Ulysse, souviens-toi!

Before viewing, I saw this film referred to as a '30s Gangster homage' or noir-styled 'drama'. For anyone expecting a throwback film or conventional narrative, Keyhole will confuse and then, probably, disappoint. In fact, Keyhole is a very abstract take on the memories and emotions harboured inside an old house, which is inhabited by ghosts and other slaves to the past. And while Keyhole isn't a gripping crime thriller, neither should it be taken purely as an academic statement or challenging art-house experiment. Like most of Maddin's films, the dark absurdity and creative imagery is almost casually amusing and less pretentious than comparable movies. The cinematography, music, art direction and performances are tremendously captivating, if occasionally over-bearing. For anyone who's intrigued by these elements as much as by the often-mislead depiction of the film in mainstream media should definitely see Keyhole. Anyone who's turned off by bizarre inventions of unorthodox storytelling should leave this door locked.

While I'm definitely a Maddin fan, make no mistake about that, and I recognize his hat tips to Lynch and Von Trier and Harmony Korine, and I love any movie with Udo Kier in it, clearly this is a take-the-tax-grant and run flick.

Meanwhile, I'm going to strip naked and go to the antique mall and make some foggy black and white videos for YouTube and see which government wants to bankroll me for more! The 3 rating is strictly for how well this stacks up with other Maddin predecessors. The uninitiated, unless chemically altered, would probably strain to give it a zero.

IMDb here is insisting I go on at length in my review. I'm so glad there is governmental support for the arts, but sometimes it's just a siphon into a drain somewhere. For once, I am going to call this out. I will have to do so extensively, or I won't pass muster for my review length.

I did think some of the bric-a-brac props in the movie were cool. I like to shop antique flea markets myself, and some of the stuff was really prize. OK, I think I have filled up the text buffer to this website's satisfaction.

'Keyhole' is mostly shot in black-and-white... and there my understanding of it ends. The basic plot seems to be about a gangster (Jason Patric) searching for his wife (Isabella Rossellini, still beautiful) who is hiding behind a locked door in a haunted house. For some reason he's dragging along with him a drowned - but talking - young woman and a bound & gagged young man. Meanwhile various other gangsters and ghosts roam about the place to no great effect. It's hard to judge the actors' performances because they're placed in such an unreal situation and are acting from such a bizarre script. To paraphrase London Mayor Boris Johnson, it goes 'zoink' off the arty-farty register. Fans of fat old man nudity will love it, unfortunately.

Canada 93m, B&W, Colour Director: Guy Maddin; Cast: Jason Patric, Isabella Rossellini, Udo Kier, Kevin McDonald

Keyhole is a dark surreal film noir styled erotic ghost story loosely based on Homer's Odyssey about Ulysses Pick, a gangster whose mob pals shoot their way into his family home. Upon his arrival, Ulysses is inexplicably accompanied by a stuffed wolverine named "Crispy" and a drowned woman who apparently comes to life. His odyssey is a claustrophobic adventure through his labyrinth of a house which seems to defy the laws of time and space. Nearly incomprehensible, Keyhole offers a glimpse into a dead man's life through nightmarish visuals that are as interesting as they are perplexing (Klaus Ming August 2013).

Gangster Ulysses Pick (Jason Patric) has his men shoot their way into a home surrounded by police. Big Ed is second-in-command and he tells the dead to walk out. There is a bound and gagged man. The house is haunted. Ulysses has a girl Denny with him who is soaking wet, supposedly drowned and blind. They go in search for his wife Hyacinth (Isabella Rossellini). His gang wonders about Ulysses' plans and fight amongst themselves.

It's yet another Guy Maddin experimental film. This is almost watchable as the mystery of what this is truly about holds the audience's attendance. This is a black and white dreamscape or a nightmare. I wonder if Maddin can ever use his outlandish imagery in a more conventional movie. The production is relatively simple. There are a couple of interesting actors here. Like a lot of his movies, Maddin loses me about halfway through.