
Written and directed by: Matt Hundley
Reviewed by: Dave Dunwoody
Bear in mind closely that I did not see any actual visual horror at the end. To say that a mental shock was the cause of what I inferred - that last straw which sent me racing out of the lonely Akeley farmhouse and through the wild domed hills of Vermont in a commandeered motor at night - is to ignore the plainest facts of my final experience. Notwithstanding the deep things I saw and heard, and the admitted vividness the impression produced on me by these things, I cannot prove even now whether I was right or wrong in my hideous inference. For after all Akeley's disappearance establishes nothing. People found nothing amiss in his house despite the bullet-marks on the outside and inside. It was just as though he had walked out casually for a ramble in the hills and failed to return. There was not even a sign that a guest had been there, or that those horrible cylinders and machines had been stored in the study. That he had mortally feared the crowded green hills and endless trickle of brooks among which he had been born and reared, means nothing at all, either; for thousands are subject to just such morbid fears. Eccentricity, moreover, could easily account for his strange acts and apprehensions toward the last.

The Whisperer in Darkness was shot over two weeks in Tennessee on a next-to-nothing budget. My aunt, who met the filmmakers in Oak Ridge, knows I’m a Lovecraft buff and sent me a signed copy of the DVD from Gravehill Productions. At first, I was more than a little skeptical – the two review sites singing praise on the DVD’s cover don’t appear to exist – at least not anymore. Either this is the Mi-Go’s attempt to suppress publicity for the film or there’s something a little shady going on. I hope it’s the former, because this is a pretty good flick and one of the most faithful Lovecraft adaptations I’ve seen.

So begins a white-knuckle war between Akeley and the mysterious creatures, as well as human agents in their employ. Again, this was made on a shoestring budget, yet the gunfight between Akeley and the unseen human spies is a tense, tense sequence – probably because there’s no flashy gunplay, just an old guy huddled beneath a window while strangers take potshots at his house.

The final act of the film is where things really get weird, building to a gruesome-yet-bloodless payoff that precedes present-day imitators by eighty years. Wilmarth travels to meet with Akeley at the old man’s behest – Akeley now claiming that he’s met with the alien creatures, and that they are a benevolent race wanting to share their miraculous technology with humankind. Sexton’s performance as Akeley is critical in these last scenes and he pulls it off wonderfully.




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