Marcus Chen
The Driller Killer is a 1979 American black comedy slasher film directed by Abel Ferrara. The film revolves around Reno Miller, a struggling artist in New York City who turns insane from stress and kills derelicts with a power drill. Reno is obsessed with completing a painting of a buffalo, which he believes will make him rich and famous. However, his work is constantly interrupted by the Roosters, a punk band practising in one of the adjoining apartments. The film was particularly controversial in the United Kingdom due to its graphic cover art, and it was banned under the Video Recordings Act 1984.
| Characteristics | Values |
|---|---|
| Name of Painting | N/A |
| Subject of Painting | A frightened buffalo with a hypnotic eye |
| Colours | Red, earthy tones, blood |
| Texture | Tattered claw marks rip through the canvas |
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What You'll Learn
The Driller Killer's UK controversy
The Driller Killer, a 1979 American black comedy slasher film, was directed by Abel Ferrara, who also stars as the lead character, Reno Miller, a struggling artist in New York City. The film revolves around Reno's descent into madness as he battles financial troubles, noisy neighbours, and the pressure to complete his masterpiece, a painting of a buffalo with a hypnotic eye.
The film sparked significant controversy in the United Kingdom upon its home video release in 1982. The graphic cover art of the VHS release, which depicted one of the Driller Killer's victims being drilled through the forehead, drew widespread criticism. Vipco, the company holding the film's UK video distribution rights, ran full-page advertisements in film magazines featuring this graphic imagery, resulting in numerous complaints to the Advertising Standards Agency and opposition from the press. The film was branded as one of the "`video nasties"` and was ultimately banned under the Video Recordings Act 1984.
The controversy surrounding The Driller Killer in the UK centred primarily on its graphic and violent nature. The cover art of the VHS release was particularly shocking, and it was this imagery that sparked the initial backlash. The film was perceived as excessively violent and gruesome, earning its place among the "video nasties," a list of films that were deemed unsuitable for release in the UK. The Driller Killer was added to this list on July 4, 1983, just a year after its VHS release.
The UK's reaction to The Driller Killer stood in stark contrast to its reception in the United States, where it was released theatrically without controversy in 1979. The film's graphic content and violent themes were more acceptable in the US context, where it was classified as a cult horror film or slasher movie. However, in the UK, it crossed a line that challenged societal norms and expectations.
Despite the initial uproar, The Driller Killer's reputation as a "video nasty" granted it a certain level of cult status. Over time, the film underwent re-evaluations, with some recognising its artistic merit and psychological depth. An edited version was granted an 18 certificate and released in the UK in 1999, and the full uncut version was finally approved by the BBFC in 2002. The film's legacy continued to evolve, and it influenced video games and inspired a planned remake by British filmmaker Andrew Jones, reflecting a shift in societal attitudes and a reappraisal of the film's cultural significance.
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Reno's character inspiration
The character of Reno in The Driller Killer (1979) was inspired by a painter acquaintance of director Abel Ferrara. Reno is a struggling artist in New York City who slowly goes insane while trying to finish his masterpiece—a painting of a buffalo with a hypnotic eye—and ends up going on a killing spree.
Reno is played by Ferrara himself, who also directed the film. The character is depicted as being more interested in his paintings than in romance, music, or socializing. He is under pressure to finish his oft-delayed grand masterpiece and is struggling financially, in part due to the cost of art supplies such as paint and canvases. He is also having trouble sleeping due to the constant noise from the punk band that practices in one of the adjoining apartments.
As a result of these stressors, Reno becomes progressively more unhinged, eventually snapping and embarking on a killing spree with a power drill, targeting random vagrants and homeless derelicts. His psychotic alter ego takes over, and he acts out his murderous impulses, which had previously only been fantasies.
The painting of the buffalo becomes Reno's obsession, and the need to finish it becomes a desperate spiritual and survival need. The character's rage, uncertainty, and fear are reflected in his art, with the frightened buffalo facing down death, its eyes wide and mouth agape.
The Driller Killer has been described as a "race" to see if Reno can complete his painting in time to settle his scores and whether its finality will quiet his impulsive and violent demons.
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The film's production
The Driller Killer is a 1979 American black comedy slasher film directed by Abel Ferrara, who also stars in the film as the lead character, Reno Miller. The film was produced by Ferrara's own company Navaron Films from 1977 to 1978.
The film is about Reno Miller, a struggling artist in New York City who turns insane from stress and kills derelicts with a power drill. Reno is obsessed with completing his masterpiece—a painting of a buffalo with a hypnotic eye, which he believes will make him rich and famous. However, his work is constantly interrupted by the punk band, the Roosters, who practice in one of the adjoining apartments. Due to the constant noise and his inability to sleep, Reno becomes unhinged and eventually snaps, embarking on a killing spree.
The film was shot in New York City, primarily in the Union Square area of Manhattan, where Reno's seedy apartment is located. The city itself is a character in the film, with the gritty, dangerous streets of 1970s New York providing a stark contrast to the affluent, touristy city of today. Ferrara has stated that the film is a kind of documentary that portrays pre-Giuliani New York, particularly the punk scene. The film's aesthetic is pure punk, with graffiti, garbage cans on fire, and dangerous streets.
The Driller Killer was made for less than $100,000 and featured a cast of unknown actors. There was no script during shooting, and the performers, including many non-actors, were given a scenario and told to improvise. The Reno character was based on a painter acquaintance of Ferrara's, who allowed the use of his apartment and paintings in the film.
The film was released theatrically in the United States without controversy on June 15, 1979. However, the reaction to its home video release in the United Kingdom was very different. The graphic cover art of the 1982 VHS release, which depicted one of the film's victims being drilled through the forehead, sparked a large number of complaints and negative press. The film was eventually banned in the UK under the Video Recordings Act 1984, along with other \"video nasties\".
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The buffalo painting's significance
The 1979 American black comedy slasher film Driller Killer revolves around Reno Miller, a struggling artist in New York City, who turns insane from stress and kills derelicts with a power drill. Reno is obsessed with completing a buffalo painting with a hypnotic eye, which he believes will make him rich and famous. The painting becomes his obsession, and the need to finish it becomes a desperate spiritual and survival need.
The buffalo painting is significant to the film as it represents Reno's rage, uncertainty, and fear. It is a reflection of his mental state and the pressure he is under. The painting is also a source of conflict for Reno, as he is constantly interrupted by the punk rock band, The Roosters, who practice in one of the adjoining apartments, disturbing his concentration and sleep. This conflict eventually leads to Reno snapping and embarking on a killing spree.
The painting is also a source of financial stress for Reno. He needs to finish the painting to pay off his debts and continue his artistic career. As a working-class artist, he faces the challenge of sustaining his living while pursuing his passion. The pressure to complete the painting and the interruptions from his neighbours create a frenzy of pressure that leads to Reno's confusion of creation and destruction. His murderous impulses, which begin as fantasies, eventually turn into reality as he acts them out.
The buffalo painting is also symbolic of Reno's isolation and obsession with his art. He is depicted as virtually asexual, more interested in his paintings than in romance, music, or socialising with others. The painting becomes a desperate spiritual need for him, reflecting his desire for completion and perfection in his art.
Overall, the buffalo painting in Driller Killer serves as a significant symbol of the protagonist Reno's mental state, obsessions, and the pressures he faces. It is a reflection of his inner turmoil and the external conflicts that drive him to the edge. The painting's significance to Reno and the film's narrative adds depth and complexity to the character's motivations and actions.
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The film's legacy
The Driller Killer is a 1979 American black comedy slasher film directed by Abel Ferrara, who also stars in the film as the protagonist, Reno Miller. The film's plot revolves around Reno, a struggling artist in New York City, who turns insane due to financial troubles, noisy neighbours, and demanding housemates, eventually going on a killing spree. The film is particularly notorious for its graphic cover art, which led to its inclusion on the list of "`video nasties`" that were banned under the UK's Video Recordings Act 1984.
Beyond its notoriety, The Driller Killer also holds a significant place in cinematic history. It launched Ferrara's career and influenced a string of subsequent films that explore similar themes of art, filmmaking, and the blurred lines between reality and fiction. The film's portrayal of pre-Giuliani New York, particularly the punk scene, offers a glimpse into the city's grittier past. The film's aesthetic and setting, characterised by punk music, graffiti, and dangerous streets, resonate with those who experienced New York City during that era.
The Driller Killer also stands as a testament to Ferrara's unique style and approach to filmmaking. His insistence on authenticity, improvisation, and the intricate blending of fact and fiction have earned him acclaim as a visionary artist. The film's exploration of the protagonist's descent into insanity and the interplay between creation and destruction provide a psychological depth that sets it apart from traditional horror films.
Additionally, The Driller Killer has left its mark on popular culture, inspiring video games and influencing future filmmakers. In 2015, Puppet Combo developed The Power Drill Massacre, a video game loosely based on the film. The game pays homage to the film's antagonist and incorporates similar stylistic elements. The film's influence can also be seen in the planned remake by British filmmaker Andrew Jones, which was set to feature unusual cameos and an original musical score.
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Frequently asked questions
The film tells the story of Reno Miller, a struggling artist in New York City who slowly goes insane and starts killing people with a power drill.
The bison painting, which is described as having a "hypnotic eye", is rejected by an art dealer, which causes Reno to deteriorate further.
Abel Ferrara, credited as Jimmy Laine, plays the role of Reno Miller.
