The Blair Witch Project Review
by "Richard Wallis" (rwallis AT inreach DOT com)September 6th, 1999
The Blair Witch Project
Rating (out of five): *****
Starring Heather Donahue, Michael C. Williams and Joshua Leonard Directed by Daniel Myrick and Eduardo Sanchez
Written by Myrick and Sanchez
Rated R for profanity
Theatrical aspect ratio of 1.33:1
Released in 1999
Running 80 minutes
When was the last time you were scared by a movie? Keep in mind that I'm not talking about being spooked or startled; I'm talking about being totally and uttering pierced by the sting of fear. The Exorcist? The Shining, perhaps? Sure, Hollywood comes out with dozens of cheap thrills each year, and it doesn't take much speculation to figure out that the true art of horror has been long since swept under the carpet to make way for a genre of teen comedies that disguise themselves as slasher flicks. But rest assured; The Blair Witch Project is the real deal.
But the odd thing is, there is nary one special effect or false scare in the whole of the film. Shot mostly on video (giving it a gritty, real-life feeling) for a measly $30,000, Blair Witch embodies all that I love about filmmaking. Making the audience use a little imagination for once, it really is a breath of fresh air.
As everyone probably already knows, the films deals with three college filmmakers who travel into the depths of a Maryland forest to document a local legend. Though they are never heard from again, the footage they shot was recovered.
The leader of the pack is Heather, the strong-willed film student making the documentary based upon the Blair Witch phenomena of the title. If Heather Donahue isn't at least nominated for an Academy Award for her work here, then I propose a mass boycott of the Oscars. Blending comedy and pathos seamlessly, she has created a truly sympathetic and ultimately tragic figure. The performance of the year, in my opinion, and I will be astounded if one comes along that is half as effective.
Joining Heather in her venture into the desolate woods are Josh (Joshua Leonard), the 16mm cameraman, and Mike (Michael C. Williams), acting as soundman. Though not quite as commanding in their roles as Donahue, I dare you to spot a single moment where either of them are acting. Of course, this is no surprise, considering the extremes the actors endured to make their characters as true-to-life as possible. For 10 days, they pretty much experienced what is depicted as fiction in the movie. Apparently, the whole thing was entirely improvised, with notes hidden around the woods to simply give the actors their motivation for the scene. No one can deny that these are three courageous performances.
And it all paid off in the end, too. For a micro-budgeted independent film, set forth amidst a slew of obscenely costly "summer" movies, The Blair Witch Project has made quite a name for itself. Destined to become the most successful film of all time (in a cost to profit ratio, that is), Blair Witch first caused a stir at last year's Sundance film festival and eventually was sold to an independent studio for a mere $1 million (if the Louisiana Purchase was the best deal in American history, then this has to be the second best).
A movie so frightening and completely effective is all too hard to come by. Set the way-back machine to 1990, when John McNaughten's Henry: Portrait of a Serial Killer premiered in theaters; audiences and critics alike were taken back by the honesty of such a film, one that broke all the rules and pulled absolutely no punches. Anyone who has seen Henry will no doubt recall the infamous scene where Henry and his partner in crime Otis videotape themselves invading a suburban home and callously killing the family that inhabited it. Remember that nauseating terror? Remember that unflinching honesty?
Blair Witch duplicates that same feeling of inner terror and hammers it home for no less than 80 minutes. I realize that may seem like an excessively brisk running time, but I'm not sure I could have taken any more than that. Blair Witch doesn't simply scare you out of your wits; no, it's far to clever for that. It drains you of every conceivable emotion, and afterwards you are left numb.
Which, I suppose, brings us to the film's ending. I will say nothing of it narrative-wise (ruining it would be a crime against humanity), but suffice to say that it is the creepiest moment since Norman Bates smiled into the camera at the end of Psycho. Again, no FX, just a profound feeling of shock and - are you ready for this? Brace yourself - sadness.
You see, unlike most films of its kind, the characters here function as people first and plot devices second. Right from the opening title card, we know that the characters will not come out of their situation alive. This makes their plight all the more sympathetic.
There have been rumors (I'm not sure if anything has been announced officially) that a sequel or prequel may be in the works. Words cannot describe the new level of ineptitude that this notion establishes. What's next, "Schindler's List: The Babyboomer Years"? Or maybe "Saving Private Ryan 2: Basic Training"? No, The Blair Witch Project should simply stand alone and not give way to the system.
Copyright 1999 Jason Wallis
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