Entry 65: I, Madman (1989)

I, Madman (AKA Hardcover) (1989)

Dir: Tibor Takacs

"Lose yourself in a good book."




Sexy used bookstore clerk/acting student Virginia (Jenny Wright, Near Dark) is addicted to a series of lurid pulp horror novels by a Malcolm Brand.  Problem is, her nocturnal reading sessions begin to end in hallucinations in which Virginia imagines herself to be the female lead from the books who is menaced by Brand's deformed antagonist, mad doctor Alan Kessler.  Soon, fantasy intrudes on reality, as Virginia's real-life acquaintances begin to show up dead and mutilated, victims of a straight-razor wielding killer.  Are these crimes really being perpetrated by a fictional character come to life?  How are they connected to the mysterious Brand?  And can Virginia convince her skeptical cop boyfriend (Clayton Rohner, Just One of the Guys, April Fool's Day) to help before she becomes the next victim?

On the surface, this is obviously yet another attempt at creating an iconic, supernatural slasher icon in the Freddy Krueger mold, yet I, Madman has a bit more going for it than most of it's by-the-numbers brethren, perhaps coming closest in tone and feel to the excellent, original Nightmare on Elm St.  The supernatural story story has more in common with gothic horror literature than it does with a typical stalk-n-slash cheapie, and director Takacs (the similarly underrated The Gate) gives the movie a dreamlike, slightly surreal atmosphere filled with odd colors, smoke and fog, piercing car headlights and occasional bursts of Raimi-inspired wild camerawork.  As played by nonactor Randall William Cook (the film's effects artist, who had worked on The Thing and Ghostbusters and would go on to the Lord of the Rings trilogy), Kessler doesn't have the screen presence of Freddy Krueger, nor does his ever-changing appearance (he augments his own damaged, mutilated body with parts removed from his victims) allow for him to acquire any sort of iconic totem, like the masks of Jason Voorhees or Michael Meyers.  Still, Cook's piercing eyes and impressive physicality help to sell the character and do provide a genuine sense of menace.  The performances are all better than average for a late-period slasher, with special marks going to Wright as the put-upon heroine.  She plays the part with absolute conviction, helping to sell some of the story's sillier aspects.  Watch for a scene in a porno book publisher's office that features great posters for East of Edith and Moby's Dick!  I wouldn't go so far as to call this a forgotten classic, but it is an overlooked little gem that horror fans should enjoy.