A Modern-Day Faust

 

Paul with his temptress in the background

A Modern-Day Faust

A Review of Deal with the Devil by Nick Olszyk

 

Distribution Service: Amazon Prime

Year: 2018

MPAA Rating, R

USCCB Rating, None

Reel Rating, Two Reels            

 

            A fimmaker’s Freshman effort is always an interesting prospect. Benjamin Thomas was a Missouri storytelling whose fist novel Bitter Fish was well received. He then produced, wrote, abd directed Deal with the Devil on an extremely modest budget. I always encourage aspiring filmmakers and appreciate an honest attempt. The movie is an intriguing take on Faust with a modern spin but rough around the edges. Despite its problems, Deal demonstrates the early genesis of a competent artist.

            The film begins with a troubled man begging forgiveness in a church. He is approach by another sinister man who attempts to argue the futility of the penitent’s intentions. The scene cuts off quickly, not being fully explained, but nicely sets the tone. The audience is then introduced to Paul (Thom Murray), a reporter investigating the recent mysterious suicide of Don (Don Bradley). While writing his piece and interviewing Don’s acquaintances, he stays in Don’s house and begins to experience strange phenomena. As he pieces together the story, the narratives flashes back to Don’s perspective.

            Don was a blue-collar construction worker with a nagging wife and dismal prospects for the future. He finds brief moments of joy by painting still life. He’s not talented but at least it provides escape. All this changes when a demonic figure (Eric Nelson) promises to give him his heart’s desire in exchange for his obedience. Soon his mediocre paintings are selling for six figures, and he is throwing elaborate parties and sleeping with exotic women. Inevitably, the demon comes to collect and orders Don to murder his wife. After his uxoricide, the demon requests more and more heinous crimes, until Don cannot submit any longer.

            In the narrative, Paul is largely unaware of these events and even by the end is still in the dark. As the investigation continues, things get progressively stranger. He becomes the object of fixation by a female groupie who seduces him and insists on making love in Don’s bed. During autoerotic asphyxiation, Paul accidently kills her, and the demon suddenly appears, offering him a way out. At this point the picture ends, implying the vicious cycle will continue.

            One can be forgiven for much on a low budget first feature if the story is sound, and Deal with the Devil does well toying with ideas of evil, freedom, and redemption. Don does terrible things, but when he is commanded to kill an innocent woman he loves, he won’t go that far. At the same time, Don knows he is under the demon’s command; his free agency is compromised. He decides to kill himself instead of allowing yet another senseless murder. Even though suicide is an inherently evil act, his desire to save his love is noble. I was reminded of Pope Benedict XVI’s infamous and misunderstood interview about contraception where he tried to explain incremental conversion.

            Better was the idea that sin begets sin. Evil doesn’t just end when a sinner dies. Their actions ripple out and continues to do damage. Jesus said, “the poor you will always have with you.” As long as humans and demons exist, there will be sin in the world. Yet we, as individuals, can choose to live righteous lives. No one in the film had to follow the demon, and there were serious consequences for doing so. Unfortunately, none of them (except for the first scene) sought God’s help. Our souls ultimately belong to Him, and no demon can take them away.

            Despite a strong story and theme, it was hard to ignore many rookie mistakes. The sound quality was terrible; it was painfully obvious most of the dialogue was done in post-production. The biggest eyesore was the art design. Don, now a multi-millionaire artist had several “raving parties,” but no more than four or five people were seen at any given time, and they mostly just walked around smiling with red solo cups. The cinematography was also odd, composed almost entirely of medium shots and close-ups without any wide or establishing shots. This may have been intentional to give a claustrophobic effect, although I suspect this was done to hide more poor set dressing.

            There’s a good story here, but it needs some serious polishing to be compelling. As first features go, I’ve seen much better but also a lot worse. Hopefully, Mr. Thomas learned from this experience and will produce more in the future.