Combat Shock

What another guilty pleasure this is! And a truly incredible one! COMBAT SHOCK is not what you'd expect from Troma, but it doesn't matter anyway. This is a strong and powerful account of Frankie, a former American P.O.W. in Saigon facing a harsh dilemma of society and family matters back home following the war. It's all based on true experiences with very disturbing levels of detail, and does become nerve-shattering. There possibly has never been a film that could deliver a high amount of intensifying power like this before, even outweighing its minimal plot and graphic violence. While some will find the infant looking like a stupid clone of E.T., others will worry about its povertic and dying state, but the character becomes a victim in its notorious shocking ending. This was the first "Tromatized" movie I've seen, and it sure ain't like the rest of 'em! A rock solid independent outing from Buddy G, whose brother plays the leading role as Frankie. Low budget, but delivers powerful meaning. Asks the all-important question of the hour: "Where will you be tomorrow?". Highly recommended!

Combat Shock (1984)

*** (out of 4)

Frankie Dunlan (Ricky Giovinazzo) returns home from Vietnam after some bizarre experiments were done on him and he's hit a string of bad luck. His wife is pregnant and also trying to take care of their deformed one-year-old son. Frankie has lost his job, all three are starving and the future doesn't look too bright but he heads out one day in search of something better.

Buddy Giovinazzo's COMBAT SHOCK is without question one of the most raw, depressing and bleak character studies ever created. The director stated that the film was meant to be something in between TAXI DRIVER and ERASERHEAD and that's the best way to describe it. The movie isn't the best made film that you'll ever see and it's certainly very raw in regards to various technical things but at the same time there's just something so wrong and so off about the subject matter that you can't help but be drawn into its nightmare.

The film certainly has a lot to say about mental illness as well as the troubles that faced vets when they returned home. The film is extremely bleak to say the least as there's not even a glimmer of comedy or even a brief smile to be bad. You certainly wouldn't want to show this film to anyone suffering from a depression because it would probably push them over the edge. The flashbacks to Vietnam are all that convincing and there are other technical problems with the film but at the same time this is a lot deeper and a lot more troubling than what most filmmakers would try on a $40,000 budget.

Giovinazzo does a very good job in the lead role as he's certainly believable as this broken man who really is at the very end of things. He certainly comes across as a real person and this helps give the film a more realistic approach to the dark material. The direction is spot on and this is certainly true during the incredibly disturbing final fifteen-minutes of the picture.

Where do I begin in a review of a film as powerful as "Combat Shock"? Here is the film that shoots holes in every patriotic belief. It is an art film with subtle moments throughout that don't even feel subtle, for even its calmest, most non-violent scenes get under the skin of the viewer. In it, Ricky Giovinazzo (writer/director Buddy Giovinazzo's brother) gives an excellent performance as a haunted 'Nam vet named Frankie. With his pregnant wife and severely disabled one-year-old son (totally mutated because of his father's exposure to Agent Orange), he struggles to survive in a ghetto filled with poverty and rot. Desperate to find a way out of his hopeless situation for his family and himself, he wanders the streets, having hellish flashbacks, being beaten by drug dealers, and searching for a job that doesn't require killing, robbing, or technical experience. Frankie's only friend is a quivering, bitter junkie who steals just to nurse his drug habit, and Frankie also encounters unfortunate people such as two young children being pimped on the street. As he wonders how this could happen in the country he had gone off to fight for, his sanity continuously crumbles before cold, graffiti-sprayed, industrial backgrounds. Adding more to the cold, relentless intensity is a droning mass of white noise that fills the soundtrack from the machines when the score isn't going. Soon Frankie sees that the very nation he has called home is a battleground all its own. There is not an uplifting moment in the entire film, not so much as even an iota of dark humor. "Combat Shock" offers strong insight into just how human even the most inhumane of killers are. Not once do the filmmakers glorify the violence seen in the movie, instead using the horrific and gory elements in the ugliest, most depressing way possible. Believe you me, this is no complaint, because this is what makes "Combat Shock" a powerful and unforgettable experience. It is raw, gritty, and very deep, as it is made for those who prefer films that force them to think. The score (by Ricky Giovinazzo as well) is one of the best I have ever heard, and fits the film like an uncomfortably tight glove, conveying a horror-movie feel while combining it with more melancholy and dramatic sounds (as well as some dirty, seedy, bored, punked-out-sounding death disco sensibilities) to help give this movie a feel of a study of reality as a horror movie. The gore FX and the mutant baby are very well-done, but this is not a movie for people who just want to see blood and guts. As I said, where most splatter films dehumanize their characters, "Combat Shock" makes you feel for the characters. It's so much more disturbing and moving that way, and I must say that this is more horrific than any of the full-on horror films that I've seen. The director was obviously a fan of "Taxi Driver" and "Eraserhead", but this film is not derivative and not only stands up well on its own, but stands up so well that it is much better than both of those films, gaining intensity and momentum until the shocking and heart-wrenching climax. I've watched this movie several times and still come away laughing at the end every time, not because it's funny (which it's not), but because it's a feeling of relief and release I get when the catharsis finally occurs in the brutal, climactic scenes. Don't think this is some cheezy, goofy movie just because it took Troma to release it. After all, nobody else would. It's been a long while since I have seen a movie that I would be ready and willing to crown as my favorite above all others, but this amazing masterpiece of independent cinema definitely deserves the title. (It's not its fault that it shares the title with many others, but that's beside the point!) And, by all means, see the unrated version!!!

Buddy Giovinazzo's Combat Shock, an unsettling cross between Abel Ferrara's Bad Lieutenant (1992) and David Lynch's Eraserhead (1977) as far from the tone of your typical Troma movie in the offering. The film follows Ricky who is afflicted with Post Traumatic Stress Disorder trying to make ends meet for his family. He lives in an unsafe apartment along with his wife and their deformed baby (a consequence of Ricky being subjected to the poison Agent Orange during the war. Ricky is also plagued by nightmares from the war, where few scenes reminds you of classic Jacob's Ladder (1990) eventually causing him to lose his grip on his existence. Combat Shock (or, if you prefer, American Nightmares in its director's cut) , is somewhat unsatisfactory for the gore hounds , but it's a very bleak film driven by nihilism that captures depressing slice of life with music ques from Rick Giovinazzo who performs a haunting synth score. It's a must watch for fans of the genre, a lo-fi borderline horror film with a mutant baby that tops even the baby in Eraserhead for sheer creepiness.

Certainly lacking in wise-cracking rubber monsters and outlandishly- dressed brain-dead punks, Combat Shock - a serious, if extremely low- budget drama/psychological horror by writer/director/producer Buddy Giovinazzo - proves that Troma Entertainment occasionally took their movies seriously. The shell-shocked Vietnam veteran story had been done many times before, and certainly a lot better, but never quite as unsettling. Far from a masterpiece, and riddled with terrible production values, Combat Shock nevertheless is a glowing statement as to just what scraping-the-piggy-bank film-making can sometimes offer.

After an event during the Vietnam War that left a village dismembered and massacred, Frankie Dunlan (Rick Giovinazzo - brother to Buddy), struggles to adapt to civilian life. Living in poverty, unable to find work, and saddled with a whining wife (Veronica Stork) and a deformed baby, he is about the have the worst day of his life. Owing money to a group of drug-dealing punks, led by Paco (Mitch Maglio), Frankie wanders the battered streets of his native New York, coming into contact with various low-lives and looking for any way to make a buck. Seemingly without hope, and terrified to go back to his starving family empty- handed, he resorts to an act of violence.

You could imagine running a finger along the negative of Combat Shock and immediately needing to wash your hands afterwards. The movie seems awash with grime, and the streets Frankie wanders down have an almost apocalyptic quality. This is utterly depressing stuff, nearly entirely devoid of laughs, where the types of people Frankie befriends are gun- wielding junkies or child prostitutes. It's sometimes laughably pessimistic, a journey into utter depravity, and combined with some extremely amateurish production values and an occasionally plodding narrative, can be a bit of a slog to get through at times.

Yet for all it's sloppy editing and wide-eyed, over-the-top thesping, it is at times extremely effective. The baby, horribly disfigured due to Frankie's exposure to Agent Orange, looks cheap, but the way it moves and sounds, combined with the dump that surrounds it, is just as disturbing as Eraserhead (1977). There is also a horrible moment when a junkie, unable to find a needle for his fix, opens his damaged arm with a coat hanger and pours heroin into his black, bleeding vein. Some will find it's relentless depravity too much to take, but there's a gritty honesty here, going deep into the dark heart of a post-Vietnam America, where traumatised Vets were hung out to dry by a country that had forgotten them.

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