driller killer

Film doesn't lend itself to the rock 'n roll aesthetic very easily. It's too controlled, too collaborative, and too artificial to have the same kick as Ramones song. But there are a few directors who seem tuned into that musical language and have a rare ability to translate it to film: Martin Scorsese, whose slow motion entrance of Robert DeNiro in Mean Streets set to Jumpin' Jack Flash is a revelatory moment in cinema, is one. Abel Ferrara, whose eclectic career is full of highs, lows and plenty of cinematic filler is another.

Ferrara, who only chose film after failing make it as a musician, really made a mark with his second feature, The Driller Killer (1979), which earned a spot on Britain's list of Video Nasties and was banned until 2002. Of course, any attention is good attention when you're a struggling filmmaker and the controversy gave Ferrara enough traction to move on to more polished pictures like Ms. 45, Bad Lieutenant, and King of New York.

But what about The Driller Killer itself? Ferrara calls it a "preamble" to his later work, blending the slasher appeal of Texas Chainsaw with the more experimental approach of directors like Stan Brakhage. Set and filmed during the burgeoning punk rock era with camerawork that feels as rough and raw as the soundtrack itself, the story, such as it is, revolves around a struggling artist, Reno Miller (played by Ferrara himself), whose frustration boils over and sends him onto the streets packing an electric drill and portable power supply. Early targets are limited to neighborhood drunks, but as his romantic situation implodes, Reno's new form of expression branches out into his personal life.

Ferrara's film bears only a passing resemblance to the slashers it's modeled after. To be sure, there's a good bit of blood, but it's rarely convincing and often flat-out amateurish. It's likely the authentically grungy New York vibe that British censors reacted to, with a layer of filth so thick it fogs the screen, making the violence seem more authentic than it really is. The Driller Killer is the work of a filmmaker still learning the cinematic language; as such, it's often a slog to sit through, full of youthful pretensions and sloppy technique. But as the movie progresses, so does Ferrara's skill, resulting in a learning curve that's not always entertaining, but cinematically fascinating.

The director would take a huge leap forward with his next film, Ms. 45, which made it's Blu-ray premiere last year. But Arrow Video chooses the path least taken by rescuing Ferrara's baby and giving it a high-definition makeover. Originally shot on 16mm, the film has simply never looked better with enhanced clarity and unbelievable colors. Viewers can choose to watch in either 1.37 or 1.85 aspect ratios with a 10-minute longer pre-release version included along with the theatrical release. The special features shine a light on Ferrara's unique (and often amusingly profane) personality with an audio commentary, new 17-minute interview and autobiographical documentary Mulberry Street presented in full. Along with trailer and liner notes, Arrow adds another superlative "visual essay" which explorer every title in the director's filmography from beginning to end. Essential stuff even if the film itself isn't.