Notes

Demonic

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The dark truth in the background, which gradually emerges from under a deceptive shell when telling a chain of events in the past, is one of the most popular narrative methods in thriller, crime and mystery cinema. Who does not remember Kevin Spacey, who in Bryan Singer's masterful “The Usual Suspects” offered the investigators of a murder case the fairy tale of a shadowy, superhuman puller in the background, who then reveals her true face in the astonishing final punch. Alan Rudolph's “Mortal Thoughts” also used the stylistic device of flashbacks, with the help of which he retells the story of the announced death of a tyrannical husband, which is reported by the widow's best friend to the investigating detective. Also “Frailty”, the directorial debut of Bill Paxton, who is otherwise only to be found in the acting field, uses this stylistic device in connection with a plot twist trimmed for astonishment at the end, which, however, is only cautiously surprising given the severe overuse of this principle in recent years fails.



A rainy night, an FBI building that has almost died out, a lonely investigator working on the decades-old case of a serial killer - that's the stuff (cinematic) nightmares can be made of. Yellowed newspaper clippings let the viewer gain first, shadowy impressions of the bloody hustle and bustle of a mass murderer who gave himself the macabre name "God’s Hand". A young, unkempt-looking man arrives, wants to speak to Wesley Doyle (Powers Boothe), the FBI investigator of the "God's Hand" case, stiffly and firmly that he knows the murderer that has been wanted for decades and even his brother to be. The report by the young man (Matthew McConaughey), who calls himself Fenton Meiks, takes us back to the tranquil Texas of the 70s and opens a depressing journey into madness.



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The intelligently nested and assembled flashbacks spread the youth of Fenton, who was raised by a kind-hearted but devout father together with his younger brother Adam, into the rainy and gloomy night of the framework action. The life of the nine and twelve year old boys seems to reflect the ideal of a carefree, almost idyllic childhood, until one night Father Meiks receives an apparently divine vision from an apparently divine vision to kill demons in human form as “God's right hand” and immediately nothing better to act as, firstly, to implement the order immediately and, secondly, to force his two ancestors to assist him.



When it comes to portraying mental illnesses, American cinema actually only knows two extremes: Either one or more character mimes with the license to win an Oscar struggle with the most human and heartfelt interpretation of a suffering, to end up as in &quot;A beautiful mind&quot; to celebrate the triumph of human will over infirmity to well-tempered violin sounds. Or the sick person is presented - as has been customary in horror cinema since &quot;Halloween&quot; - as a distorted image shifted into the grotesque, as a grimacing, distorted image of the human being. All the more disturbing is the intense, subtle play of director and father actor Bill Paxton, which precisely matches the appearance of a psychotic with delusional experience and a limited, but by no means completely failing reality check, a mentally ill person who acts completely inconspicuously for his environment, copes with his everyday life, but as if obsessed with a certain delusional belief.



Textbook worthy, as if screenwriter Brent Hanley had memorized ICD-10, Section F20 and the following, the script implements the gradual illness of a paranoid-hallucinatory psychosis, including delusions, relationship and meaning madness - so father Meiks is convinced, all in one to have perceived an angelic apparition in a disgraceful cup and to have received gloves from God to safely touch the demons. Director Paxton, who fills this role with an intense mixture of fear of God, kindness and relentlessly merciless sense of mission, succeeds brilliantly in making this grotesque and macabre situation tangible and tangible from the perspective of the twelve-year-old Fenton, who is in a horrific forced decision-making process between Finds Scylla and Charybdis. While the three years younger Adam (Jeremy Sumpter) in a naive, childlike intoxication takes over the conviction of the divine mission without reflection, the much more mature Fenton (Matthew O'Leary with an impressive performance of youthful panic) realizes the madness behind his father's ideas very quickly and is now faced with a cruel choice: Either, he helps with the murderous eradication of the


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