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Dis­cov­er the night­mar­ish imagery of this psy­cho-super­nat­ur­al oddity

16 Jun 2019

Words by Anton Bitel

Portrait of a person in a red and black abstract environment with striking visual elements.
Portrait of a person in a red and black abstract environment with striking visual elements.
A man wres­tles with his tele­path­ic pow­ers in Roger Christian’s dis­turb­ing direc­to­r­i­al debut.

Roger Chris­t­ian will for­ev­er be asso­ci­at­ed with sci-fi. He won an Acad­e­my Award for his Art Direc­tion on the orig­i­nal Star Wars in 1977, was nom­i­nat­ed for anoth­er on Alien in 1979, and in 2000 direct­ed what was to become known as the then worst film ever made’, the trite and trashy Bat­tle­field Earth (based on the 1982 nov­el by Church of Sci­en­tol­ogy founder L Ron Hub­bard). Yet in 1982, between these high and low points in Christian’s career, he would debut as direc­tor with gen­uine curio The Sender. Yes it is sci-fi, but it is also part hor­ror, part psy­cho-super­nat­ur­al oddity.

Its open­ing sequence at first appears to be an idyll, as the cam­era pans around sun­ny, autum­nal wood­lands to the accom­pa­ni­ment of Trevor Jones’ lyri­cal score. But then it set­tles on a young man (Željko Ivanek, in his big-screen debut) asleep, in incon­gru­ous var­si­ty jack­et, by the road­side. He gets up and walks to a crowd­ed pic­nic spot, stuff­ing his pock­ets with stones and strid­ing into – and under – the waters of a lake.

It is now par­adise lost, as the sound­track floods with screams of alarm from the fam­i­lies all around. This unnamed, amne­si­ac char­ac­ter, soon to become known as John Doe 83’ in the state men­tal hos­pi­tal where he will be com­mit­ted, is clear­ly con­flict­ed. Gail Farmer (Kathryn Har­rold), the sym­pa­thet­ic psy­chi­a­trist who attends to him when he first arrives, quick­ly recog­nis­es that he is unsure whether to live or to die. You chose a pub­lic park, at noon,” she says of his half-heart­ed sui­cide attempt, You did every­thing but bring a tow­el.” Yet soon the uncer­tain­ty of this intense, haunt­ed man will infect the oth­er patients, and even­tu­al­ly the doc­tors too, as they all come to expe­ri­ence along with him his inner­most anguish and trauma.

At first The Sender plays out like One Flew Over The Cuckoo’s Nest or The Ninth Con­fig­u­ra­tion, as our con­fused John Doe, a momma’s boy” and would-be Jesus, shares space with one patient (Sean Hewitt) who vies with him for the title of Mes­si­ah, and anoth­er (Al Matthews) who believes that the Viet­nam War has nev­er come to an end, and as the threat of shock treat­ment or even sur­gi­cal inter­ven­tion hangs over everything.

Yet while cer­tain­ly dam­aged and in need of psy­chi­atric assis­tance, John Doe 83 also has a dan­ger­ous pow­er: his dreams and anx­i­eties are vivid­ly pro­ject­ed, via a telepa­thy over which he has no con­trol, into the minds of oth­ers. Deter­mined to get to the core of his prob­lems, Gail finds her inves­tiga­tive work both helped and hin­dered by the hal­lu­ci­na­to­ry half-mem­o­ries half-freak­outs that she encoun­ters when his trou­bled state of mind also becomes hers.

As his benign yet con­trol­ling moth­er Jerolyn (Shirley Knight) comes and goes with dire warn­ings about the dead­ly dan­gers that he rep­re­sents to Gail and oth­ers, it becomes clear that there is some­thing deeply Freudi­an at the heart of this moth­er-son rela­tion­ship, with John Doe now trans­fer­ring his moth­er­ly fix­a­tions to the kind­ly ther­a­pist. It is, how­ev­er, left to the view­er to deter­mine whether what is unfold­ing is more akin to Psy­cho or Car­rie, giv­en how much of what we see in the film proves to be an unre­li­able merg­er of a con­cealed real­i­ty and the protagonist’s psy­chic inter­fer­ence and fugue-like denials – all of which here look the same, as the film sends’ to the view­er an audio­vi­su­al pre­sen­ta­tion of its protagonist’s deranged point of view.

It will turn out that the ques­tion which John Doe is try­ing to answer from the very out­set – live or die? – will con­tin­ue being posed in this psy­chodra­ma of deferred deaths and inter­nalised mater­ni­ty. For even as his break­downs cre­ate may­hem through­out and beyond the asy­lum, Gail slow­ly pieces togeth­er a domes­tic night­mare which she imag­ines that in the end she has sat­is­fac­to­ri­ly resolved. But some­times even those whom we have man­aged to let go find a way of stay­ing on at least in the mind, and some­times a boy’s best friend is his mother.

The Sender is released on Blu-ray by Arrow Films on 17 June.

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