Fantasia Fest 2024: Chainsaws Were Singing Review

This will be one of many reviews during this year’s Fantasia International Film Festival, to keep up with our latest coverage, click here.

“The Texas Chainsaw Massacre, as a musical” is a pitch that at first would make absolutely no sense, but at the same time, is a pitch unique enough to warrant asking a few more questions regarding how it would be done. While Leatherface isn’t likely to burst into song or dance anytime soon, Sander Maran’s Chainsaws Were Singing, provides the answers to that pitch’s questions, and proves that a musical about a chainsaw wielding killer on the loose can actually work in spades and result in one of the most surprising and entertaining movies released in quite some time.

Shot in 2013 and spending 10 years in post-production, as the film was re-colored and edited to match the look and feel of a 50’s Technicolor movie and also a 70’s grindhouse feature, the plot is simple enough: Tom (Ilves) has recently been through a breakup and in his depression, decides to end it all, until he meets Maria (Niils) for whom he falls hopelessly in love. Their happiness is abruptly halted once Maria is kidnapped by Killer (Ruus), who drives off after knocking Tom out. From there, audiences follow Tom and Maria as they try to survive to tell the tale. Going any further would be a disservice as going into the film blind will do wonders.

Out of the gate, Chainsaws Were Singing is an audio-visual marvel. Gorgeously lensed by Maran, the vivid use of reds and blues throughout make for a wonderful canvas for its characters to kill or be killed with good visual effects throughout, with an emphasis on practical effects and most of the action being in-camera. This is coupled by an expansive sound scape that makes use of every element at its disposal, from explosions to gunshots to the use of the songs, making the years spent in development count for something. The violence throughout is bloody and over-the-top, as characters are mowed down, stabbed, shot or chopped to bits without a single moment’s thought, but all of whom leave a memorable impact on audiences. Where the film truly shines is within its smaller moments and recurring bits, as well as its commitment to taking things seriously while realizing the comedy in those interactions.

The story is told through a mix of dialogue and music, with the two switching back and forth, and providing backstories for the characters. These range from the leads to the supporting characters who Tom and Maria encounter along the way, including the extremely aloof but friendly Jaan (Puusepp), who keeps trying to think (and sing) super positively about things in the world, despite growing pessimism over the hopelessness of the situation. As such, the film rides a fine line between being extremely funny and extremely serious at the same time, knowing full well that at the end of the day, it is about a serial killer who doesn’t hesitate when it comes to chopping people into bits just for simply being in front of him.

Taking time for Tom and Jaan to get to Maria and Killer, audiences spend a lot of time with the main characters, with all four actors giving fantastic performances while having the time of their lives. Surprisingly, Chainsaws Were Singing also succeeds on an emotional level. Once again, however, Maran is careful not to let those emotional aspects get in the way of who Killer was, especially when reaching his home and what else is happening in there. However, where the film stalls slightly is in its second act. While offering an interesting diversion that helps build the bizarre world these characters inhabit, it can feel like the movie stalls for some time. Save for that one section, the rest of it works wonderfully, and leads to an incredibly satisfying experience and a very fun finale, and one that will make for an extremely entertaining watch with friends (preferably not family) in the future.

still courtesy of Marani Bros

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Shaurya Chawla