From the beginning, you can notice something’s very wrong with Michael Mann’s The Keep. Unless you’re watching the 210-minute original cut that few people in this lifetime have ever seen, chances are you’re watching the same old awkward version of the film that’s always been available. Perhaps, to call it awkward is actually an understatement.
The Keep has always been shrouded in a veil of mystery regarding the movie's set, production, and its release. From issues with the filmmaking process, to a horrific interference by Paramount, it seems little was in Mann’s control. Nevertheless, it’s also a film whose cult status has grown massively over the years. People are fond of a storyline that holds a powerful premise, an insanely good performance by a very secondary character, and yes, maybe the “so bad it’s good” trait that’s embedded in the film’s third act.
So, if people love it so much, how has The Keep “stayed” on its spot for so long? It’s about damn time someone took that original cut and released it on physical media so that Mann’s vision is realized once and for all. The question is: will it? Is this actually what Mann wanted from the beginning? Will a remastered longer cut satisfy Mann or cult films enthusiasts?
Many questions, too many theories, and one man’s mysterious position in the current film industry. Mann’s last film, Blackhat, was released in 2015, and he’s currently busy with Ferrari’s post-production. Who knows if The Keep is still in Mann’s mindscape. Certainly a better version of this script is possible.
But is it worth the hassle?
What Could (and Should) Change in a Remake of The Keep?
The original tone of the film shouldn’t have to suffer major changes. This is war horror when war horror films didn’t exist, because merging those subgenres felt impossible to sell. The Keep is a serious film from beginning to end, without touching ground on the realistic side of context. Nazis are Nazis, but Mann’s script doesn’t use war as a dramatic background. Perhaps, it’s better this way, as the supernatural horror subtext is original enough to support the premise.
This doesn’t mean the script should stay untouched. The Keep is a story about greed being strong enough to open a door that shouldn’t be opened. Nazis unleash power that's out of this world, and a being that’s hellbent on achieving… something. It’s not exactly clear what’s the drive behind such a demonic entity, and Mann’s film shifts the focus to tell the story of the lead characters that were never well-built. If we add performances that are questionable (except for Gabriel Byrne’s excellent one as Kaempffer), then better character development should be part of this opportunity.
As long as Mann respects the importance of practical special effects and production design, we’re good. It’s one of the film’s most prominent elements as the setting never feels part of this world. The dreamy '80s film score by Tangerine Dream (as horribly edited as it is) is also effective when observing the film’s tone.
What Should Go and What Should Be Kept?
For some familiar faces in the cast, The Keep was in the introductory part of their careers, and yes this means their performances aren’t as good as they should be. Of course, the film’s inconsistent editing doesn’t help for the background of characters we need to know more about. Scott Glenn’s Trismegestus and Ian McKellen’s character Cuza are terribly written, and their presence in the film feels incomplete. We need more backstories for the characters.
Also, why not get rid of the incredibly awkward sensual tone in such a serious movie? From the funny sex scene to a disturbing physicality in the relationship between Cuza and his daughter Eva, this is where the film should address an important change that wouldn't hurt the plot at all.
There’s a level of violence that seems to work, regardless of the film’s absurd elements. The Nazi agenda is clear, and it shows, but the supernatural violence also works; the film’s scene where the “underworld” is presented, is full of that 80s aesthetic where violence and practical effects worked so well. Production design is a major player in The Keep, and it’s part of what makes it tick beyond the failures. The original set, the titular 'keep' itself, is so wonderfully designed. It’s also hard to imagine a change in the design for the monster’s suit, and the sound design in the scenes where Radu Molasar shows up and communicates whatever he’s doing in our world.
Should Michael Mann Explore His Horror Roots?
Mann likes The Keep. Those rumors about him disowning it are only that. But he doesn’t exactly love it. It’s why a re-release is highly unlikely, and we’ll probably never see the final product in the form of a cut that Mann approves 100%. Even in physical media, no one has dared to come up with a solution for releasing a version of the film that’s worth purchasing.
Nevertheless, a remake? Mann has never gone back to horror in its pure form (his closest, Manhunter, is undeniably a thriller), but it’s never late enough to revisit the genre that started many careers in Hollywood. With good special effects, a revamped script, and decent performances, The Keep sounds like a good idea for a “straight to video” release (or “straight to the app you have on your phone”).
It never hurts to dream, right?