Cerebrum

Cerebrum, written and directed by Sébastien Blanc, takes a modern and decidedly subdued approach to the classic ‘Frankenstein’ myth.

There are no gothic castles or massive thunderstorms in the present-day setting. In the tradition of scientists playing God neurosurgeon Richard (Steve Oram) is not someone who feels constrained by society’s rules or moral judgements. When his underperforming adopted son Will (Tobi King Bakare) fails his medical exams Richard does not hesitate to pull strings and have the results changed. Inevitably, when Will’s mother (Ramona Von Pusch) is killed in a traffic accident caused by her intoxicated son, Richard has no qualms about defying the laws of nature to bring her back to life or pressurising his convalescing and guilt-ridden son into helping.

Writer/director Sébastien Blanc takes a low-key approach to developing a mood of encroaching horror. Although Will is recovering from a head injury Blanc quickly moves away from the possibility events are taking place in his confused mind. A genuinely creepy opening, involving Ramona Von Pusch tormenting her son while wearing a truly evil smile, establishes Will’s sense of guilt rather than offering the relief of being a dream.

Although Cerebrum is categorised as a horror movie, it does not conform to the norms of the genre. Steve Oram’s behaviour is far from the cliched ‘mad scientist’. The only point at which Oram emits anything close to a deranged cackle is when demonstrating the therapeutic benefits of laugher to his depressed son.

Typical of the low-key tone of the film Oram underplays the villain. A gradual sense of unease and horror arises from the character’s control-freak attitude and his absolute belief his actions are correct rather than any ranting or raving. If anything, Oram draws out the humanity of the character with a suggestion Richard is affected by the extremity of his actions, enduring what looks very like a panic attack.

The relationship between father and son is hardly nurturing. Flashbacks suggest Will kowtows to his domineering father, unable to admit his exam failures or confront his dad and address the results being adjusted falsely. It is possible Will’s use of drugs may be an effort to escape from this stressful situation. Richard seems to regard Will’s recovery process as an intellectual exercise rather than an opportunity to bond, quizzing his son about what he saw while in a coma.

It is tempting, as the film is basically a two-hander, to suggest it might work just as well on stage, but the impact of the movie is dependent upon intense close-ups of Tobi King Bakare’s expressive face. For large parts of the film Will’s injuries render him incapable of speech so Bakare communicates his incomprehension and growing horror entirely through his facial reactions while expressing his disapproval of Richard’s actions through reproachful stares.

There is a laid-back dark humour in the film. A life-and-death struggle between father and son takes place with a jaunty song playing in the background. One of Richard’s potential victims, far from being frightened, simply punches him on the nose.

The understated approach and fine performances ensure budget limitations do not prevent Cerebrum from being a successful update to a classic tale.

Signature Entertainment presentsCerebrumon Digital Platforms 3rd July.