The Serpent and the Rainbow

Cynically utilizing the paralytic effects of tetrodotoxin in order to silence any sort of opposition and dissent: this is the criminal system employed by the leaders of an oppressive Haitian regime (inevitably reminiscent of “Papa Doc” Duvalier’s dictatorship, instituted in 1964) in what can be considered one of the most pungent and inspired examples of political-themed horror movies of its decade.

In fact, the film depicts a syncretic world dominated by ancient, sinister rites – a dismal reality where those who hold power virtually become evil demigods, using military force side by side with a strong penchant for black magic and the most sinister voodooism (just think of the spine-chilling collection of “soul jars” flaunted by Dargent Peytraud).

Craven is in fine form, and taking inspiration from Wade Davis’ book of the same name, manages to wonderfully combine the visual aspect – a truly picturesque Caribbean setting – with the inherent social critique that permeates the entire story. The cast turns in excellent performances, with a dead heat for best acting between an intense Bill Pullman and an ultra-evil Zakes Mokae.

Among the most memorable scenes, we would cite the one where the deadly serpent unexpectedly emerges from the bride’s mouth, and the one where the protagonist gets sucked into a hellish tunnel swarming with limbs ready to grab him.

Noteworthy.