Brad Dourif Stars In This Ultimate Forgotten 90s Chiller
Body Parts is a film that stands out in my mind because I saw it at an impressionable age and it was seared into my brain from then on. But given the film didn’t even recoup its $10 million budget at the box office, I think this horror picture has been mostly forgotten in the time since its 1991 release. Though it may not be a proper diamond in the rough, Body Parts is what I lovingly refer to as a semi-precious gemstone in the rough. It’s a film that doesn’t get everything right but is still well worth a watch.
The film follows idealistic criminal psychologist Bill Chrushank (Jeff Fahey), a man who just wants to make the world a better place. On the way to work one day, Bill is involved in a major car accident. Following the crash, he loses his arm. But all is not lost. Dr. Chrushank receives an experimental transplant that allows him the continued use of all four limbs. Though the surgery initially seems a success, Bill eventually begins to worry he’s not in complete control of his new arm. It seems his surgeon forgot to mention one small detail: The limb was donated by a prolific serial killer who was recently put to death. Because Body Parts is a mixture of science fiction and horror, the limb soon proves to have a mind of its own and starts to demonstrate a penchant for chaos.
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Since the film’s release, there have been a handful of successful limb transplants performed. But in 1991, such feats were essentially the work of science fiction. What still remains science fiction is the idea of a sentient transplant that can somehow operate independently of the brain by which it is controlled. As farfetched as the premise of this horror film might be, it’s still an awful lot of fun. Body Parts feels like a more modern take on a schlocky mad scientist picture from the ‘50s or ‘60s. And if you watch the film with that in mind, there’s plenty to appreciate about the sometimes-nonsensical storyline.
Even if their script isn’t always firmly rooted in logic, screenwriters Eric Red and Norman Snider take care to adapt Pierre Boileau and Pierre Ayraudwith’s novel for the screen with a maniacal zest. They take a decidedly different approach from the tome, which is more focused on what defines personhood than serving up graphic depictions of viscera. And believe me when I say there is plenty of viscera on display.
In addition to plenty of onscreen carnage, this horror picture also serves up plenty of atmosphere and tension. The sequence leading up to Bill’s accident is especially unnerving. Director Eric Red builds anticipation; cutting between Bill on his morning commute and a wobbly spare tire attached to a nearby vehicle. Making the setup even more precarious, Bill is distracted, dictating notes into a portable tape recorder. The perspective cuts back and forth several times, leaving the viewer in a state of suspense until the tire eventually detaches.
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Following a harrowing crash sequence, it appears as if Bill might be spared any serious injury. The viewer has just enough time to sigh in relief before a semi-truck creeps up behind Bill, plowing into the back of his sedan and sending him flying through the windshield. The entire ordeal is menacing and sets the proceedings off on a tense note.
The tension continues from the crash site into the operating room. Voyeuristic shots captured with a fisheye lens appear disorienting and imposing. Worse yet, Bill endures a horrifying ordeal when he goes under the knife that is excruciating to watch.
In what may or may not be a drug-induced slumber, the psychologist sees remnants of his arm separated with a bone saw, arterial spray flying in all directions. Flourishes like that add an undeniably nightmarish quality to the proceedings. The bloody excess continues throughout the film, making it a treat for gore-hounds. But I should warn that the proceedings really go off the rails in the third act. I think the over-the-top narrative developments are charming. But some may be put off by the outlandish and often ridiculous places the story goes to in the final 30 minutes.
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Horror fans will likely be delighted to see Brad Dourif pop up as a fellow transplant recipient. He doesn’t get the most substantial arc. But he makes the most of his screen time, appearing as an eccentric artist with a quirky sense of humor. He’s got a couple of good one-liners and brings a certain unhinged energy to the role. It seems the actor is well within his comfort zone here.
On the whole, Body Parts is a campy nod to the B-movies of yesteryear that features some truly grisly sequences, a baseline of tension that begins from the jump, and a memorable appearance by genre fixture Brad Dourif. If you’re keen to check the flick out, you can find Body Parts on physical media and Digital. The flick may not be perfect but it’s definitely good enough to warrant a watch. Who knows, you may really dig the chaotic extremes to which the flick goes. I know I do.
Categorized:Editorials
