DISCOPATH

(A.k.a. DSCOPATHE)

1976. We're in New York, at the height of the disco craze. This seems to be a fun time for everyone. Everyone, that is, aside from scowling Duane (Jeremie Earp-Lavergne). He works in a greasy diner where the lowlife patrons don't particularly bother him ... until he hears disco beats coming through the radio speakers.

His mood turns noticeably violent as he struggles to contain his murderous urges. So much so, that his boss is mortified and sacks him on the spot. After switching the radio off, of course, thus unwittingly preventing a full-scale bloodbath.

Duane begins to wander the streets aimlessly, until he bumps into a pretty roller-skating brunette who takes him into her life. All seems well until she invites him out to a club with her - and the DJ plays disco music. Sure enough, the rage simmers over in Duane once again and a bloodbath ensues.

Amidst the resultant chaos, Duane is able to flee the scene with the club owner's passport. Assuming a new identity, he eludes police investigation by jumping on a flight to Montreal.

The action then fast-forwards four years. We learn that Duane now works in an all-girls' school as a handyman, using the name Martin. But guess what? He's still plagued by memories of a childhood trauma involving his father (portrayed by writer-director Renaud Gauthier) and a music system with one serious technical fault.

One night, when two students decide to retire early to their dorm and make out to the strains of their favourite pop record, Duane's compulsion takes hold of him once more - and a fresh massacre follows.

Before long, Paul (Ivan Freud), the New York detective bamboozled by the unsolved 1976 case, reads about this fresh incident and sees striking similarities between the two. Granted a 7-day sabbatical from his day job, he flies to Montreal in the hope of finally nailing the killer.

But can he find Duane in time to save demure Sister Mirielle (Ingrid Falaise)?

DISCOPATH should probably be a whole lot of fun. With a title like that, and an opening titles sequence set to retro glitterball visuals and perfectly pitched disco sounds, this looks like being the type of faux grindhouse romp you'd expect from the likes of the Astron 6.

Indeed, Gauthier's film is certainly well-shot and edited, and it does do its best to replicate the era in question (fashions, cars, music - all are accurately conveyed). Performances are strong, and the 78-minute running time is agreeable. But this is a curious film...

For a start, it suddenly shifts pace and style about 20 minutes in when Duane buggers off to Montreal. Suddenly the language, understandably I suppose, changes from English to French. And the film looks less like a polished porno and more like an arty European venture. Dario Argento sprung to mind in some scenes; Walerian Borowczyk in others. All of which is very good, but oddly at loggerheads with the frequent bouts of dark humour and some really ill-fitting moments of gore and torture-porn leanings.

Though clearly made on a low budget, the film always looks good and benefits from decent practical FX work. Heck, it even manages to bag songs from Kiss and KC & the Sunshine Band for its soundtrack. But it's ultimately never sure of what type of film it wants to be: crime parody, gritty grindhouse thriller, torture porn sickie or European arthouse curiosity.

While all are satisfying in isolation, trying to merge them all into one storyline results in a tonal mess.

Metrodome's region 2 DVD is a typically barren affair.

It does at least open with three trailers advertising other titles from their fold: STAGE FRIGHT (the recent musical one), the MANIAC remake and the gory ALMOST HUMAN - which is no relation to Umberto Lenzi's Eurocrime classic.

Still, the main feature itself looks good. It's presented in its original 2.35:1 ratio and is enhanced for 16x9 televisions. Colours are warm and true, skin tones seem accurate throughout and there's a keen level of detail in evidence. Blacks remain strong for the duration, while a filmic texture and depth lend the movie visual gravitas.

Audio-wise, proceedings are rendered in an efficient 2.0 mix which proffers a mix of French and English dialogue, with burned-in English subtitles to cater for the former.

A static main menu page plays Kiss's "I Was Made For Loving You" on rotation, so be sure to press play without delay! From there, a static scene selection menu allows access to the film via 12 chapters.

As mentioned above, there are no bonus features appertaining to DISCOPATH.

DISCOPATH benefits from decent performances, good cinematography and editing, and an original if slightly ludicrous premise. It's also almost completely undone by a lack of stylistic direction.

Review by Stuart Willis