The Inside Story

Synopsis: Dean Olsen (Andrew Curry) has recently moved in with his uncle, Edward (Charles ‘Bud’ Tingwell). The house has been in the family for generations, and is dominated by the memory of Edward’s grandfather who disappeared without a trace. Dean notices something unsettling about the house, and on investigation, he discovers an ancient book locked away in the basement. The book is a power unto itself, and Dean can’t resist trying to discover the extent of that power. Little does he realise the impact it will have on his life.

The Inside Story is the result of a long and determined road walked by Robert Sutherland from first draft to a cinema release in his hometown of Melbourne. I have complete admiration for his efforts especially as my feature film script is still sitting in my bottom drawer. It shows what is possible if one has the determination to see a project through to its completion.

Back to the film. The title sequence sets the mood and genre, which means the audience immediately have some idea of what kind of film they can expect. And the closest single genre would have to the supernatural thriller. There is a fair smattering of humour and romance, however, the basic premise of the film lies in the connection the book, with its supernatural powers, has to the instigating of the cinematic narrative. The world in which this action takes place is, for all purposes, quite ordinary. The members of the shared household with whom Dean eventually crosses paths could be any group of twenty-somethings and the awakening of the evil forces that have laid dormant in the book for so long, disturb a normality that could be our own.

Kate Oliver as Liz Davies and Michael Angus as Michael Parker initially play the role of the non-believers. They deal with the question the audience are sure to ponder, how could an evil force cross over from another dimension into this world, let alone exist at all? There are twists in the story that come as a surprise, and for the most part, fit the logic of the world in which they occur. The visual effects are an integral part of the story telling. I particularly liked the way the words appeared on the pages of the book seemingly out of thin air.

It’s hard to say what kind of audience will find The Inside Story appealing. Fans of Sam Raimi and his Evil Dead brand of horror flick would see this as too soft and far too serious about its subject matter. On the other hand, a more critical or analytical audience is likely to be disappointed by the vagueness with which the supernatural is treated, particularly when it comes to the story’s resolution. At one point in the film, Liz is trying to encourage Dean to follow his passions, as she believes this is where the power lies. These words can be taken very much as Sutherland’s own. Despite its shortcomings, the passion and effort behind this independently-funded feature are clearly evident.

 

 

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