Film: Videodrome
Director: David Cronenberg
Country: Canada
Released: February 1983
Runtime: 89 minutes
Genre: Horror
Studio: Guardian Trust / Universal
Influenced: Tarantino, Darren Aronofsky, The Wachowskis, Gaspar Noé, Charlie Brooker
With Scanners (1981), The Fly (1986) and of course his masterpiece Videodrome, Canadian director David Cronenberg – known as the "King of Venereal Horror" – was at the forefront of the body horror trend that surged in strength during the 1980s. Other notable films in the emerging subgenre included The Thing (1982) and Clive Barker's Hellraiser (1987), and a common theme to all of them were anxieties and fears about the human body and its vulnerability to modern technology. Cronenberg was particularly interested in the relationship between technology, media and the human body, and the growing influence of TV and the potential consequences that exposure to violent and disturbing imagery can have on the human psyche.
Videodrome follows the story of Max Renn (James Woods), the sleazy CEO of a small cable television station in Toronto. Max is always on the lookout for controversial and edgy content to boost his channel's ratings and, in his search for something new and shocking, he stumbles upon a mysterious pirate broadcast called Videodrome. This mysterious underground production features extreme and disturbing content apparently involving real acts of violence and torture. As he delves deeper into the enigmatic world of Videodrome, Max starts experiencing bizarre and hallucinatory visions that blur the line between reality and fantasy. The show's eerie and surreal content begins to infiltrate Max's mind and, as his mental state deteriorates, he meets Nicki Brand (Debbie Harry), a sadomasochistic psychiatrist who also has an unhealthy fascination with Videodrome.
Intrigued by Videodrome's allure and the possibility of attracting a massive audience, Max becomes increasingly obsessed with the programme, but this takes a toll on his sanity. He begins experiencing strange hallucinations, featuring pulsating VHS tapes and – in on one of the movie's most memorable scenes – a fleshy, organic TV set that seems to meld with his body. Max discovers that Videodrome is affiliated with a powerful and shadowy organisation called Spectacular Optical Corporation. As Max delves deeper into the Videodrome phenomenon, he becomes entangled in a web of deception and manipulation and his body starts undergoing unsettling transformations, leading him to question his own reality and identity. In the final scenes, Max confronts the people behind the show, leading to a surreal and nightmarish climax that blurs the boundaries between the physical and virtual worlds.
Over the years, despite winning few awards in the initial phase following its release, the film has grown to be recognised in various lists and retrospectives of influential and groundbreaking horror movies. As well as being praised for Cronenberg's visionary direction, Videodrome has also attained cult status for its groundbreaking special effects, particularly the use of prosthetic effects to create grotesque and surreal visuals. What I also love about the film is Howard Shore's synth soundtrack and how it still remains so relevant today, a cautionary tale about the potential dangers of unchecked media influence, and a chilling reminder of the disturbing consequences of losing ourselves in the digital realm.
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