`Rabid' is a film that fits quite nicely, albeit inconspicuously so, in David Cronenberg's full body of work. The film carries its director's signature on it in terms of content, but lacks the Cronenbergian style that viewers would later see more developed in films such as `Videodrome,' `The Fly,' and `Dead Ringers.' Here, in what is essentially Cronenberg's second `commercial' feature film, we as an audience are treated to many of the same themes that pop up in the later films of this master of the sci-fi/horror fusion genre: faceless medical/scientific corporations that do more harm than good, a main character that is reluctant to serve whatever purpose he or she is destined to perform for good or evil, and a pervading sense of an impending plague or epidemic that cannot be prevented. In `Rabid' along with Cronenberg's first feature `Shivers' this last theme is exemplified in an almost completely literal way.
While the technically amateurish (when compared to later Cronenberg films) nature of `Rabid' may seem off-putting to some, it nevertheless does not detract significantly from the wildly original content at the film's core. Cronenberg has crafted a story so unique and yet so accessible that it is hard to dismiss this or any of his films as puerile or insignificant. The situation and events presented in `Rabid' seem straight out of a science fiction novel or comic book and yet they tap into some of our deepest and most contemporary fears. What one must do when watching early Cronenberg is to remind oneself that the director was still trying in many ways to fully find himself and the best way to express his ideas. And if the viewer will put the technical inefficiencies of `Rabid' aside, he or she will find a truly enjoyable and frightening film.
The performances are all-around good, although they never seem to be able to rise above the level of typical sci-fi/horror acting. Marilyn Chambers, the most interesting casting decision of this film, plays her part relatively well, although her perpetual forced-innocent attitude becomes a bit tiresome as the film progresses. Frank Moore shows a considerably larger range of emotions than any other actor, but when nothing much is happening in terms of action, his stoic look and bland dialogue only serve to reiterate the fact that not much is happening. Bob Silverman, a minor player in a few of Cronenberg's films, also shows up for a brief cameo, although those used to his idiosyncratic performances may be left a little disappointed.
On the whole, `Rabid' is an interesting film to watch if for no other reason than to get a sampling of the director's unique sense of story and theme. In terms of technical style it definitely looks dated and is lacking in many departments, something that Cronenberg would later correct in his films from the 80's. But what this film lacks in style it more than makes up for in substance. Cronenberg is a genius in his own right, a master of the scientific side of horror and fantasy. Fans of the director will most certainly want to seek this film out, while newcomers may want to view a few of his later films before delving into this and his other early works.
While the technically amateurish (when compared to later Cronenberg films) nature of `Rabid' may seem off-putting to some, it nevertheless does not detract significantly from the wildly original content at the film's core. Cronenberg has crafted a story so unique and yet so accessible that it is hard to dismiss this or any of his films as puerile or insignificant. The situation and events presented in `Rabid' seem straight out of a science fiction novel or comic book and yet they tap into some of our deepest and most contemporary fears. What one must do when watching early Cronenberg is to remind oneself that the director was still trying in many ways to fully find himself and the best way to express his ideas. And if the viewer will put the technical inefficiencies of `Rabid' aside, he or she will find a truly enjoyable and frightening film.
The performances are all-around good, although they never seem to be able to rise above the level of typical sci-fi/horror acting. Marilyn Chambers, the most interesting casting decision of this film, plays her part relatively well, although her perpetual forced-innocent attitude becomes a bit tiresome as the film progresses. Frank Moore shows a considerably larger range of emotions than any other actor, but when nothing much is happening in terms of action, his stoic look and bland dialogue only serve to reiterate the fact that not much is happening. Bob Silverman, a minor player in a few of Cronenberg's films, also shows up for a brief cameo, although those used to his idiosyncratic performances may be left a little disappointed.
On the whole, `Rabid' is an interesting film to watch if for no other reason than to get a sampling of the director's unique sense of story and theme. In terms of technical style it definitely looks dated and is lacking in many departments, something that Cronenberg would later correct in his films from the 80's. But what this film lacks in style it more than makes up for in substance. Cronenberg is a genius in his own right, a master of the scientific side of horror and fantasy. Fans of the director will most certainly want to seek this film out, while newcomers may want to view a few of his later films before delving into this and his other early works.