The Serpent and the Rainbow (1988)

Director:

Wes Craven

Writers:

Wade Davis (book)
Richard Maxwell (writer)

Release Date:

5 February 1988 (USA)

Genre:

Horror

Tagline:

Don't bury me...I'm not dead!

Plot:

An anthropologist goes to Haiti after hearing rumors about a drug used by black magic practitioners to turn people in zombies.

Plot Keywords:

Male Nudity | Disturbing | Cockfighting | Female Nudity | Voodoo

Awards:

1 nomination

Cast

Bill Pullman	...	Dennis Alan
Cathy Tyson	...	Marielle Duchamp
Zakes Mokae	...	Dargent Peytraud
Paul Winfield	...	Lucien Celine
Brent Jennings	...	Louis Mozart
Conrad Roberts	...	Christophe
Badja Djola	...	Gaston
Theresa Merritt	...	Simone
Michael Gough	...	Schoonbacher
Paul Guilfoyle	...	Andrew Cassedy
Dey Young	...	Mrs. Cassedy
Aleta Mitchell	...	Celestine
William Newman	...	French Missionary Doctor
Jaime Pina Gautier	...	Julio
Evencio Mosquera Slaco	...	Old Shaman

Runtime:

98 min

Country:

USA

Language:

English | French | Spanish

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby

Certification:

Iceland:16 | Argentina:18 | Australia:M | France:-12 | Norway:18 | UK:18 (cut) | USA:R | West Germany:18 | Australia:MA (TV rating) | Finland:K-18 | Finland:K-16 (cut)

Filming Locations:

Boston, Massachusetts, USA

Company:

Serpent and the Rainbow

Trivia:

Author Wade Davis agreed to sell the book rights on the condition that Peter Weir direct and Mel Gibson star. Neither man had any involvement in the project.

Quotes:

Dargent Peytraud: By the way, Doctor Allen. What did you dream about this afternoon? A woman in your arms? The sea at your doorstep? Nooooo! You dreamt of me and of the grave. I know because I was there. And I can be there every time you close your eyes. The pain I cause you, in the room upstairs, is nothing to the pain I can cause in your own mind. Remember that... Doctor Allen.

Movie Connections:

Referenced in "Navy NCIS: Naval Criminal Investigative Service: Head Case (#3.15)" (2006)

Soundtrack:

Madame Marcell

A Touch of Style

I remember watching "The Serpent and the Rainbow" in a cinema when it opened 12 years ago, and although it did not strike me as a masterpiece, I never forgot it. I had always had a memory of it as a good horror film, but tonight I saw it again on television and I was impressed about how good it is. One may associate Wes Craven with "Scream" or "A Nightmare on Elm Street", but this one is certainly one of his best films. I still see it as an adventure film with horror elements, but this time I found it full of style -a touch of documentary approach, clever use of colorful locations, good handling of massive scenes with many unprofessional extras, attractive ethnic art direction, a bit of grand guignol in some performances (mainly Zakes Mokae), humor and a sensitive and sympathetic approach to a different culture. Many times one sees American films dealing with others' cultural aspects -such as political affairs and religion-, without any respect or concern. It is true that "The Serpent and the Rainbow" is not a serious drama about people's revolt, or a tract on synchretic religions (such as Cuban santería, Haitian voodoo or Brazilian candomblé), but both aspects are not just décors, but elements well integrated to the story in its own terms -that is, in a low budget feature, whose main objective is to entertain and scare the audience. The so-called "South" is such an exotic locale for most First World filmgoers, that cultural "details" often pass unnoticed, because these persons seem to be too obsessed with their own "cinematic hedonism". Craven knows it, and that is why he makes foreign tourists applaud when they have seen a real possession, thinking it is just part of Paul Winfield's show. One of the reasons that this film is good is the script. Someone mentions in another comment how cleverly it introduces more than one level in a single scene: for example, when Dennis and Marielle are looking for Christophe in a cemetery, they not only meet grave robbers for scaring effect, but they also discuss about the possibility that Marielle is using Dennis to obtain funds for her hospital, and the scene fulfills its expectation: they find Christophe, who tells them about the mysterious 'powder'. What turns off some viewers -and myself, in a way- is the cinematic forms that take all the things dealing with energy and human capacity for evil. They are sometimes too gross, others just plain funny or ridiculous; but this is a Craven film, and they did not detract me from the main objective I mentioned earlier. Besides, there are other things I enjoyed watching the film again. First, to see once again the Bill Pullman whom I used to enjoy so much (remember the dumb blond in "Ruthless People"?) when he was beautiful and had not turned into the dull American president of "Independence Day." I also recognized elements I've witnessed. A lot of the things that you see and hear in this film are not just fiction (after all it is based on a "true" story): they are all part of many Caribbean cultures -from the sensuality of the islanders, to the rite in the river, or the powder itself. And believe me: the powders work! Not only for making zombies, but also for many other things. Don't ask me how, I do not know how they do it, but I have seen them work (in Cuba -no joke intended)! So beware.