Venom (1981) Review

In 1981, Oliver Reed was in a tough situation. His days of drinking to excess and playing games with his mates from the pub had taken a heavy toll on his purse strings. Moreover, the upkeep on his palatial manor house Broome Hall practically crippled him financially. He was forced to choose film roles that, frankly speaking, were beneath him. It is somewhat disheartening that, by 1983, he had starred in two hammy films about killer snakes, William Fruet’s 1983 offering ‘Spasms,’ and 1981’s ‘Venom.’

‘Venom’, directed by Piers Haggard, pairs Reed with the ever-eccentric Klaus Kinski, as a pair of bungling kidnappers targeting the grandson of a hotel magnate. They successfully snatch the child, holding him hostage in his home, but their plans slither into chaos. Unbeknownst to the criminals, the boy inadvertently brought a Black Mamba with him, which escapes. As the situation deteriorates, the police surround the house, while the Mamba, lurking in the ventilation system, stalks his prey; fangs poised to strike.

A schlocky flick, it makes for a highly entertaining watch- for all the wrong reasons. Haggard fails completely to generate tension. Like a drunk on a tightrope, he struggles to balance the thriller and horror elements. The film is neither suspenseful nor tense, and the threat of the snake never feels more menacing than a misplaced garden hose. The dialogue is stilted and unnatural, while the narrative is as predictable as the setting sun. Moreover, the police procedural elements are dull and cliched, while the interplay between the kidnappers and their quarry seems ripped from an ‘Idiot’s Guide To Storytelling’.

It is a ridiculous film, the appeal of which comes from the general incompetence of Haggard’s direction, the tacky snake POV shots and the over-the-top performances from the cast. The cinematography from director of photography Gilbert Taylor- who did impactful work on numerous films, from Roman Polanski’s ‘Repulsion’ to Richard Donner’s ‘The Omen’- is nothing to write home about. His shots lack visual flair or creativity, while the lighting is flat, and his compositions conventional.

Michael Kamen’s score is similarly uninspired, while the editing is frequently choppy and disjointed. However, while the aforementioned snake POV shots- which were also prominently featured in 'Spasms'- are tacky, adding to the film's unintended campness, the fact that a real Mamba was used in certain sequences is commendable and effective.

There is an undeniable charm to the film’s absolute absurdity. It’s sheer, silly fun, bolstered by the central performances from Reed and Kinski. Reed, a maestro of brooding, silent thuggery, is terrific. He embraces the over-the-top nature of the film with gusto, yet plays the material utterly straight, delivering his lines as if he’s performing Shakespeare. His commitment to the role is so earnest that you can’t help but be captivated.

Kinski, probably the most temperamental actor to have ever graced the screen, seems to be in an intensity contest with Reed. To paraphrase Spinal Tap’s Nigel Tufnel, he turns it way past eleven. Watching Kinski is like watching a live wire sparking dangerously close to an open gas line- rivetingly unpredictable. He is so over-the-top, he's practically orbiting Mars. Apparently, he and Reed did not get along during filming (what a surprise, Kinski not getting along with someone); explaining why the tension between them feels so genuine. Their eccentric duel of egos adds unique, unintentional comedy to the film.

Susan George also has a small role as their accomplice Lousie, seeming bewildered as to why she's in a snake-based chiller. Sterling Hayden, as the hotel magnate, looks like he’s wandered onto the set by accident, and acts like it too. Sarah Miles, as a snake expert, plays the material with a hilarious seriousness, while Nicol Williamson, as the main cop, phones it in completely; though is such a fine actor, he actually impresses.

In conclusion, Piers Haggard’s ‘Venom’ offers a glimpse into Oliver Reed’s latter career, marked by financial desperation and a willingness to take on any role. As a horror and a thriller, it fails completely, though as an unintentional comedy, it works wonders. The over-acting from Reed and Kinski is a constant delight, while the Black Mamba POV shots are always good for a laugh. Although the narrative, dialogue and cinematography doesn’t impress, it’s still a fun film worth watching. In short, though ‘Venom’ might not slither to greatness, it does have a bit of unintentionally comedic bite.