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Review by Harvey Karten
3 stars out of 4
P>We've all seen movies, read stories, or heard on the TV about
someone or other who has escaped from a life-threatening
experience, or perhaps has terminal, inoperable cancer with
only a few months to live. Such people are likely to say that
they appreciate every day of life, that the world is full of
wonderful things, generous people, pure joy. If only the rest of
us, those who are not afflicted or who have had cushy lives,
could see this, they would seize the day. In fact someone in
James Wan's horror film "Saw," co-written by actor Leigh
Whannell from the director's story, is so determined to impress
us with the importance of living every day or month as though it
were our last that's he's willing to play games, to toy with a few
individuals until they are convinced of what seems axiomatic to
the misguided psychopath. By way of comparison, think of the
Michael Douglas character in David Fincher's "The Game," a
man who get an unusual birthday present from his brother to
play a sophisticated game that strips Douglas of his calm,
prosperous life and puts him in deadly situations just to get his
blood boiling, to have him drop his adult repressions.
"Saw" has just a few characters to play a version of Fincher's
game, some of whom appear destined to die in horrible ways
such as a bound woman who has an iron mask screwed onto
her head who must locate the key to the mask's lock by
extracting it from inside the stomach of a newly paralyzed man
lying next to her.
The principal characters are co-writer Leigh Wannell as Adam
and Cary Elwes as Dr. Lawrence Gordon, both of whom find
themselves tightly bound at the ankles in a filthy bathroom of a
sewage plant. Neither knows how he got there. Both insist that
they do not know each other, which makes them wonder why
they are chosen to live a few feet from a dead body holding a
revolver, a pool of blood around the victim's head. The crazed
killer warns Gordon that the doctor must kill Adam by 6 p.m.,
some fifteen hours away, or Gordon's wife and child will be shot.
The best part of the story takes place in the claustrophobic
environs of the bathroom as a tale that could conceivably find a
place in a small, off-off-Broadway theater, a battle of nerves
pitting both characters against a murderer while at the same
time Dr. Gordon must act against his newly-introduced
associate. Since this is a film, however, James Wan opens up
the tale to bring in the doctor's wife and child, showing the
man's loving relationship to the six-year-old daughter while at
the same time he is challenged by his wife to care more about
the family. Less involving is the backstory of Adam's days as a
photographer, a man who in one instance has been hired to get
the goods on someone who is committing adultery in a seedy
motel.
If the story gets confusing at points, it's only because Wan is
following the conventions of the horror tale. Bring in some red
herrings, drop hints about the guilt of someone who turns out to
be perfectly innocent, then let the tale unravel at its conclusion,
at which point we say, "Aha, I knew the nut job was [Mr. X] all
the time."
Cary Elwes, an oncologist handsomer than any other physician
you'll ever see including Marcus Welby, turns out a decent
performance using Leigh Whannell as his foil, while Danny
Glover gets to play increasingly knowledgeable detective David
Tapp–who may have had a breakdown since the violent death
of his partner, Steven Sing (Ken Leung). The picture is perfect
for Halloween, an enormously gory version of trick-or-treat,
where the prize consists of simply surviving while the trick could
involve the sawing away of a foot to gain release from an ankle
chain.
Copyright © 2004 Harvey Karten
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