As a film enthusiast with a penchant for the macabre and a deep appreciation for the intricate details that breathe life into a story, I find Mike Flanagan’s approach to “The Devil All The Time” utterly captivating. His meticulous attention to detail, from incorporating his own children’s drawings in the set design to the clever use of red and piano motifs, creates an immersive world that resonates with thematic depth.
In Osgood Perkins‘ movie ‘Longlegs’, it seems that dealing with demonic activities is a constant occupation. The devil, being both omnipresent and elusive, can be found in every corner yet remains largely unseen. One moment he may be conspiring with Nicolas Cage for the chilling act of killing young children, while the next instant he could be lurking at the library to haunt Maika Monroe’s character, Agent Lee Harker. Have you noticed how frequently he makes his appearance? (Please beware: potential spoilers lie ahead.)
From the onset of Longlegs, it’s apparent that Lee Harker harbors a mysterious link to the “Longlegs” serial killer case, and it takes some time to discern the nature of this connection. As she moves closer to unraveling the truth, it becomes increasingly evident that the devil has been observing her closely. Scene after scene reveals him lurking in the periphery.
Perkins explains that these dark vignettes are a nod towards the concept of hidden Satanic messages, serving as a recurring symbol of how deeply involved the devil has been in Lee’s life, particularly as she embraces new revelations. However, Perkins stresses that this work is not only meant to be taken seriously but also intended to be light-hearted and playful, as some may have perceived it.
“Perkins explains to Vulture that they’re working with a group who are excited about creating an unusual film. He tries to come up with intelligent, artistic, and sophisticated ideas to make it even more enjoyable. The fun part is spotting the devil appearing in various scenes throughout the movie.” Here’s a comprehensive guide showing each time the devil appears on screen.
Supervising the investigation
A vague character hides in the dark, rear left part of the scene as Lee Harker sets off to pursue the Longlegs murderer.
For the first time, I’m delving into these criminal matters, and my analytical mind is being stimulated by the evidence. It seems fitting that the devil is accompanying me, guiding me, almost like a companion on this journey.
“Well, it’s quite obvious, isn’t it? I wouldn’t read too much into it.” (Implying that the demon’s presence near the American flag is likely insignificant or unimportant)
Shadowing Longlegs
A giant demon shadow lingers over Longlegs during a nighttime walk.
On first encounter with Longlegs in the current scenario, one could observe a colossal horned figure casting a shadow over him as he treads through the woods. To Perkins, it seemed plausible that the devil might be accompanying him – giving off an impression of “I’ll tag along too”.
Eavesdropping on a phone call
The devil hovers in a doorway just over Lee’s shoulder right before the phone rings.
Looking more intently at the birthday card given by Longlegs, we observe an unsettling figure standing in the doorway. Shortly after, Lee receives a call from her mother. This seems like innocent premonition – a suggestion that her mother has been involved in these heinous crimes for years.
According to Perkins, Lee is moving further along in the investigation. Soon, she’ll receive the birthday card and the cipher. This seems to suggest that she’s about to enter a higher echelon or level, perhaps like entering another circle, and it feels as if she’s approaching a significant boundary or threshold, almost like encountering the devil.
The open doorway behind Lee is a motif Perkins has used in all of his films — a universal and ominous symbol of the unknown. “It’s a thing that it’s a thing that looks right to me,” Perkins says.
A haunted library
The demon’s reflection appears in glass at the end of a long row of books.
In the spirit of captivating crime dramas I’m so fond of, I too found myself delving into the library for some crucial research on these chilling murders. A tribute to Clarice’s midnight microfilm sessions and her intriguing encounters with those peculiar entomologists in the classic Silence of the Lambs.
Initially, the idea was to involve additional people, such as Perkins’ wife and a child, in the plan. However, he ultimately decided against it, instead opting to place more focus on the fact that Lee is putting in extra hours at work.
In this movie scenario, the devil is aiding Lee with her investigation, not because he’s benevolent, but rather because it will ultimately lead to a tragic and horrific end for her, as Perkins explains. Specifically, it could mean that Lee might have to confront the terrible act of killing her own mother – an outcome that Perkins describes as the worst possible day for anyone. By providing Lee with the necessary information to apprehend Longlegs, the devil is essentially orchestrating the next step in a larger, more sinister narrative.
The devil’s hideaway
The devil sits at the back of Longlegs’ basement lair.
In Lee’s mom’s basement resides a dwelling called Longlegs, which may strike Silence of the Lambs enthusiasts as an affectionate nod to Buffalo Bill’s residence. Reminiscent of the movie, the space is filled with details like round mirrors and a feather boa, even sporting a dressmaker’s mannequin. The atmosphere seems to call for a performance of “Goodbye Horses.” As Perkins explains, “We aimed to sense the devil’s presence in that corner.”
In creating the space, Perkins and his team aimed to suggest that before transforming into a notorious serial killer, Dale Cobble (Cage), once had a flair for glam rock music. “You’ll notice a furry, shaggy amplifier hidden at the back,” Perkins explains. “There’s an empty fish tank sitting around, and all the other elements that hint at a teenager’s messy, unsanitary basement.”
In this scene reversed, Perkins points out, Longlegs is depicted in bed, engrossed in “The Golden Bough” – a work delving into mythology and religion by anthropologist Sir James George Frazer. He remarks that they only discovered this shot during filming on the day itself. This shot, he explains, serves as a subtle nod to “The Graduate” – both characters seen lying in bed, seemingly lost in thought, reminiscent of ‘Sound of Silence.’
Demonic infestation
As Lee looks around, she spots something ominous lurking behind her – it’s a large insect darting into the cellar of her mother’s home.
In simpler terms, it’s unsettling for all of us to discover a large insect in our living spaces. However, the stray beetle scurrying beneath the door into Lee’s mother’s basement suggests that something far more ominous lurks below, as suggested by Perkins. This eerie occurrence was not initially planned; it was an idea that emerged during post-production.
“In the editing process, we noticed that mysterious shape in the background, and it seemed like one of those instances where another layer of her understanding is being unveiled. She’s standing at the door now. Having the devil there to observe her progress and subtly guide her made it feel like a fitting scene.”
The devil’s playthings
The devil stands in Lee’s childhood doorway as she looks through her toy box.
Since Lee’s 9th birthday, it seems the devil has been a constant presence in her family. Through sheer luck and her mother’s desperate deal, she’s managed to evade death so far. However, he continues to lurk and bide his time for the perfect opportunity to attack. Not only does this scene carry significant symbolism, but Perkins and his crew carefully incorporated details – even some of Perkins’ own children’s artwork adorning the walls.
In an interview, Perkins mentioned that there were many elements revolving around a red piano scattered throughout the script. They filmed numerous small items in shades of red resembling a piano, but most of these didn’t end up in the final movie. However, they are still present if one looks closely. Additionally, he shared that the concept for the toy chest came from his own childhood toy box. At around eight years old, he had a black-and-white picture of Linda Blair from “The Exorcist” at the bottom of his toy chest. He kept it hidden, face down, so he could easily find it whenever he needed.
Killer instinct
As a dedicated cinephile, I’d rephrase it like this: Peering through a window, I catch sight of the Devil’s shadowy figure, while the chilling sound of my mother firing shots at a detective outside our home echoes in the silence.
Speaking from my perspective, I find myself standing before another open door, and as I peer into it during editing, I can’t help but sense there’s a challenging spot to place it. It seems the shadows always gather when something unexpected is about to be unveiled. In this scenario, the surprise was discovering that my mother donned a nun’s habit and fired a shotgun not once, but twice. Now that’s some fresh insight!
Unheavenly father
The devil towers over a young Lee as she sits on her bed.
In the original script, this particular scene was among the select few, so Perkins and his crew designed the shot appropriately. Perkins explained that it was likely one of the early shots, possibly even the very first, built to visualize how it would turn out. He described it as providing a glimpse in an image of what the movie is about, and also presenting the devil with a somewhat paternal presence within her small room behind her.
An unwanted houseguest
In a mirror inside Agent Carter’s (Blair Underwood’s) house, the devil shows up one last time.
From my perspective, among all the hidden challenges I’ve encountered, this one stands out as the most intriguing: “It’s engaging. It’s nerve-wracking. It’s about punctuation.”
The ominous aura of evil emanating from the devil is starkly contrasted by the joyful birthday party tunes resonating within the house. This contrast only serves to heighten Blair Underwood’s unnerving smile as he gazes out at his street and locks Lee inside, setting the stage for the film’s gripping climax where she is confined.
Apart from symbolic reasons, the devil was strategically placed within the frame as well – it served to conceal the camera’s reflection on the door. At a certain juncture, Perkins notes, a film often communicates its intentions. In this instance, it seemed to be conveying the desire to disguise the camera behind the devil, signaling the final act of his theatrical performance.
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2024-08-24 01:54