Now, this is more like it. BASKET CASE takes a weird premise and totally runs with it. And that's with zero budget. So, suck it, AMITYVILLE HORROR.BASKET CASE is another example of my favorite combination -- horror and comedy. The premise is so bizarre, the filmmakers have to acknowledge the sheer ridiculousness or else the movie would lose most of its power. So, they embrace the idea and it pays off for the viewer.
The story involves likable and naive Duane (the equally likable Kevin Van Hentenryck) arriving wide-eyed in Times Square. His only possession seems to be a large wicker basket, padlocked shut. He always carries it with him, akward as it might be, and never quite gives a straight answer when people eventually get around to asking, "What's in the basket?" It's inherently funny, and never gets old, the way Duane sits there with his giant basket, attempting to stay unassuming and under the radar, but unable to avoid looking super weird.
Do I tell you what's in the basket or not? It's too good not to. Stop reading if you don't want to know. See, Duane was born with a deformed conjoined twin named Belial growing out of the side of his body. His abusive father (Richard Pierce) wasn't very tolerant of the deformity and ordered it cut off in a traumatic surgery scene presided over by unethical, corrupt doctors and thrown into the trash. But, Belial survived, now just a lump of flesh with a face and two deformed arms, able to live on his own and crawl around at will. He even has the power to communicate telepathically with Duane, who speaks back to Belial vocally.
So, Duane and Belial arrive in New York, Belial in the basket, and systematically visit the doctors that have done them wrong, for revenge. Meanwhile, the tenants of the sleazy hotel they've moved into become suspicious of the goings on in Duane's room, and Duane starts a tentative relationship with the receptionist at one of the doctors' offices (Terri Susan Smith). Turns out aside from being filled with murderous revenge-fueled rage, Belial also has a nasty jealous streak and can't stand that his relatively normal brother has chances at regular social relationships while he has to sit around in a basket all day.
As I mentioned before, the movie has basically no budget and I think that works to its advantage. Shot on the streets in New York in the early 80s, the movie gets a lot of built-in production value just by embracing the filth of the natural surroundings. The littered streets and dingy interiors set the tone for this dirty little story. The special effects aren't great by major Hollywood standards but are pretty amazing for such a small production -- the distorted lump of flesh known as Belial is actually able to emote some human qualities and project emotions that even some actors in similar low budget films can't manage. Belial is sometimes a puppet, sometimes stop motion animation, but I think what really helps is the sound design -- his tortured screams and belabored breathing give him a tragic personality.
The main thing that makes this movie work is that everyone involved in it seems to be having a good time. The actors, while not perfectly professional in all cases, are loose and willing to go all the way. Even background throw-away characters have vivid personalities, whether we're talking about the colorful tenants of the low-rent hotel or cranky patients in waiting rooms.
They're headed up by Kevin Van Hentenryck in the lead, who, again, isn't perfect, but does a great job of being vulnerable, naive, and likable. You get the feeling if he was born under different circumstances he wouldn't have necessarily been the most popular guy, but he would have been one of those guys that everyone could really count on. Instead, because of his deformity, he's grown up shy and tentative, but you can see, despite his actions, deep down he'd rather just be a good guy.
This movie is endlessly inventive and likable. Is this because of or in spite of the low budget, bizarre premise, and over the top violence? Who cares, as long as it works.
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