Bruce Campbell’s directorial debut is a very entertaining film, but it also says a lot about the concept of cult films. Campbell’s film is aimed squarely at the fans of silly B-movies, more in the vein of Bubba-Hotep than Evil Dead though there is a clear over-lap. It is also completely dependent upon Campbell’s star power within this subculture of filmmaking. As such, the film is actually best viewed as a star vehicle, strange as this may sound for a very minor star and a very minor film. What makes the film interesting and significant, however, is the understanding Campbell has for the genre and his own strenths as an actor. Thus, the film is interesting on three levels: the first is the ‘throwback’ to 60-70s style exploitation filmmaking, the second is Campbell’s status as star and the third is the deliberate creation of a cult film.
Man with the Screaming Brain is obviously sensationalist in its approach to its subject matter, but it should be pointed out that it is not a horror film and contains no shocks, not even failed shocks. As such, the film seems at times almost innocent and perhaps even naive in a field where excessive and transgressive images are the norm; perhaps even the justification for shlock or trash cinema’s existence: they show what Hollywood and other ‘proper’ cinemas will (and to some extent, even cannot) show. Campbell’s film, however, does not show anything unusual and this alone makes it unusual.
The story, in brief, is about a man who is almost killed but revived by a brilliant scientist who has invented a method for implanting any type of foreign tissue into a body. Due to the circumstances of his accident, our hero is implanted with parts of another man’s brain. Since the technique was not entirely perfected, our hero ends up with two identities inside of him and has to vie for control over his body with the new mind inside him. They collaborate on vengeance and so the plot unfolds.
Although it might sound like it, there are no bloody surgical scenes and no ghastly murders; instead the film presents plenty of comedy with Campbell in the lead, fighting himself to represent the schizophrenic division of his brain.Which, of course, technically isn’t schizophrenic since there is no mental illness here, only surgery. This is really the reason for seeing the film and also the second part of why this film is interesting: Campbell plays up his own status as star and intertext. One of the most famous parts of The Evil Dead is when Campbell/Ash fights himself when his hand gets a will of its own. This event is also employed in different forms in Evil Dead 2: Dead by Dawn and Army of Darkness. It is, in other words, part of what Campbell ‘means’ viewed as a semiotic sign. This meaning is thus transferred to Man with the Screaming Brain and fans of Evil Dead/Campbell will not only get the reference but also enjoy seeing one of Campbell’s specialiteies: his ability to physically portray his body as under the influence of someone/something else.
Campbell has written, as well as directed, Man with the Screaming Brain and obviously the script is suited to his particular talents. His performance is strong and clearly what carries the film. While the hilarious plot and clichéd lines help make this film a B-movie gem, it would be much less without Campbell’s presence. That Campbell understands this and is willing to perform at his best, marks him as a very clever and sensitive filmmaker who understands the processes that work within the subculture that he has chosen to work in.
It is also this understanding which enables him to make a film that is in essence perfect; obviously this film will never dent the box-office or be regarded as immortal filmmaking. But it does exactly what it is supposed to do in completely the right way. It showcases Campbell’s strengths, also in the role of an obnoxious American, and his ability to ham it up for the camera, creating hilarious moments when he is being emotionel. In this way, the film is made in an extremely knowing way. Not that it is self-reflexive but it does portray a deep understanding of B-movies and well-made tackiness.
