Alleluia! The Devil’s Carnival premiered Tuesday of this week at Hollywood’s Egyptian Theater, kicking off a nationwide road show tour. The film, a horror fantasy musical, picks up the story from the first film where Lucifer is moving forward with his plans to wage war with God. Shot in just 14 days on a micro budget of $500,000, the film has a polished look and plenty of pizazz. Unfortunately, with a clever, but scattered narrative and an abrupt ending, the film comes up short.
A little explanation. The Devil’s Carnival, set up a deliciously demented fantasy realm in which God, played by veteran actor Paul Sorvino sits high in his 40’s style skyscraper, designing and dictating at his whim. Hell, on the other hand, is a carnival on the outskirts of existence where the devil, Lucifer, played by writer, co-composer Terrance Zdunich, runs a carnival of lost souls. Of course, Lucifer has his minions. Foremost among them is the Ticket Keeper to the carnival, (Dayton Callie). At the end of the first film Lucifer promises all under his command that come tomorrow they will wage war against God and heaven.
Alleluia! The Devils Carnival opens with a robust bravado and powerful music. Lucifer is powering through the heavens aboard his celestial locomotive, tormenting heaven and taunting God by raining discarded Lost Souls at the pearly gates. This is the way a musical should open, full of power, drama and interest.
We next see God, played with heft by veteran actor Paul Sorvino, in his theatrical chambers. He is attempting to repair the the strewn souls that Lucifer has littered upon heaven. The almighty knows what Lucifer is up to and refuses to acknowledge it publicly. Instead he calls his right hand man, The Agent, portrayed by the dashing Adam Pascal, and insists that he goes down to Hell to sort things out. A B plot is rolled out as we are reintroduced to Translator Bentz, (Jimmy Urine), and Translator Batez, Chantal Claret. Minions of God, they have taken Ms. Merrywood (Briana Evian) into custody and are ready to interrogate her to get info on the Devil’s doings.
Now the plot is set up. The Devil is taunting God and threatening war. God is sending his second in command, and there is a damsel in distress as God’s henchmen, the Translators have begun to interrogate an innocent. You would think that we have the set up for where the movie is headed. Nope. Instead of going forward with his plans, Lucifer takes a mysterious visitor into his chamber and begins reading a story to his guest. Confused? We were too.
Lucifer sits atop his throne and reads from a tattered tome. Switching gears, the film focuses on the story that Lucifer is telling. Two young souls, have entered the pristine halls of Heavenly Productions Incorporated with hopes of working for God. Cora (Lyndon Smith) and Juno (Alexis Brandt) are toured through the workings of this hallowed “corporation”. Cora plays by the book whereas Juno is a bit of a rebel. As Cora follows the rules, Juno begins courting God’s Agent in a bid to control all.
There are moments when the film truly excels. The scenes involving the Translators are a hoot. Urine and Claret relish the nasty, wise cracking thugs they get to play and it shows. Adam Pascal is given ample screen time and plays The Agent with a sinister, puerile devotion, betraying a dark side. His musical number is one of the high points in the film too offering him a chance to croon. Of course, Paul Sorvino’s God is a joy to watch as he plays it out like an insecure corporate executive trying desperately to maintain composure and control over an increasingly chaotic situation.
Paul Sorvino as God aka The Author.
The production design here is expert, giving everything a 40’s vibe. Smokey nightclubs in heaven have a Cotton Club feel while Hell looks like an oxidized wasteland somewhere in the dustbowl. The color pops like fresh lipgloss in a way that would make Dario Argento want to stage a death scene. The wildly inventive music crackles like the embers of hell. Director Darren Lynn Bousman keeps the pacing fast and the tone dancing between camp and menace. There is exceptional work here.
Where the film falters is in the choppy narrative and the misleading setups in expectation. Surprises are one thing. This was just downright tricky. It is clear that the film makers intend to follow up with a third installment. We are eager to see it in fact. However, in making the audience wait an entire film for a climax to arrive, it’s disingenuous to suddenly revoke that, flip the lights on and tell everyone to leave. Throw us a bone, give us a little taste to hold us over.
Always interesting to watch and occasionally highly entertaining, the movie suffers from a convoluted narrative and the promise of a climax that never arrives. Go enjoy the pic but remember, the cliffhanger is Hell.
