As children we grow up hearing the story of the Pied Piper of Hamlin. It’s a centuries old story of a man who, after not being paid for services rendered, stole the children of Hamlin away by entracing them with their music. It’s a chilling story that, like the best fairy tales, had a bleak ending. How then it has not already been the subject of tons of films is puzzling. Director Anthony Waller has seen the potential in the idea and has, along with co-writer Duncan Kennedy, created new horror Piper.
Starring Elizabeth Hurley, Piper joins Hurley’s character, handily also called Liz, and her daughter Amy (Mia Jenkins) as they relocate to Hamlin. They have moved so that Liz can teach at the local school, but the pair soon find themselves caught up in the town’s famous Pied Piper myth. Unbeknownst to them, their flat belonged to the Piper’s previous victims. More than that, Liz is hiding a shameful secret that the Piper believes should be punished, and so he once again seeks to punish the children for the sins of their parent.
As exciting as the idea of a horror story involving the Pied Piper may sound, Piper squanders the potential. Every aspect of the film feels hollow and a little dull. On the surface it works as a perfunctory genre film, but look any closer and it falls to pieces. The biggest issue with Piper is that at any time it is actually three films playing in tandem. It quickly becomes unclear what is sub-plot and what is the main story. The muddle confuses and disconnects the viewer as they try to figure out exactly what they should be focusing on. Is it the cursed child aspect? The devious parent seeking redemption? Or a Gothic coming-of-age love story about teenage Amy and the considerably older Luca (Jack Stewart) who just wants to help?
Of the three warring plots, it is the romance between Amy and Luca that wins out. In any other setting this would be fine. Their relationship is played with a Gothic and ghostly charm. However, the fact that he is at least mid twenties and Amy barely sixteen (if that), their dalliances and their ramifications become a little bit icky. That Luca reveals himself as having tried to help previous victims does him no favours either, nor does one of his early scenes in which he is literally hanging outside of school watching the kids. This romance being pushed as the lynchpin to Piper’s emotional core is a heavy misstep as it’s unlikely to garner much sympathy or investment from modern audiences.
Although the plot might be a jumbled mess of conflicting ideas and ill-thought romances, there are some well devised moments of horror. Each and every one of them is fairly generic, but Waller pulls them off with skill. The opening scene during which the fate of the previous occupants of Liz’s flat are revealed, is a solid start. It tells of a frantic mother and a kamikaze child, and sees Piper begin strongly. Another sequence involved a teen diving off of a roof, channels that moment from The Omen. It’s a clear homage, but it works within the story. Rat and bug heavy jump scares work less well, but still push Piper in the right direction. The design of the Piper itself is pretty cool, it’s just a shame it has been positioned in a very ‘by the numbers’ genre story.
Piper comes across as a film consisting of three different ideas, directions, and styles that were smashed together regardless of their cohesion. This makes it a daunting prospect for hardened horror veterans, though those who prefer horror lite might find a beacon of hope buried within. With the story of the Pied Piper and Hamlin being a bountiful source for a horror story, Piper is a disappointing attempt at bringing him and his malice to the big screen.
Piper
Summary
A muddled and disappointing attempt at adapting one of the more horror friendly fairy tales; Piper fails to rise above its mediocrity.
Piper was reviewed at Pigeon Shrine FrightFest 2023.
