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Horror stalwart Barbara Crampton‘s appearance in You’re Next marked the start of a prolific genre renaissance that includes producing as well as acting. All of that experience culminates in a monster-as-metaphor feature that attempts to retool the vampire mythos to allow its leading lady to sink her fangs into a meaty lead role. She’s acting opposite indie horror darling Larry Fessenden, which only further fuels the allure of what seems like a sure bet for any horror fan. Despite a solid concept and moments of fun gore and humor, Jakob’s Wife struggles to keep up with Barbara Crampton’s performance.
Crampton plays Anne Fedder, the dutiful wife to the town’s pastor Jakob (Fessenden). Decades together meant that their marriage long ago grew into a familiar, daily routine built almost entirely around Jakob. When Tom (Robert Rusler), an old flame of Anne’s, arrives back in town to revive the old gin mill property, Anne’s curiosity gets piqued. Before flirtations go well past the point of no return, Tom and Anne discover Nosferatu-like crates in the mill’s basement, resulting in a nasty bite on Anne’s neck. As Anne begins her transformation into a vampire, it sparks a new zest for life in her that comes with a body count that doesn’t bode well for her marriage.
Using vampirism as a metaphor for reckoning with a long-stale relationship makes for a solid concept and foundation. It also makes for one meaty role in Anne. She begins as meek and subservient, highlighted by the numerous scenes where she relents to her more assertive husband, even when it’s clear she feels the opposite. She finds confidence in vampirism, shaking up her relationship’s status quo while making her needs clear for once. It’s here that Jakob’s Wife works best. Scenes with Crampton entirely on her own, vamping it up as she rearranges her living room while drinking blood from a wine glass, are a delight. So, too, is any scene opposite Fessenden, as Jakob and Anne are forced to confront their new dynamics.
Outside of the central pair, however, the energy levels sag dramatically, and pacing sometimes suffers. As various peripheral characters drop in and out of the story, many of them seem to struggle with the strange tonal blend director Travis Stevens (Girl on the Third Floor) is attempting to capture. This is a horror-comedy, but the humor is more quirky than conventional. The horror elements are more reliant upon excessive blood-letting, which should please the gorehounds. Still, the balancing act is a tricky line to walk, and most of the supporting characters seem superfluous.
Jakob’s Wife wears its vampire influences on its sleeves, right down to a Barlow/Count Orlok looking Master, played by an unfairly underutilized Bonnie Aarons (The Nun). The budgetary constraints occasionally show, too, notably whenever the CG rats attack. The practical effects fare much stronger but still look rough around the edges in some parts, and garish lighting doesn’t help. It not entirely clear if these choices are intentional, meant to give a riotous B-movie feel. If so, it detracts from the surprisingly tender poignancy of Anne’s arc.
This horror-comedy is Barbara Crampton’s show through and through. It’s up to her to carry this film, and she’s more than up to the task. Fessenden’s against type character allows him to support her performance satisfyingly, and the narrative is at its best when it’s just the two of them on screen. On a technical level, Jakob’s Wife is messy and disjointed. Its silliness often undermines its exploration of themes and clever gender-swapping. Moreover, it lacks a clear identity; there are two warring movies at play. Early commentary gets forgotten in favor of B-movie thrills. Still, the over-the-top gore, great soundtrack, and Crampton fully unleashed will be more than enough to please the midnight crowd looking for a gory time.
Jakob’s Wife releases in theaters and VOD on April 16.
