by Frank Calvillo
How such a pioneering film like The Mask has gone this many years without being given the proper recognition it deserves is a true mystery. However, this innovative and effective early ’60s horror film can now be celebrated for the milestone in Canadian filmmaking that it was. Not only was the low-budget film Canada’s first official horror movie and 3D feature, but The Mask would eventually go on to become one of the country’s most beloved cult favorites.
In The Mask, a young archeaologist named Michael (Martin Lavut) finds himself being overtaken by a tribal mask he recently came into possession of, which causes him to hallucinate and act out in violent fits of rage. In one last attempt for help, he goes to psychiatrist Dr. Allan Barnes (Paul Stevens) for guidance. When Dr. Barnes doesn’t believe him, Michael takes his own life, but not before mailing the hideous-looking mask to the skeptical doctor. Out of curiosity, Dr. Barnes puts the mask on and enters into a surreal world full of horrifying images, which begins to draw him in.
While there’s no disguising The Mask’s indie-level budget, its impressive to see how such a factor never inhibited the filmmakers. In the film’s real world, there are more than enough effective scares generated throughout. Moreover, the mood and atmosphere throughout the film is incredibly ominous and intriguing, and never lets up. Added to this are some precise editing, an on point early use of electronic music, and some fantastically slow zoom closeups, all of which combine to make the film’s seemingly “real” world anything but.
No doubt anyone who has seen The Mask, though, will point to the numerous fantasy sequences as the true pleasure of watching the film. Whenever Dr. Barnes puts on the mask, we are taken into another world full of snakes and odd-looking individuals which radiate nothing but darkness and horror. It’s these surrealist sequences which greatly liven up the proceedings and give The Mask its most memorable moments. The unforgettable atmosphere and unnerving visuals (in particular the men and women wearing distorted flesh colored masks) are wonderfully unnerving, but with each of these sequences, something expressionistic and avant garde about The Mask begins to take shape as it proceeds to its fitting end.
For a film which was always sought after, but never given the technical makeover needed to fully appreciate its visual richness, this release of The Mask features a truly stunning transfer and picture quality which are both impressive and beautiful. No doubt many horror fans will recognize the various plot turns and twists coming a mile away, but the underlying notion of a mask which takes hold of people and forces them to face and acknowledge their own inner demons, makes The Mask an endlessly chilling exercise.
The Package
Without a doubt, the special features here some of the most generous of any release this year. There’s commentary by 3D Film Expert Jason Pichonsky on The Mask’s technical innovations, which prove invaluable considering the fact that the disc contains both the 2D and 3D versions of the film as well as additional 3D sequences which have been gloriously restored.
There’s a collection of short films by avant-garde filmmaker Slavko Vorkapitch (who was responsible for the majority of The Mask’s surrealist montages). Hypnotic, poetic, bold and beautiful, these short films alone are worth the price of the disc. The Man Behind The Mask pays tribute to the film’s director Julian Roffman by revisiting his various pioneering efforts in the Canadian film world.
Finally, the gorgeous and macabre 2014 short film, One Night in Hell, executive produced by music legend Brian May, is an odd, yet welcome addition, which rounds out the special features.
The Lowdown
A reported favorite of director Joe Dante, The Mask is truly a must for any classic horror aficionado.
