Scholars have debated the scope of the word keep, but usually consider it to refer to large towers in castles that were fortified residences, used as a refuge of last resort should the rest of the castle fall to an adversary. Ī keep (from the Middle English kype) is a type of fortified tower built within castles during the Middle Ages by European nobility. ![]() The shorter rectangular tower attached to the keep is its forebuilding, and the curtain wall is in the foreground. 1126) keep of Rochester Castle, England (rear). For other uses of Donjon, see Donjon (disambiguation). evil opus by Mann."Donjon" and "Castle keep" redirect here. It isn't perfect, but it's a really unusual and hypnotic good vs. The pace is slow, but the eerie setting holds up tightly and has a huge impact in the overall feel. There are very few build-ups and little scares at all. Mann knows how to stage a visually powerful scene, but if your looking for suspense. The special effects is a big (if over-extended) light show that has style and the monster design can look a bit rubbery, but eventually the monster design by Nick Maley does come off. His always in the right spot to get that impressive shot and original angle that just lingers on screen. What captures this layout beautifully is Thomson's photography. Worked into this is a very effective score that works the emotions thoroughly and creates a very out-of-this-world vibe. Like when Byrne's character encounters Molasar. There's sharp craftsmanship in depicting certain sequences that just stick in your mind. Visually there are plenty of potently dreamy images that spontaneously pop up. An intriguing character that had VERY little to do and was hard to understand. However Glenn Scott looked as if he was somewhere else in a very laboured role as Glaeken Trismegatus. Alberta Watson as Eva felt awkward and Ian McKellen was fine. Those who stood out were the humane German captain played by Jurgen Prochnow and Gabriel Byrne as the tyrant SS officer. There's an odd assortment of performances. The storyline was all over the ship with forced details (like the creation of evil entity) and a script riddled with confusing holes. They became nothing more than forgettable background features. Sure, there was interference by the studio in the final product (with a a lot of scenes hitting the cutting room floor), but Mann seemed more preoccupied with his visuals than with the plot and characters. However it's Mann's surreal direction, Alex Thomson's arresting photography and the moody electronic music score by Tangerine Dream that clicks in this atmospheric combination of fantasy, war and horror. The material is terribly mangled, jadedly rushed and comes across as pure pulp. ![]() ![]() Paul Wilson's novel is a bittersweet thing, as I came in with very little expectations, but on the on other hand I was left clueless about certain disjointed sub- plots. I remember reading the quite interesting and extremely unique premise and being totally compelled by the idea of it. I finally got the chance and it was a very flawed, but reasonable effort by director / writer Michael Mann. Wow! But huh? Yeah, after spending a long time trying to see this hybrid movie. Meanwhile, a mysterious man, Glaeken Trismegatus is on his way to stop this evil. So they get the help of a Jewish man, Dr Theodore Cuza (along with his daughter Eva) who knows a bit about this Keep. They believe it's simply partisan activity, but they soon find out its far from it. Sturmbahnfuhrer Kaempffer and his SS patrol arrive in town to stop the problem. It knocks off a couple of soldiers every night. Only to release an evil presence, known as Molasar. One of the soldiers believes that a cross-embedded in the wall is made of silver and digs it out. A group of German soldiers led by Captain Klaus Woermann are sent to take guard at a Keep near a Romanian pass.
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