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When I went to go watch “Saw” gradual last night I was thinking “saw” as the past tense of view and not “saw” as the noun (“a hand or power tool or a machine stale to carve hard material and equipped usually with a toothed blade or disk”) or as the verb (“to slash with a saw”) . What was I thinking? “Saw” is in the Colossal Guignol of “Seven” and “The Bone Cutter,” and apparently had to get some last dinky cuts to avoid getting saddled with a NC-17 rating. That alone with give you an indication of what first time director James Wan and first time writer Leigh Whannell were going for in “Saw,” even with only $1.2 million to produce the film and 18 days to shoot it.
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Adam (Leigh Whannell), a young man, wakes up underwater in a black room with a chain around his ankle. He is not alone, and when the light approach on he finds himself is what appears to be a long abandoned public restroom. At the other destroy is Lawrence (Cary Elwes), who is also chained to a pipe. On the floor in between them, out of their arrive, is the corpse of a man who apparently killed himself with a gun. In his hand is a tape recorder. After becoming oriented to his exclusive surroundings, Adam discovers a plastic bag in his pocket, containing an envelope. Inside is a key and a limited cassette tape with the words “Play Me.” Let the game initiate.
Beyond that you really do not want to know that worthy about this before you peep it, and given the dreck that passes for scare thrillers in new years “Saw” is worth the seeing in the theater. The last time I actually went to explore a film in this genre in a theater was probably “Hannibal,” and I have not had any reason to regret being selective in this regard. However, this is not going to be a date movie, but one for hardcore fans of the genre who hold their DVD editions to be the director’s unrated carve of the film. “Saw” is a film that works more in the world of panic films than it does in the staunch world, but that is certainly allotment for the genre at this point.
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The entire film does not buy space in the abandoned restroom, although that is main arena. Lawrence knows something about the “Jigsaw Killer,” who has been constructing define dances of death in which his victims have to try and effect themselves. Only one victim has survived to date (Shawnee Smith), so it is possible to accept out of this alive, objective extremely difficult and we are treated to a couple of examples of where it did not go as well. Investigating the case are a couple of detectives, Tapp (Danny Glover) and Assure (Ken Leung), and the chronology of the film gets skewed as the reveal and the past become confused. The game also involves more than the two men chained to the wall, because Lawrence’s wife, Alison (Monica Potter) and daughter, Diana (Makenzie Vega) are portion of it as well.
During the film’s endgame things are lively snappy enough that you probably will not be able to figure out how it will all play out even though “Saw” overplays the certain red herring card. The film pushes one of my least accepted buttons a couple of time, which is when somebody has a gun on the villain and does not blow them away. If there is one thing we have learned from all of these movies it is that hesitating when you have the poor guy in your sights is never a satisfactory thing. I especially go through the roof when a trained law enforcement officer is pointing the gun good at the killer and the killer unruffled gets away (even Clarice Starling is guilty of this sin in “The Silence of the Lambs”) . So there is some heavy handedness to Whannell’s script that hopefully will be replaced by something more dazzling when he and Wan accomplish their recently announced “Saw 2″ sequel for 2005.
But “Saw” is not an gorgeous anxiety film, although Wan gets points for keeping the most horrific moment of the film off cover (even though the rationale is limited budget and not correct magnificent choice, which makes me terrified for what will happen when Wan and Whannell have a noteworthy bigger budget for the sequel) . The “Jigsaw Killer” has a warped interest in having his victims better like their lives, so getting out alive has to do not only with Lawrence and Adam solving the tasks they are given, but also with finding out some significant things about each other. The essential thing here is that the film’s final scene is fine horrific, even if the film cheats a bit to obtain to that point, and that even when the hide goes sad and the credits launch to roll, Whannell keeps the alarm going.
SAW is a factual dread classic no doubt about it. Damn he {or she} who remakes this film…EVER. In the world of gore-porn and endless remakes or “re-imaginations”, {I have to say this ~ Catch Zombie is pathetic for “re-imagining” Halloween…thanks for trashing it Rob} SAW stands alone as a film that is sick, very disturbing, scary, intense, hideous, mentally numbing, thrilling, avante garde, theatrical, spontaneous, foul, and macabre! This is a film where the villains recorded snarl is as disturbing as his actions..and the villain is not even revealed until the last cramped of the film…literally the final scene. The film cannot be compared to Se7en because we eye most of the torture in the film and the villain takes up more time giving his monologue than Jigsaw’s “Most people are so ungrateful to be alive…but not you…not anymore.”
Two men wake up in a grimy abandoned bathroom chained and unable to dash. We gape a tiresome man laying in the middle of the floor. His tape recorder reveals the two men are fragment of a deadly “game” in which only one of them will survive…if he can catch the primal instinct..the “will” to survive. As the film progresses we learn about “Jigsaw” who tortures his “test subjects” in order to develop them relish their lives they have apparently abused. Jigsaw’s “test subjects” include: Jeff a man who attempted suicide but failed, Amanda the drug addict, Adam the voyeur photographer and loser, and Dr. Gordon a doctor who neglects his wife and daughter. Jigsaw makes them realize their blessings in his tortuous devices where the subject must maime his/her self or another to hurry.
The films gives us clues to the identity of Jigsaw, directing attention to the clean called Mr. Hindel aka “Zepp”…or is the killer one of the men chained in the bathroom? Dr. Gordon? Adam? The film is a Hitchcockian mystery to figure out ‘who is doing this…and why? ‘ that draws you to an intense and disturbing {not to mention disgusting} climax that will leave you timid.
I like the film because like Se7en there is a sick bent pathos that is tedious and painfully distinct in our times: “most people are so ungrateful to be alive….”
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