The first feature film to
which Noo Yawk director Abel Ferrara signed his name takes a literal approach
to the concept of artistic horror, since the lead character (played by Ferrara under a stage name)
is an artist who commits horrific acts. Yet while The Driller Killer is made with competence and a certain amount of
grungy downtown style, this is clearly the work of the man whose previous
effort (credited under an alias) was the X-rated flick 9 Lives of a Wet Pussy. In other words, it’s unwise to expect good taste from early
Ferrara. In The Driller Killer,
Ferrara plays Reno, a hot-blooded artist living in a grimy pocket of Greenwich
Village. Perpetually broke and upset with his crime-ridden surroundings, Reno
gets pushed over the edge by a series of disturbing hallucinations and by the
insufferable noise of a punk-rock band’s rehearsals in a neighboring apartment.
Then, as rational people are wont to do, Reno expresses his angst by murdering
people with a power drill. As in most of Ferrara’s movies, ennui and violence
are closely intertwined, so we’re not meant to regard Reno as a monster;
instead, we’re supposed to ask questions about why society drives some people
toward unspeakable cruelty. However, it’s good that Ferrara got better at exploring this
sort of material in subsequent movies, like his cult-fave 1981 revenge flick Ms. 45, since The Driller Killer doesn’t hit the mark. While the movie
cannot be completely dismissed (Ferrara was clearly trying to explore something), the flick’s onslaught of bloodletting and general ugliness is unpleasant instead of provocative. Nonetheless, it’s to Ferrara’s credit that he committed so
wholeheartedly to the piece, shooting on cobbled-together 16mm film inside his
own apartment and the surrounding neighborhood, on top of playing
the leading role. Furthermore, the fact that his gamble paid off by kick-starting
his directing career gives The Driller
Killer a minor historical significance the movie probably doesn’t deserve.
The Driller Killer: LAME
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