“Ladies and gentlemen, please stay tuned for a live television first…”
This year has seen the release of three vastly different 70s-set films, all of which have received acclaim for their respective filmmakers and the way they used the era in telling their stories. Saturday Night retold the story of SNL’s debut broadcast, while Woman of the Hour explores the true-life story of a dating show contestant (Anna Kendrick) who found herself being set up with a serial killer. The third (although actually the first to be released), Late Night with the Devil was perhaps the biggest surprise of the three; a film that provided a fresh take on a well-worn genre that became one of the biggest horror movie surprises of the year. The three titles serve as a trilogy of 70s TV revisited and tested the boundaries of the medium during that time. But it’s Late Night with the Devil that succeeds most by being a film that skillfully draws on the decade it’s set in while also showing how far some were willing to push the limits of entertainment.
It’s 1977 and late-night talk show host Jack Delroy (David Dastmalchian) is desperate for good numbers after being pummeled in the ratings by his competitors. After already having had on virtually every act he can think of, he decides that for his Halloween show, his guest will be Lilly (Ingrid Torelli), a young girl who has reportedly been possessed by the devil on multiple occasions. Now, in front of a live studio audience, Jack finds himself hosting a show that no one who lives to see it will ever forget.
The writing/directing team of Colin and Cameron Cairnes have made what many will find to be a new genre favorite before the first act is over. The technical aspects are each a marvel unto their own, from the electrifying sound design to the glorious practical effects that make every shocking moment come alive in a way that recalls that wonderful moviemaking trickery from back in the day. While some modern-day technology is employed, they work in great harmony with the kind of traditional filmmaking magic that’s too rarely seen today. Late Night with the Devil‘s set design and vintage cinematography add to the effort of instantly bringing its audience into the world and never letting them leave it while using makeup in one of the most effective ways seen in quite some time. It’s also the movie’s technical aspects that help make the genre feel more alive than it has in years. Titles of demonic possession and/or found footage have their loyalists but have largely come across as stale for years. Because of its live TV format, real-time factor, and self-contained nature, the movie succeeds in giving two well-worn genres new life. The mix of behind-the-scenes moments and vintage footage also works to give Late Night with the Devil a feel of authenticity that has eluded most genre entries of the past.
In many ways, it’s the madness of the era that’s driving the story here. The choice to set Late Night with the Devil at the tail end of the 70s was a provocative choice as the Jimmy Carter era (who even gets a joke at his expense) was known as quite a turbulent period. It was a tumultuous time with the country being greatly influenced by violence, a dismal economy, and a feeling that America had generally lost its way. There was a growing desperation throughout the country that reflected in every pocket of society, which of course extended to the media. In the late 1970s, TV became a medium that was willing to try anything to get as many people to tune in as possible. That desperation is obvious in seeing Jack struggling to stay on top as every late-night entertainer during that era was being driven by the need to get to number one, or else perish. Indeed, desperation is Jack’s primary motivator, especially since he does not have the affability of Johnny Carson or the wit of Dick Cavett to save him. Jack is merely a showman whose reach exceeds his grasp, a quality that makes him a tragic figure who is still fascinating to watch, particularly as he’s trying his hardest to keep everything as sane and under control as possible.
The constant audience reactions to every horrific move that happens within the film only elevate the excitement and thrills. They let us know that we’re not alone in experiencing what is happening; they’re seeing it all too, and it’s terrifying. The Cairnes’ film is so perfectly paced with nary a minute wasted or taken for granted, brilliantly giving off the feeling that we are watching live television, making the frightening events all the more intense. Because it feels like a real broadcast, you quickly realize that there’s nothing safe about Late Night with the Devil because of its sheer unpredictability. The era recreation and (largely) practical filmmaking approach taken here allows for a level of creativity that other horror films simply don’t have. Once the final credits start to roll, there’s a feeling of both exhaustion and exhilaration as the audience goes back over in their minds what has just played out before them as a new horror favorite takes its place.
Late Night with the Devil is now available on Blu-ray, DVD, and digital from Shudder and IFC Films.
