Newsletter #110
I finally feel like I caught up on rest this weekend between rereading issues of The Terrifics and finally watching Late Night with the Devil, the creepy, low-budget horror revelation headlined by David Dastmalchian, a character actor more known for his roles as that buddy of Ant Man’s, or in The Suicide Squad (the good one) where he plays the tragic but lovable Polka Dot Man.
If you prefer being creeped out to grossed out, and if jump scares aren’t necessarily your thing, Late Night with the Devil is a quick dose of creepy that fires right out of the gate and moves in real time. The whole movie is presented as an ostensible recording of a legendary lost episode of a late night talk show fronted by fictional host Jack Delroy - played deftly by Dastmalchian - who, desperate to beat Carson in the ratings, resorts to a sensational slate of Halloween evening programming to titillate viewers. As far as horror movies go, they don’t get much more charming than this one.
Recently, I talked about a low budget being a hindrance to a movie, but made note that a low budget can also enable and empower the cast and crew’s creative energy in such a way that they become magical. Late Night with the Devil is that sort of magic. While the title is a misnomer and the Devil - as far as I know - sits this one out, the movie delivers. The invisible antagonist is more like a staffer for one of Hell’s middle managers than old Mr. Pitch himself, but that mundanity has a seed of wry, creative humor: on Halloween evening, is the Devil really going to be hanging out on the number two late night show? Of course not; they’re sending in the infernal benchwarmers. Considering this, the havoc wreaked within the hour of Night Owls with Jack Delroy is surprising and sudden and brutal. Caveat emptor: the movie isn’t long on gore, but it is there and it’s mostly practical effects; while it’s obviously fake, it may not be for the faint of heart. Those moments, blessedly, are few and short, and none of them take the viewer out of the narrative.
I feel I’ve already said too much, so I’ll leave it there and reiterate that the movie comes in at a lean 93 minutes. It doesn’t answer all its questions, but it gives all the pieces so that the viewer has the participatory pleasure of creating the meta-narrative. Without spoiling anything, I entreat you: pay attention. Nothing important is so subtle that it’s easy to miss, but a close reading (or repeat viewings) will surely benefit the viewer. I intend to watch again ASAP, perhaps this evening. I always love movies and books and comics and music like this, that you can tell come out of a genuine love for the thing they’re creating. Budget means nothing. Time. Money. Finite resources. Limitations are a creative crucible and embracing that notion these last few years has led to advances in my work I didn’t think possible.
It’s all possible. You just have to do it. So - this week - go out and do it, whatever that thing you’ve felt too limited to do. Work around those limitations and be better for it; there’s no greater resource than the present.
Wado!