[Film Review] The Descent (2005)

Whenever I think of great British horror, there is always one film that automatically springs to mind. This film is also one of a select few that I tend to use to gauge other people’s taste levels because, to me, it is one of the most brilliant, unique and terrifying things I have ever seen.

Neil Marshall’s The Descent was released in cinemas in the UK in July of 2005 and was an instant box-office success, despite Marshall initially turning down the project in fears of being typecast as a horror film director. His previous film Dog Soldiers (2002) only had one female amongst its lead characters, so Marshall eventually agreed to make The Descent on the condition that he could go against the plan for a mixed cast and cast only women in the main roles. He believed that women were sorely underrepresented in the horror genre.

If you haven’t seen The Descent, here’s a friendly warning: Don’t watch the trailer, as it gives away far too much, including one of the finest jump scares in horror history. 

As the film opens, it almost appears like the beginning of a feel-good girly adventure as we see a trio of friends white-water rafting in bleary, cold Scotland. Juno (Natalie Mendoza), Beth (Alex Reid) and Sarah (Shauna Macdonald) are happily laughing and chatting as they are greeted back on land by Sarah’s husband Paul and her daughter Jessica. 

Unfortunately, the cheer doesn’t last long as events unfold, and Sarah soon awakens in hospital to find that Paul and Jessica have both been killed in a tragic accident. Suddenly we are aware of the bleak direction the film is heading in.

One year later, the three friends reunite in the Appalachian Mountains, and are joined by their friends Rebecca (Saskia Mulder), her younger sister Sam (MyAnna Buring) and Juno’s friend Holly (Nora-Jane Noone).  The six women fall into catching up and throwing jibes between themselves, and no time is wasted in establishing their individual personalities. It happens so organically though, that without realising it, we pick up some key details about their relationships and careers that will become important to the plot later on.  We also discover that the aim of the trip is to cheer up Sarah, who is still in mourning for her husband and daughter. The women rally around her and it is obvious that, aside from the new addition of Holly, this isn’t their first expedition as a group.

“I'm an English teacher, not fucking Tomb Raider”

The adventure really begins the next morning, as they travel through the mountains and land at the mouth of a deep cave. After they descend into subterranean darkness and begin exploring, tensions quickly rise as the group realise that, not only are they lost, but they are also not alone down in the caves. Someone or something is crawling around in the darkness. 

The Horror of The Descent though, begins long before any the crawlers arrive. Sufferers of claustrophobia (fear of confined spaces) and/or cleithrophobia (fear of being trapped) will find that this film is anxiety-inducing as the women make the unforgiving journey through the tight gaps and waterlogged tunnels of the caves.

Despite much of the film being set inside the darkness of the caves, there are some exceptionally beautiful shots in which the groups’ torches, infrared on their video camera, and bright red flares are used as a light source to showcase the incredible set design. Production Designer Simon Bowles created sets of ‘stone’ walls that were rearranged into different positions for each shot to create the distinct spaces. Towards the end of the film there are some gory scenes too, and the colour of blood is so vivid and saturated – a stark contrast against the dark hues of the caves - that it creates some stunning visuals.

Equally impressive is that all the visual effects are practical and achieved with the use of special effects make up and prosthetics (and much more that I don’t know enough about to explain) which  helps create an authentic setting for the films’ characters. At no point are you taken out of the film because something looks too unrealistic.

You don’t need to be aProfessor of film studies to understand that Sarah descending into the caves and battling for survival is a metaphor for her descent into grief and depression, and for being forced to face her trauma. However, despite this being obvious Marshall ensures it never belittles the overall effect.

“The worst thing that could have happened to you has already happened, and you're still here”

The tension doesn’t come only from the fear of being lost or from the ‘crawlers’ lurking around every corner - it also stems from the interactions between the women as emotions rise, secrets are revealed, and relationships are put to the test. Because of the way the characters are introduced and developed with such brilliant chemistry, we quickly form a bond with them and start to feel like we are part of their group. Unlike in a lot of horror films where we are excitedly anticipating the kills, here we are left reeling when the women  started to care for begin to get picked off one by one. 

The excellent thing about The Descent is that the ‘big reveal’ doesn’t come until we are almost in the final act – but prior to this, we never find ourselves asking for more. There is enough unease between the friends, enough danger in their surroundings and more than enough obstacles they must face, that we truly begin to believe that things can’t possibly get any worse… There is a real sense of dread that kicks off  from the opening sequence, and only continues to build and build as the situation becomes more hopeless. The film could end less than an hour in, and still be one of the most ruthless, heart-stopping films you’ve seen in a long time.

The Descent is like three films amalgamated into one without ever feeling disjointed or over-packed with futile plotlines or meaningless character arcs. In fact, this remorseless film about friendship, grief and survival gives us plotlines that help us to understand each and every move made by the women (whether we agree with them or not)  as well as characters that, to this day, are argued about as both the best and worst final girls in horror EVER. But that’s a discussion for another day… 

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