After his experimental “The Lords of Salem,” which divided fans (I myself liked it), Rob Zombie has returned to his grisly grindhouse roots with “31.” Some will see this is a massive step back; I’ve already seen quite a few lambast Zombie’s decisions here, stating he’s lost his vision and is relying on cheap thrills to get by. I personally feel that’s missing the point.
“31” is a vile and repugnant freak show that revels in the gore and sleaze, as it should! The title denotes a game of war overseen by aristocratic devils led by Father Murder (Malcolm McDowell). He and his merry cohorts in mayhem have abducted five traveling carnies on Halloween night, giving them twelve hours to survive in Hell. Hell has taken the form of an abandoned compound, filled to the brim with psychopaths caked in clown makeup looking to dismember the involuntary players. Whomever can survive the twelve hours is set free.
Seeing as how Hell in this film is grimy and dank, it’s only fitting for Zombie’s vision to be that as well. To implement the trippy visuals on display in “The Lords of Salem” would discredit the tone of the film. “31,” much like “House of 1000 Corpses” and “The Devil’s Rejects,” derives its terror from the unrepentant chaos of it all. It’s a goreshow at heart, but uses those elements not to titillate but to shock. It’s no different than the goal of a carnival freak show, fittingly enough.
The protagonists are Rob Zombie characters, divulging in expletives and sexual anecdotes. One character early on tells a revolting yet darkly humorous joke revolving around a child walking in on his parents having sex, asking if they’re making a cake. The storyteller is mere background fodder, though the mainstays, such as Charly (Sheri Moon Zombie) & Roscoe (Jeff Daniel Phillips), aren’t morally much better. They are engaging though and hellacious troopers, enough so one roots for them. Those looking for a more sympathetic soul will find that in Venus Virgo (Meg Foster), the motherly ringleader who too is one hell of a trooper!
In comparison to the psychopaths, the protagonists are saints. There’s Sick-Head (Pancho Moler), the diminutive Nazi who cackles in the face of carnage. There’s Sex-Head (Elizabeth Daily) and Death-Head (Torsten Voges), two sadists with a penchant for BDSM. Psycho-Head (Lew Temple) and Schizo-Head (David Ury) are chainsaw-wielding serial rapists who at one point disguise a victim as a sex doll. Then there’s Doom-Head (Richard Brake), the most frightening of them all. While the other clowns are gimmicks, he is pure evil. Watching him slowly stalk his victims is more unsettling than any amount of gore thrown on screen.
The carnies travel through the compound like they would a haunted house attraction. Most of the corridors are dark and damp, resembling a boiler room Freddy Krueger would call home. On occasion, the gang stumbles upon a room of horrors, such as the Nazi shrine full of dead bodies or the circus tent of terror also full of dead bodies. If Hell were a carnival, this would be it.
When the psychopaths pounce, the camerawork goes haywire. This is a creative choice on the part of Zombie, shaking the camera violently to invoke the chaotic nature of the game. It’s the same tactic utilized by many action directors nowadays, most notably Paul Greengrass with his “Bourne” films, and it’s one I’m not fond of. It serves a better purpose here, with the sense of uneasiness more complementary to the film’s tone. However, it’s still too jarring and nauseating, distracting from the terror instead of enhancing it. There are moments where it’s discarded, such as Doom-Head’s capture of Venus, that ignites more tension from its simple direction than the manic nature surrounding it. I suppose that’s the point though.
“31” isn’t for everyone. It’s most definitely not for the faint of heart! It’s mainly only for diehard Rob Zombie fans who have grown to appreciate his nihilism. Those hoping for another “Lords of Salem” will be sorely disappointed. This is a crazy and nasty vomitorium done with sardonic edge! Is it too overly written and overwhelming at times? Certainly, but never enough to diminish the intent.
Think of it this way: “31” is representative of Hell. Hell, by all accounts, is a relentless stream of misery, agony, and gore. Therefore, the film is a relentless stream of misery, agony, and gore to best represent that. The film is not pleasant, nor is it supposed to be. It’s exactly what Rob Zombie set out to make: a neverending journey through Hell.
Final Rating: B+