflict between ultimate good and ultimate evil, spun in an arguably overly symbolic context.

Second, much apparently has been said about the lameness of the sets and special effects and accents and soundtrack and costumes, etc etc. I can't ever know for sure, but I don't think that Mann, with all his individual sense of style (remember, his visions and realizations virtually defined a substantial part of the 80s -- whether you liked them or not) was all that concerned about the impact of the trappings, but more on what they allowed the story to play against. The interplay of color (or lack thereof), background, character and music all create an enjoyable tapestry, best viewed from several feet away. If you get hung up on the minutae of this film, you've lost the message. In my personal opinion, this isn't a movie that should be watched critically - because it will fail in many ways, as others have already observed. Rather, you should suspend not only your disbelief but your pretentiousness and just let the movie sort of flow around you. It's a bit like drift diving in Cozumel - the warm current moves you along to the degree that details can get lost and fuzzy, but you eventually realize that's what makes the experience different and wonderful.

The music certainly isn't appropriate to the period (1941 Nazi-occupied Romania) but then this isn't a period piece. Quite the contrary, the Tangerine Dream soundtrack adds to the gauzy, dreamlike quality which to me is what makes this movie so compelling and different. The acting isn't the best and in places, yes, the audio is pretty bad, but when considered as a whole, I believe the movie succeeds. My VHS copy of THE KEEP is now getting threadworn from overplay and I hope that someone, somewhere, will bring it out on DVD.

A strong 8 out of 10.

It remains one of the most frustrating experiences for a Michael Mann fan to go through. The Keep is by definition a mixed bag, a collage of weirdness, tackiness and visual smarts that are great but in all honesty are in the wrong movie. It even boasts a cast of considerable talent, where Messrs Jürgen Prochnow, Scott Glenn, Ian McKellen and Gabriel Byrne lead off from the front. But the troubled production and numerous edits and cuts of the piece have left it as a scarred but fascinating oddity.

Based on F. Paul Wilson's novel of the same name, plot is set in World War II Romania. When members of the German army hole up at a Carpathian Castle, they get more than they ever could have bargained for when greed unleashes an evil demon upon all who dwell in the vicinity. In short order the German's are requested to seek out the aid of a Jewish historian (McKellen), who is freed from a death camp and hurried along to Carpathia to help the Nazis. Then there is the mysterious Glaeken Trismegestus (Glenn), a man of seriously scary eyes who is making a journey to the castle for the sake of humanity.

Now, there are a lot of reviews out there for The Keep, but since there are quite a few versions out there with different endings, it's difficult to know which one is being reviewed. But the over riding factor leans towards it being a mess of a movie. Wilson himself was greatly angered by the version he watched, which may well have been the original 3 hour plus cut? Calling it an incoherent monstrosity. This latest cut I saw was the "theatrical" version, complete with an extra "fan edit" ending, and I'm indebted to an on line friend and those "fans" who have given me the chance to see two endings that I hadn't seen before! Yet the one constant is Tangerine Dream's LSD inspired musical score!

Mann is early in his career here and trying his best to make something thematically potent and visually arresting, but it ultimately is done down by mixed ambitions and budget restrictions, where no amount of editing and fog machine usage can mask the problems. In fact it's now thought that Mann wasn't even directing come the second half of the movie?! It was an experience that would send him away from the big screen and into other work for the next few years. Thankfully for us Mann fans it proved to be a blessing in disguise, for he would return to make a serious mark on cinema from the director's chair. But with that still comes the disappointment that The Keep is not the thoughtful atmospheric classic that Mann envisaged when he started out to make it. 6/10

A few of a detachment of German Army soldiers are mysteriously murdered in a Romanian citadel - 1942. The SS arrives to investigate and put a stop to the killings. However, there is an evil force at work within the Keep which will do anything to escape.

The Keep is a high concept yarn. The initial find set up and shooting of the villagers are stand out moments. The visuals and effects are stylistic, strong lighting, wind machines, optical layers are very much of there day. The special make-up has a startling 'cool' look to it, the 'Molasar' and Trismegestus designs are particularly well executed. Notably are the cast which includes the likes of Gabriel Byrne and Robert Prosky. Jürgen Prochnow is on fine form as Captain Klaus Woermann, Scott Glenn is intense and Ian McKellen is memorable as Dr. Theodore Cuza. The sets are well crafted, the on location shoot adds credence to the WWII setting and costumes add to the believability.

Nevertheless, rather than being intriguing with a slow pace The Keep plods along without building any real tension or suspense. The editing is a little jumbled, it appears to be a mixture of good and bad takes leaving it somewhat disjointed especially in the final reel, it may have benefited from only using those 'good' takes with a shorter running time. Tangerine Dream's score is of its time but doesn't compliment the scenes, it's highly intrusive and takes away much of the atmosphere, subtlety and eeriness.

Even with director Michael Mann at the helm and given the excellent story based on F. Paul Wilson's novel and Mann's adequate screenplay it never gels together. It's not sure whether it wants to be an art house, MTV video piece or gritty supernatural. Should Mann had attempted this recently he may have been able to fuse it together satisfyingly. I suppose retrospect is a fine thing. Curiously, Mann's workprint ran for 3 hours, after the studio saw what he had they wanted it cut to no longer than 90 minutes and assigned it second-level advertising. Mann has since distanced himself from the film.

Through all its disjointedness The Keep is an interesting film with a strong mythical good versus evil theme that plays on old religious fables. Molasar (Michael Carter) is the most menacing evil entity/being ever committed to celluloid and it's a shame that this has fallen into obscurity robbing the character and The Keep of even cult status.

This exciting movie is set during WW2 , when a detachment of the German army (commanded by Jurgen Prochnow) is sent to guard a mysterious Rumanian keep located on a strategic mountain pass in Carpathian Alps . The Nazis ignore villagers' warnings and of a Ortodox monk (Robert Prosky)about a weird presence inside. But one of the soldiers unwittingly releases an unknown spirit trapped within the walls. As the soldiers are mysteriously killed , the SS (Gabriel Byrne) arrives to deal with that is thought to be partisan activity . What the SS encounters, however, is an evil force trapped within the citadel, a menace that will do anything to flee. With no way of combating the force, the Nazis have no option but to seek the aid of a Jewish man (Ian McKellen) and his daughter (Alberta Watson), who are both knowledge about the keep and who can translate signs vital to combating the rare menace . Meanwhile appears a strange man (Scott Glenn) with supernatural power, an angel exterminator named Glaeken.

This fantastic movie packs action, violence, terror, suspense with creepy and eerie scenarios. The film is based on Paul Wilson novel , also screenwriter along with Michael Mann. Some versions include different endings and additional footage. The star-studded cast is well headed by Jurgen Prochnow, Scott Glenn and Ian McKellen and excellent plethora of secondaries as Gabriel Byrne, Robert Prosky, William Morgan Sheppard and a very secondary role by Bruce Payne and Roselie Crutchley. Impressive production design with breathtaking scenarios by John Box. Colorful cinematography with flog and fume and plenty of lights and dark by Alex Thomson. Eerie musical composed by means of synthesizer is made by Tangerine Dream (Christopher Frank, among others). The motion picture is professionally directed by Michael Mann, a successful director and usual screenwriter from the 80s with several hits (Manhunter,The last Mohican, Heat,Insider, Ali, Miami vice). The story will appeal to terror genre fans and WWII buffs.

To call this film an oddity or a curiosity piece is a bit of an understatement. Actually if you look at this, there's already a lot of reviews here, so strangely enough this film is not as forgotten as its ashamed director would like it to be.

THE KEEP starts out extremely well with a spellbindingly dreamlike and somewhat pretentious sequence with the Germans rolling into a small Romanian hamlet during WW2. Things remain interesting as long as the film keeps up the bizarreness and borderline out-of-place Tangerine Dream synthesizer music. However, things get silly when it turns out that the Germans have unwittingly raised a demon from a thousand year slumber who goes on a slow killing spree while fallen angel Scott Glenn works his way back there to save the earth. Things rapidly unravel as the promising setup settles into a plot which manages the amazing task of becoming nonsensical and routine simultaneously!

A few things guarantee though that this imperfect film will forever have my attention. For one, it actually does a decent job of melding the horror and war genres and gives a brief glimpse of the completely ignored Romanian complicity in World War 2. It actually interestingly manages to give the German soldiers some characterization as well. Another thing this film has going for it is Michael Mann's completely OCD touch to the whole thing which oddly suits the subject matter.

Not to mention the inspired casting; Jurgen Prochnow shines in his first major English-language role as a conflicted Wehrmacht captain matched by a cold and calculating Gabriel Byrne as his closed-minded S.S. superior. Scott Glenn and Alberta Watson do about as much as they can with their very underwritten protagonal characters and Ian McKellen hams things up considerably as a Jewish professor who tries to maneuver the demon into destroying the Germans for him.

Actually, come to think of it, this film would have done just fine without Glenn or Watson - they seem only to exist to sidetrack the film into romantic drama territory which adds nothing. Much more interesting is McKellen's inner conflict and the exchanges between Prochnow and Byrne. Things seem awfully rushed at the film's last act considering the slow pace through most of the film, but that may be more the work of studio meddling than anything.

Definitely worth picking up if you're into cinematic curiosities. Fits right in with THE SOLDIER and THIEF if you're looking for early 80's murky drama accompanied by Tangerine Dream, Alberta Watson, and Robert Prosky.