Frissons

If compiling a list of favourite directors, David Cronenberg if to be honest wouldn't be on it (having only properly started seeing his work fairly recently). If compiling though a list of the most fascinating and unique directors, he would almost certainly be on it and high up the more work seen of his. A vast majority of his films disturb in his use of imagery and make one feel uncomfortable with his tackling of challenging subjects, but as said in some of my other reviews for his films there is much more to his work than just full on horror as seen with him moving away from it in later years.

Cronenberg's feature film debut 'Shivers' is nowhere near among his best work (though nowhere near among his worst either), but for a film debut with limited resources despite flaws 'Shivers' is pretty impressive. The rest of the films that are part of his filmography are far more refined visually, explore their themes/subject much deeper and are far better written and acted. But every good/great director has to start somewhere and this impresses and interests, and even with the low production values it's fairly ambitious in its subject and for low budget. In terms of content, 'Shivers' is one of Cronenberg's more disturbing films.

There are issues with 'Shivers'. If there was an award for the worst-looking Cronenberg film, 'Shivers' in my mind would be an easy win. With the exceptions of the suitably freaky special effects and eerie apartment setting, this does fare pretty badly in the visual department and reminiscent of a very low budget television film. The camera work and editing are both rather slip-shod and like the makers were still experimenting when shooting and editing without having put much thought into what to do and when to do it. The sound is also amateurishly handled.

Another weak point is the acting. There are two exceptions, Joe Silver, who really does give it his best shot without over-compensating, and particularly Barbara Steele, whose experience in Hammer films is obvious. Other than that, 'Shivers' contains some of the worst acting in a Cronenberg film even for mostly non-big names. Paul Hampton is especially awful, who looked like he wasn't interested in the film at all (even Stephen Lack in 'Scanners' wasn't this bad). The script does have some very clunky moments.

However, despite all of this it is difficult to be too hard on 'Shivers'. As said the special effects are freaky, surprising as one does expect for minimal budget for the effects to be the worst part when it comes to production values, the apartment setting has real eeriness and Silver and Steele do well with what they have. Cronenberg gave himself a lot to take on and does so admirably, even if his style had not fully formed yet. Yet his style can still be found all over 'Shivers', with the famous themes and ideas often re-visited in later films present but much deeper and with more subtlety later on. Other parts of the script are darkly humorous and intriguing, like the flesh monologue.

What is particularly good here though in 'Shivers' is the atmosphere and the horror. Even by 2019 standards, 'Shivers' is still genuinely scary and even now is one of Cronenberg's most disturbing, old and new. The starkness evokes genuine chills, something that would be seen in his later films but much more technically advanced in them. There is a real sense of dread, with a lot of tension and suspense. The parasites are not seen a lot but really chill the blood when they do appear. A lot of the imagery is stomach churning, especially the bath scene which is one of the most frightening scenes of any early Cronenberg and overall Cronenberg perhaps for that matter. The claustrophobic climax is also unforgettable.

Summarising, very flawed but did give me the shivers. 7/10

Cronenberg's variation on the Zombie theme was his first full length feature film and for this it is surprisingly good.

From the technical point of view, it is very amateurish. The lighting and camera work are highly reminiscent of home made Super 8, and the sound is bad beyond belief.

Although the mindless creatures attacking anything that moves immediately recall the Zombies, Cronenberg's movie has some original ideas. In fact, watching German television these days, the subject of bored middle class diving into sex orgies (at least in their fantasy) seems more up to date than ever. Unlike Romero's Zombies, Cronenberg's creatures simply embark into endless sexual excesses, including minors. Indeed, one of the most scandalous scene shows two young girls on dog leashes, climbing up a stair and barking - unexcusable image!

The special effects in "Shivers" work very well and are more slimy, organic, and visceral than say Romero's, and give better testimony of the vulnerability of the human body. They set the tone for Cronenberg's use of gore in his subsequent films.

"Shivers" earned Cronenberg immediately the title of the "reigning king of shlock horror" - very appropriate.

In the fancy Starliner compound in an island near Montreal, a mad scientist tests a parasite in the body of his mistress. He believes that man is an animal that thinks too much, and he develops a parasite to increase the violence and sexual desire of mankind. There is an outbreak in the condominium, with the fierce dwellers becoming zombies of sex.

"Shivers" is the third feature of this great Canadian cult director David Cronenberg, indeed a very low budget trash movie, with a final cost of US$ 179.000,00. The story mixes humor and horror and the effects are very nasty and disgusting, a trademark of Cronenberg. The story is a kind of sexual version of "The Night of the Living Dead", with people turning out zombies of sex. The screenplay of 1979 "Alien" used many concepts of this movie. The interview of David Cronenberg in the DVD is excellent, and it is very funny to know that the actress Sue Patrick asked him to slap her face in the scenes that she needed to cry, and Barbara Steele reaction to this physical assault. My vote is seven.

Title (Brazil): "Calafrios" ("Shivers")

I'm a big fan of the director's but had never seen this one until the other day (the VHS re-release "director's cut" or whatever). The other user comments had let me to expect an amateurish curiosity, but I found it polished and feel no need to make any excuses for it (perhaps the new release is a cleaner print).

It's pretty sly, the acting's not bad and I found the film most remarkable for its restraint and subtlety. I'm not sure I buy the idea that the parasites are a metaphor for Americanization - Cronenburg's concerns are, I think, more personal and abstract than such a reading gives him credit for.

The movie is deliberately paced and the shock/gore factor is relatively low. I found it to be a modest footnote in a career that later bore stranger, richer fruit.

Cronenberg's directorial feature film debut is built around a now-familiar amalgamation of sex, technology, and medicine gone mad. The Canadian "Shivers" (original American release title "They Came From Within", aka "The Parasite Murders") opens with a slide show advertising a creepily perfect-sounding high-rise apartment building isolated on an island but just minutes away from downtown Montreal. We are told that the complex contains practically everything necessary to maintain a comfortable life- medical and dental practices, clothing stores, a gift shop, a deli, recreation, etc. Ideally, it would seem, the only reasons a resident would leave would be to work, socialize with non-residents, or take a vacation, if that wasn't too redundant. But of course, something terrible is just under the polished surface.

Cronenberg's direction is obviously not as polished as in later features, but we begin to see his signature style translated well into a full-length format.