Maniac (1980) and Maniac (2012)

The 1980 cult classic Maniac, directed by William Lustig, and its 2012 remake, helmed by Franck Khalfoun and produced by Alexandre Aja, are two thematically linked but stylistically divergent films that explore the harrowing psyche of a serial killer. While both movies follow the story of Frank Zito, a deeply tormented individual who murders and scalps women, their approaches to the horror genre, character portrayal, and cinematic style are worlds apart. The original is a grimy, raw character study and a quintessential piece of grindhouse cinema, whereas the remake is a sleek, stylized, and immersive psychological thriller that leverages modern filmmaking techniques to terrifying effect.

Joe Spinell's Frank Zito in the 1980 film is a physically imposing, sweaty, and unhinged man who haunts the dirty streets of a crime-ridden New York City. The film is shot from a traditional third-person perspective, giving the viewer a voyeuristic and deeply uncomfortable look into his repulsive life and horrific crimes. Spinell, a veteran character actor who also co-wrote the script, delivers a performance that feels less like a polished act and more like a visceral, unbridled descent into madness.

His sheer physicality and unsettling demeanor make him feel like a real monster, the kind you might actually encounter in the darkest corners of a city. The film's low-budget aesthetic, brutal practical effects by master Tom Savini and the authentically grimy setting of Times Square contribute to its reputation as a disturbing, mean-spirited piece of exploitation horror. It is a product of its time, capturing the urban decay and genuine terror of a city on the edge, with a jarring score by Jay Chattaway that heightens the sense of dread and unease.

The 2012 remake, in stark contrast, is a polished and modern re-imagining. Its most significant and defining departure is its near-exclusive use of a first-person point-of-view (POV) perspective. We see the world literally through Frank's eyes, and his face, played by the seemingly innocent Elijah Wood, only appears in reflections or brief "out of body" moments during his most psychotic breaks. This masterful stylistic choice forces a deeply unsettling identification with the killer, making the audience a reluctant accomplice to his atrocities.

Wood's portrayal is less of a hulking monster and more of a fragile, broken man whose handsome, approachable exterior is a cruel disguise for his inner turmoil. His casting subverts expectations and adds a layer of terror - this Frank is the person you might befriend, a soft-spoken individual with a hidden darkness. The shift from New York to a neon-drenched Los Angeles and the pulsating synth-wave score by "Rob" give the film a polished, almost beautiful quality that stands in stark contrast to its sickening violence. This juxtaposition of beauty and brutality is a key element of its unique horror.

Both films delve into Frank's "mommy issues" as the root cause of his psychosis, but they handle the theme with different levels of ambiguity and intensity. The original provides vague glimpses of physical and verbal abuse, leaving much to the audience's imagination and Spinell's unhinged monologues. The remake, however, makes this trauma more explicit, showing hallucinatory flashbacks of his mother, a prostitute, and her neglectful behaviour. This makes the remake's Frank seem more consciously tortured and conflicted, even trying to fight his compulsions. In both versions, Frank's obsession with mannequins is a twisted attempt to recreate and control the women he cannot have. But the remake's POV cinematography makes this obsession feel more personal and claustrophobic, as we are trapped inside the killer's mind as he meticulously staples scalps to his lifeless creations.

A crucial difference lies in the character of Anna, the photographer who becomes entangled with Frank. In both films, she represents a potential for redemption, a chance for Frank to forge a normal connection. However, the original's Frank is a purely monstrous force, and his relationship with Anna is a brief, false hope that is brutally extinguished. The remake's Frank, in his fragile state, genuinely seems to yearn for a normal life with Anna, and his eventual descent into targeting her feels more tragic and inevitable.

Ultimately, the choice between the two films comes down to a preference for a particular style of horror. The 1980 Maniac is a shocking, visceral experience that puts a repulsive character on full display in an ugly, unforgiving world. The 2012 version, in contrast, is a more sophisticated and intellectual film that uses clever filmmaking techniques to force an uncomfortable and unforgettable psychological experience on the viewer. Both are masterpieces in their own right, and both are equally horrifying in their unflinching portrayal of one man's madness. (Reviewed with the assistance of Gemini.)