L'alchimiste

This movie doesn't have a clear plot and seems almost patched together. I saw it in theatrical release in 1986 and noticed that the film was copyrighted in 1981 - and the IMDB lists it as 1984. Obviously something got fouled up with this movies production, and the resulting film shows it. There is one good 20 minute segment involving some spooky goings on on a lonely, dark road - but that seen seems to be out of place in the movie.

I rated this movie a "2" - so that is almost, but not quite as bad as it gets.

1871- Robert Ginty's wife is hexed by an evil magician, and a duel ensues. Tragically, the wife ends up dead, and Ginty is cursed to eternal life as a Jeckyll/Hyde type beast. 1955- A woman en route and her male hitch-hiker have car troubles in the remote forest...but it may be more than mere chance that they are in Ginty's "neck of the woods".

What transpires is a watchable, albeit rather juvenile horror film, one that will be unlikely to surface as anyone's favorite film, but entertaining enough to be recommendable to most genre fans. Effects range from weak to fairly impressive, and performances are fairly serviceable for a minor picture of this type.

All in all, not too bad...though hardly essential viewing.

In 1955, young waitress Lenora (Lucinda Dooling) finds herself inexplicably driving down the California highway to an unknown destination. This doesn't bode well for Cam (John Sanderford), the hitchhiker she just picked up, because he has to endure her somnambulist driving. The duo eventually end up at a graveside in the woods and meet Aaron (Robert Ginty), who is just as shocked to see them as Lenora appears to be the reincarnation of his wife who was murdered nearly 100 years earlier (and Aaron is still in his 30s). It takes quite a film to make me constantly scratch my head and say, "Wait? What the hell is going on here?" This Charles Band feature definitely gave my brain a workout with its bizarre storyline about reincarnation, demons and dimensional portals. The story itself is pretty innocuous and could be for kids, so it is surprising that Band throws in some very gory bits. Dooling is quite attractive as the lead and it is a shame she didn't go on to do more. The late Ginty is fine as usual. I do wonder if Band was slightly influenced by Richard Blackburn's LEMORA as this tends to ape the film's style and setting. Hell, even the leads have a similar name. As always, Richard Band supplies a fine score, one befitting a better movie perhaps.

No wonder why this is a forgettable Empire picture by director Charles Brand, because it's unsuccessfully lifeless and uneventful. It's quite a shame, as when this cheap-jack b-grade production gets going it's ultra-bizarre and has a dramatically airy, tuneful Richard Brand music score. The problem fell on the patchy script, as it was goofy and largely ponderous. This led to the oddly subdued premise (delving into the courageous act sacrifice and fulfilment) not building up to anything much. Leaving it monotonous and half-baked. Even that in mind, something about it had some sort of pull over me. Energy levels kind of picked up in the last half hour, where some rubbery demons with gooey make-up, tatty gore FX (body cut in half) and bright optical work presented some fun. Performances are extra ordinary. Robert Ginty (known for his role in "The Exterminator") plays it in an understated manner, and pines a lot. Lucinda Dooling mechanically goes through the motions, and John Sanderford looks bemused more often. Robert Glaudini as the evil alchemist gets nothing really to do, but look evil. Viola Kate Simpson constantly nags away. Nothing about these characters draws you in, or makes you feel anything for them. Charles Brand's blotchy direction has some peaks in choosing a gorgeous, but eerie woodland backdrop for the chaos and there are some tight, dark passages of shuddery images. But these limitations spoiled what was a better than usual idea.

The Alchemist is a simple, enjoyable, elemental morality tale, easily understandable for those (few, I guess) people who understand humanity and what we do to ourselves and our own souls in the name of "justice." I'm surprised and saddened that so many people seem to have missed the point of the film. It's worth seeing.