To create a film set in the grim and harrowing world of a military brothel is a daunting project and one that could easily be steered into the sexploitive movie genre. This is perhaps what makes The Seasoning House, British special effects and make-up artist Paul Hyett’s debut feature, such a triumph. While the movie contains all of the disturbing and at times gory visuals associated with this theme, he manages to integrate and raise some poignant messages about feminism as well as the sex slave industry as a whole. The film itself could be described, perhaps not as a horror as it is advertised, but more of a dramatic thriller, combining a gripping and enthralling storyline with an overlay of some very relevant and contemporary atrocities that continue to thrive in the modern world.
The story focuses on Angel (Rosie Day), a deaf and mute orphan, who is bought to the house after she, as is shown in a rather dramatic scene, watches her mother being shot. When kidnapped she is taken into the uncomfortable arms of brothel owner and sociopathic ex-militant Viktor, played brilliantly by Kevin Howarth. Angel is fortunately and at the same time not so fortunately chosen as Viktor’s personal pleasure and housekeeper, keeping the rooms up to shape and making sure the girls are drugged and placid for the many customers. The film does not shy away from the ruthless and brutal scenes, with one of the athletically intimidating soldiers paying extra to “play rough” with one of the girls. The atmosphere is beyond uneasy, as all of the male characters, be it soldiers, businessmen or doctors, seem to possess an inhumane lack of empathy towards the workers. But while this is a clear and upfront criticism for the business, there’s also the metaphorical statement, as Howarth mentions, through Angel’s role and her afflictions. “Be it by accident or be it by design,” Howarth says, “I feel that the metaphor of Angel being deaf and being mute is symbolic of the whole industry, that they don’t have a voice and they are afraid to say anything in fear of their lives.” And with Angel’s voiceless anger building, her imminent revenge could be a reason for the movie being so well received by it’s female critics: the damaged and suppressed girl finally gets herself heard.
While the movie maintains an integral example throughout, it also packs a beating from the cinematic perspective. As Howarth mentions, “He (Hyett) comes from a world of detail and I think that’s why Paul’s made such a good debut feature because of his eye for detail.” When watching the film, there is a noticeable grey-brown hue to the camera, enhancing the dingy setting of the brothel. Hyett’s talents as a make-up artist assist the backdrop, with some realistic looking corpses of which the film is not short on. The cinematography is also what makes this movie unique, with the camera often following Angel in a floating dreamlike manner. For a movie that contains such a forbidding storyline, it’s one that is beautifully shot, a victory on Hyett’s part.
With the acting being a mentionable feature in the film, the entire crew is worth a reference as not one actor in the film gives a particularly two-dimensional presentation of the role they hold. Although Angel’s part involved no lines, Rosie’s performance spoke volumes and as a viewer it’s impossible not to be spurring her on throughout. Assisted by this is Viktor’s character, a position that Hyett had all intentions of giving to Howarth from the beginning. Howarth’s suitable past experience was perhaps what made his acting so believable. He portrays professionally a ruthless and yet damaged man, creating a true and uniquely psychotic character.
The Seasoning House is maybe not one to watch on a Sunday morning but what is certain is that here lies a film with a gripping storyline, decent acting and intelligent camera work making it one that was well received by its critics on the festival circuit. The DVD release is on the 21st of June so keep an eye out.
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