Long Live the New Flesh: The Films of David Cronenberg

An Interesting Sampling of Early Cronenberg

good exploitation flick that acts as a precursor to many modern horror films

Île-des-Soeurs, Montréal, Québec, Canada

Jeremy Irons and Geneviève Bujold in Dead Ringers (1988)

James Woods and Debbie Harry in Videodrome (1983)

Stereo (Tile 3B of a CAEE Educational Mosaic)

Jeremy Irons and John Lone in M. Butterfly (1993)

"Scanners" Dir. David Cronenberg 1981 Avco Embassy

Marilyn Chambers and Howard Ryshpan in Rabid (1977)

Marilyn Chambers

Frank Moore

Terri Hanauer

David Cronenberg

A young woman develops a taste for human blood after experimental plastic surgery, and her victims turn into blood-thirsty zombies, leading into a city-wide epidemic.

Rabid

David Cronenberg perhaps maybe didn&apos;t get too ambitious as he forged ahead in the 70s as a low-budget director of bloody, outrageous horror films in Canada, but it was probably a good chance to learn tricks of the trade he&apos;d know for the rest of his career. And somehow, while watching it, despite the fact that it is not masterpiece, it has all the makings of being a real influential work. Like another film that it&apos;s obviously been inspired by, Night of the Living Dead (albeit the Crazies might be in there too), Rabid seems to have given rise (no pun intended) to films like Species (hot woman out on the prowl for beings to fulfill her), 28 Days Later (obvious), and even Planet Terror (outbreak in a hospital). It&apos;s rough and with a terribly bleak ending, and it&apos;s got a certain pizazz that should keep it humming on genre fans shelves in the years to come.

Marilyn Chambers is one of the reasons the film got made- Ivan Reitman chose her over Cronenberg&apos;s (more interesting) choice of Sissy Spacek- though it is and isn&apos;t her exactly that makes Rabid a little sleazier for some reason that it might be without her. To be sure, she&apos;s the catalyst for the outbreak of the not-quite-rabies that spreads out in Montreal after a freak skin-grafting operation following a motorcycle accident (very well filmed that is, by the way). But seeing her after she gets out of the hospital and for the bulk of the picture until she reunites with Hart is a little predictable, and adds an air to the film of being too exploitive of expectations as opposed to exploiting the primitive tools of storytelling Cronenberg has. A scene like when Chambers goes into the movie theater should be freaky, but it&apos;s just sort of ho-hum.

It&apos;s not even that she lacks a certain screen presence, though at the same time, as the protagonist, she&apos;s not even really all that interesting in context with what else is going on around her. The best parts of Rabid are the side scenes, the little moments like when Joe Silver watches TV with the baby, or when the mall cop accidentally shoots the Santa Claus and mutters &quot;Christ!&quot;, or when we see the sudden moments of the characters like the truck driver out for BBQ chicken or the random dude at night jumping on Hart&apos;s car. Those are when Cronenberg strikes it best as a pure genre director, not going too deep into theme (aside from that of the unawareness of disease and infection, a theme that would grow stronger in the 80s to be sure), plus in the shock value of the actual creature that sprouts out of Chambers mouth, which is probably even *better* concealed and revealed than with the parasites in Shivers. 

At the end of it all, Rabid only really gets profound towards the very end, as a tragic scene occurs, but by then it doesn&apos;t amount to a whole lot. Rabid is a warped little blood-soaked flesh-eater flick, and it&apos;s happy with being simple and dark in its low budget.

https://m.media-amazon.com/images/M/MV5BYTNhYmE3ZTYtNGI3OC00NjQ0LTgwYzktYWU3NDczNmE4MmM3XkEyXkFqcGdeQVRoaXJkUGFydHlJbmdlc3Rpb25Xb3JrZmxvdw@@._V1_.jpg

David Cronenberg perhaps maybe didn't get too ambitious as he forged ahead in the 70s as a low-budget director of bloody, outrageous horror films in Canada, but it was probably a good chance to learn tricks of the trade he'd know for the rest of his career. And somehow, while watching it, despite the fact that it is not masterpiece, it has all the makings of being a real influential work. Like another film that it's obviously been inspired by, Night of the Living Dead (albeit the Crazies might be in there too), Rabid seems to have given rise (no pun intended) to films like Species (hot woman out on the prowl for beings to fulfill her), 28 Days Later (obvious), and even Planet Terror (outbreak in a hospital). It's rough and with a terribly bleak ending, and it's got a certain pizazz that should keep it humming on genre fans shelves in the years to come.

Marilyn Chambers is one of the reasons the film got made- Ivan Reitman chose her over Cronenberg's (more interesting) choice of Sissy Spacek- though it is and isn't her exactly that makes Rabid a little sleazier for some reason that it might be without her. To be sure, she's the catalyst for the outbreak of the not-quite-rabies that spreads out in Montreal after a freak skin-grafting operation following a motorcycle accident (very well filmed that is, by the way). But seeing her after she gets out of the hospital and for the bulk of the picture until she reunites with Hart is a little predictable, and adds an air to the film of being too exploitive of expectations as opposed to exploiting the primitive tools of storytelling Cronenberg has. A scene like when Chambers goes into the movie theater should be freaky, but it's just sort of ho-hum.

It's not even that she lacks a certain screen presence, though at the same time, as the protagonist, she's not even really all that interesting in context with what else is going on around her. The best parts of Rabid are the side scenes, the little moments like when Joe Silver watches TV with the baby, or when the mall cop accidentally shoots the Santa Claus and mutters "Christ!", or when we see the sudden moments of the characters like the truck driver out for BBQ chicken or the random dude at night jumping on Hart's car. Those are when Cronenberg strikes it best as a pure genre director, not going too deep into theme (aside from that of the unawareness of disease and infection, a theme that would grow stronger in the 80s to be sure), plus in the shock value of the actual creature that sprouts out of Chambers mouth, which is probably even *better* concealed and revealed than with the parasites in Shivers. 

At the end of it all, Rabid only really gets profound towards the very end, as a tragic scene occurs, but by then it doesn't amount to a whole lot. Rabid is a warped little blood-soaked flesh-eater flick, and it's happy with being simple and dark in its low budget.

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