Schwingen der Angst

I rather enjoyed this mediocre horror film. It succeeds at doing what it sets out to do -- ratchet up the suspense and provide the viewer with reckless and unthinking entertainment. And on top of that, there is some wonderful New Mexico ___location shooting, which can't be dismissed out of hand. You have never seen such vast expanses of rugged buttes, sandstone canyons, and pink dunes, all carefully accessorized by the occasional pale green of a shrub.

"King Kong," which set the rules for this genre, featured a gorilla doll that was about two feet tall and contained an armature, which is a brass skeleton of sorts with flexible joints, around which the flesh and hair are modeled.

Narratives in the genre have a kind of metaphorical armature that follows the structure of "King Kong" the movie. At first, everything is innocent and peaceful. Complications are present, yes, but they haven't erupted. But then there are intimations that something is up. The natives kidnap Fay Wray, but for what purpose? A sea gull thumps against a closed door or strikes a pretty blond out of the blue. Cattle and horses are found dead for some mysterious reason. And what ever happened to those two miners with their mule? Suddenly the cause of the disaster is revealed -- crashing out of the forest or striking en masse from the skies or swimming sneakily into the lagoon, it doesn't matter how. Here, there is utter silence while the investigators wait for an attack -- then a cut to a close up of a vampire bat's hideous face zooming into the camera with a piercing shriek. Well, it may be homocentric to describe a bat's face as ugly. After all, they probably find us unattractive too, and they must find each other appealing enough to mate with. I call it bad taste but a vampire bat wouldn't.

The hero is a lawman (Mancuso) representing the tribal council of the fictitious Maski tribe, although the real power brokers seem to be the dozen or so priests who run the reservation. The succulent Kathryn Harrold is his girl friend, a nurse. She was my supporting player in that bright star in the cinematic sky, the sublime and poetically executed "Raw Deal." David Warner plays roughly the same role he did in "The Omen," the researcher who does the leg work and tells the hero what's up. Stephen Macht is the leader of the equally fictional neighboring Pohana tribe, the dilatory unbeliever who wants to sell out the reservation for money. I always enjoy Stephen Macht. Mancuso, the nominal hero, is handsome in the way a TV star is handsome, but Macht's features have character. He could never be mistaken for anybody else. Plus he has a doctorate in dramatic arts and gave up a tenured position to become an actor, which is a pretty dicey thing to do.

The script has its weaknesses, even given any low expectations we might have regarding the movie. Macht's politician claims at one point that half the time the priests go around stoned on Datura williamsii or Jimson weed. They wouldn't do that. Datura isn't a mellow high. It was used in some Southwestern ordeals and initiation rites. It induces often frightening and chaotic hallucinations. It's unclear why Mancuso seems to run around chewing on it and having long conversations with a ghost. One of those conversations interrupts his attempt to save the lives of himself, Harrold, and Warner, just as the plague-ridden vampire bats are about to attack him. He stops his rescue attempts and begins a foggy theological argument with a ghost while the bats whirl around his head. El momento de la verdad -- and he's telling a phantom where to get off.

The visual effects are adequate, no more than that. Arthur Hiller, the director, might profitably have watched some of Val Lewton's psychological horror movies to learn how to scare the wits out of people while keeping the monster's appearances to a minimum. Still, there is all that majestic scenery, including Kathryn Harrold.

This movie's fun, if based on a questionable premise. We have the stereotypical Menace -- in this case, vampire bats -- who have to be exterminated before they Get Us All, and the pivotal character is an American Indian cop.

A tribal elder on a reservation is apparently behind the appearance of the bats, as he apparently shamanistically summoned them to "end the world." This because sacred grounds are being threatened by an industrialist, who wants to exploit resources.

Now, a word of reality here: movies to the contrary, real Vampire Bats don't suck blood. They evolved from fruit bats, and they nip their sleeping victims and lap the blood. The astonishing thing is that they do this without waking their victims. Their bite and anticoagulant saliva are being studied by medical institutions for new technological advances (in surgery and anesthesiology). They're neither aggressive nor dangerous.

Nonetheless, the movie bats are a menace, and a force of nature. The film reaches a satisfactory ending, which solved the problem set up by the industrialist, too. Fun, but not to be taken seriously.

In case you were hoping to sit back and enjoy a schlocky, over-the-top and typically 70's "nature gone wild" creature feature (in the same trend as "Frogs", "Squirm", "Grizzly", "Night of the Lepus" or "Day of the Animals"), don't even bother to watch "Nightwing"! Yes, this movie basically handles about killer bats and features one or two virulent animal-attack sequences, but primarily this is more of a talkative and wannabe-ambitious slice of eco-horror full of pro-Indian gibberish and moralistic messages. It's actually very reminiscent to that other 1979 eco-horror flick "Prophecy", and that wasn't any good either. In an enormous and remote New Mexican reservation, traditional Indian Youngman Duran argues non-stop with progressive Indian Walker Chee. For you see, a lot of severely mutilated cattle cadavers have been discovered lately, but Chee denies the obvious infestation of vampire bats because this negatively impacts his business negotiations with a large shale-oil corporation (indeed, the "Jaws" influences are never far away in horror cinema). So instead, Duran teams up with the rather eccentric professional bat-exterminator Philip Payne. Together they attempt to track down the bats' hideout cave as well as the whereabouts of a local beauty that went missing during a Christian camping trip. My movie-buddy warned me that this wasn't going to be a light-headed trash flick, but – alas – I didn't listen. Arthur Hiller's direction is more than competent, but the screenplay adaptation deep dives too much into Indian folklore and tribal rivalries, while it stupidly neglects the creature-feature potential. A terrible shame, since the nauseating bat critters, partially from the hand of Carlo Rambaldi ("Alien", "Deep Red"), come across as rather menacing when shown in close-up. "Nightwing" isn't at all worthless and features two memorable elements: a grisly attack on a group of campers sitting around a campfire and the performance of David Warner as the skeptical bat hunter. His long speeches about how vampire bats are the embodiment of evil and how this species contribute absolutely nothing to the functioning of the environment are the undeniable highlights of the movie. He sure hates the bats with a passion!

I rented this movie because the Martin Cruz Smith book had recently come my way and I found it quite good. The movie is not unfaithful to the book, though it does suffer in comparison in the strength of the characterizations - in the book we learn why Youngman Duran, Mancuso's character, is so tortured which, of course, makes his ordeal much more significant and meaningful. I'm writing mainly to defend David Warner whom another reviewer characterized as as "bad actor". Warner is a terrific character actor who can presently be heard doing a rich villiany voice on the Saturday morning "Men in Black" cartoon (which is better than the movie, in my opinion). It seems Americans have trouble with classically trained English actors whose diction and style may seem too broad if your only frame of reference is Brad Pitt. Recently went to "Peeping Tom" and sat next to a group of teenagers who laughed all the way through, completely oblivious to the historical context of the film and its quality. So "Nightwing" is pretty good - good character acting (also love Strother Martin), lovely cinematography, nice Mancini score. Blood and gore special effects quite restrained a la 1979 technology, so if that's your thing this isn't your movie.

A group of vampire bats descend upon two Indian reservations that stand as the ground for a feud between honest Deputy Duran (Nick Mancuso) and money hungry Walker (Stephen Macht). Also cruising around the desert is Phillip Rayne (David Warner), a guy who hunts vampire bats. What the heck is going on with this film? What should have been a straightforward "JAWS with wings" gets turned into a bizarre commentary on Indian mysticism, politics and environmentalism. But PROPHECY (1980) this ain't. Anyway, I dig someone trying to do something original and all this would be fine if the film wasn't so boring. The few moments there are bat attacks are so poorly handled by director Arthur Hiller, that you can only dream of how someone with a sense of suspense could have pulled them off. All of the actors are fine, but their motivations are paper thin. "I kill them because they are evil," is how Warner justifies his ridiculous supporting turn as the vampire bat hunter with a state-of- the-art van and no means for financing. On the plus side, there are some stunning locations in New Mexico and a great score by Henry Mancini.