Two bikers careen and crash in the Canadian countryside very close to a cosmetology clinic. The girl biker has received serious injuries and needs lots of surgery involving skin grafts. After that there is virtually no scientific or general explanation for how this young lady develops a blood-sucking mouth in her armpit, that after having bitten its victims transfers the same desire for blood; thus creating a plague in Montreal of all places. Now, the story has some obvious holes that needed to be filled and were not, but writer/director David Cronenberg can make even the most absurd stuff seem real and scary. This was his real second feature after Shivers, and he delivers the goods with some artful direction, more than ample suspense, and a pervasive mood of uneasiness in a city being besieged by a viral plague. Money constraints seem obvious as well. Whatever happened to the French detective? I found his character rather interesting. Cronenberg made me jump from my seat more than a few times, and his style really absorbs all elements of the film even when you know what is going to happen - the shock is still there. A lot of people haven't ever been fond of Cronenberg's work, but I think that in the world of horror he is definitely one of the underestimated craftsmen. As a final note it would be remiss of me not to mention Marilyn Chambers. She does a pretty good job acting here. I found her very believable and beautiful. After all I guess there are worse ways to go then being sensuously cradled in Ms. Chambers arms as she caresses your hair and her carnivorous armpit dweller locks into your bloodstream. Perhaps. Perhaps not. I don't know - guess I'll chew on it a bit.

David Cronenberg perhaps maybe didn't get too ambitious as he forged ahead in the 70s as a low-budget director of bloody, outrageous horror films in Canada, but it was probably a good chance to learn tricks of the trade he'd know for the rest of his career. And somehow, while watching it, despite the fact that it is not masterpiece, it has all the makings of being a real influential work. Like another film that it's obviously been inspired by, Night of the Living Dead (albeit the Crazies might be in there too), Rabid seems to have given rise (no pun intended) to films like Species (hot woman out on the prowl for beings to fulfill her), 28 Days Later (obvious), and even Planet Terror (outbreak in a hospital). It's rough and with a terribly bleak ending, and it's got a certain pizazz that should keep it humming on genre fans shelves in the years to come. Marilyn Chambers is one of the reasons the film got made- Ivan Reitman chose her over Cronenberg's (more interesting) choice of Sissy Spacek- though it is and isn't her exactly that makes Rabid a little sleazier for some reason that it might be without her. To be sure, she's the catalyst for the outbreak of the not-quite-rabies that spreads out in Montreal after a freak skin-grafting operation following a motorcycle accident (very well filmed that is, by the way). But seeing her after she gets out of the hospital and for the bulk of the picture until she reunites with Hart is a little predictable, and adds an air to the film of being too exploitive of expectations as opposed to exploiting the primitive tools of storytelling Cronenberg has. A scene like when Chambers goes into the movie theater should be freaky, but it's just sort of ho-hum. It's not even that she lacks a certain screen presence, though at the same time, as the protagonist, she's not even really all that interesting in context with what else is going on around her. The best parts of Rabid are the side scenes, the little moments like when Joe Silver watches TV with the baby, or when the mall cop accidentally shoots the Santa Claus and mutters "Christ!", or when we see the sudden moments of the characters like the truck driver out for BBQ chicken or the random dude at night jumping on Hart's car. Those are when Cronenberg strikes it best as a pure genre director, not going too deep into theme (aside from that of the unawareness of disease and infection, a theme that would grow stronger in the 80s to be sure), plus in the shock value of the actual creature that sprouts out of Chambers mouth, which is probably even *better* concealed and revealed than with the parasites in Shivers. At the end of it all, Rabid only really gets profound towards the very end, as a tragic scene occurs, but by then it doesn't amount to a whole lot. Rabid is a warped little blood-soaked flesh-eater flick, and it's happy with being simple and dark in its low budget.

source: Rabid

Rabid

I'm a fan of David Cronenberg, so I've gradually been unearthing his earlier work. I watched Rabid last week, and, too my surprise, it was a pretty good B horror flick. Sure, it had plenty of bad acting (though Marilyn Chambers was good-*gasp*), was a bit too long for what it was, and was uneven overall, but I could definitely see the genius that was too come from this very young Cronenberg. Interesting flick--give it a try. **Another interesting note--look for Ivan Reitman's name in the opening credits as a producer**

It's only marginally better than Cronenberg's earlier work Shivers and in some ways, it feels like a sequel to it. It takes the hyper-sexualized, extra-gory zombies that the first film utilized and expands them over a wider area. No longer just contained to an apartment complex on an island, these bad boys are free to roam around downtown Montreal. The slices of apocalyptic action near the end of the film elevate this one above the earlier film, as it's a much darker consequence to the story's identical problem. Basically all the technical aspects remain the same, from amateurish acting to dated sets to a distinctive atmosphere, and the warning against scientific tampering is still there, but the aforementioned wider scope and subtle nods to the sociopolitical environment of 1970s Montreal make this one just a bit better. Cronenberg was just warming up, though.

This is Cronenberg's disappointing follow-up to the great "Shivers." Once again, the "monster" is a disease that turns the victims into crazies. The underlying subtext that sexual appetite makes you crazy is reinforced by the casting of * star Marilyn Chambers in the lead role (she's not bad). There are some good scares and some great grotesque images (especially the frozen twisted corpse that was used in the film's poster). But the story is by turns confusing and, until the military is brought in at the end, repetitive. It feels overlong for what it is. Cronenberg had some nice directorial touches--I like the way he uses brightly lit, underpopulated buildings as a backdrop for the horror.