Writers: Preston Sturges, Jr.; Dario Scardapane
Cast: F. Murray Abraham, Aidan Gillen, Lisa Linde, Nina Sieszmasko
It's only natural that mechanic Jeff Obold (Aiden Gillen) envies wealthy car collector Bruno Rubin (F. Murray Abraham). Although Jeff is happily married and adores his daughter, Casey, he's stuck in a dead-end job as a short-order cook with no prospects of anything better. The two men have only one thing in common--their love for classic cars. Rubin's interest in Jeff's fully- restored GTO convertible leads to an invitation to an elegant party for Jeff and his wife, Marla (Nina Sieszmasko). He claims he only wants Jeff's expertise.
But Rubin has another reason for drawing Jeff into his social circle. In the dark basement of his mansion is an ornate cage containing a creature who has the power to offer anyone's wildest dreams in exchange for "companionship." The Darkling collects people that interest it, and Jeff's honesty and dedication to his family are a challenge it can't resist.
Initially, this made-for-TV movie from the USA Network showed considerable promise. The opening scene in which F. Murray Abraham drives beneath bare tree branches that reflect on his windshield like the veins in a bloodshot eye suggested symbolism would play a large part in what followed.
That part of the promise was the only thing that was kept. What started as an excellent allegory of the eternal battle between good and evil quickly degenerated into just another man-sells-soul- for-earthly-wealth schlock horror flick. The strongest symbol, of course, are the cars: muscle cars, classic foreign cars, rare antique cars. In the language of dreams, cars represent the course of the dreamer's life. Jeff Obold's longing for the gleaming motorized treasures clearly reflects his longing for a life better than the one he has. In another great image, he is wrapped in silk veils during a visit to the Darkling, symbolizing both his metamorphosis into the servant of the demon and the death of his old life.
Director Po Chieh Leong has a masterful hand with this kind of imagery, as when he uses mirrors to enhance the illusory nature of the Darkling's "gifts" and uses shadows to reveal the truth the characters deny. Unfortunately, mystical images and fancy camera work aren't enough to counteract the totally predictable script. Apparently, authors Sturges and Scardapane couldn't work with the idea of a demon limited to working vicariously through human agents, so halfway through the film the Darkling suddenly becomes omnipotent. It's all downhill from there. The original theme of good vs. evil, light against darkness, deteriorates into a clichéd story of
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