It’s almost a cliche for a supernatural ghost film to include characters with a “haunted” past. How many times have you heard about a horror film where ghosts aren’t always literal and could be someone’s dark secrets? Thankfully, filmmaker Ted Geoghegan’s “Brooklyn 45” enhances its own fairly obvious story with an incredible cast, a claustrophobic, beautiful setting, and a thoughtful (albeit heavy-handed) message to rise above what could have been just another ghost film.
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As the title implies, “Brooklyn 45” takes place in, well, 1945 in Brooklyn, a time when World War II might have ended politically and militarily, but not in the hearts and minds of many Americans. Tensions are high, paranoia is rampant, and a new generation of traumatized soldiers are trying to re-enter some sort of normal life.
All of these feelings and emotions come together when Lt. Col. Clive “Hock” Hockstatter (Larry Fessenden) invites some of his very best friends to his house after Christmas for a special gathering. The friends, including a former Army interrogator Marla (Anne Ramsay) and her Pentagon “pencil pusher” husband Bob (Ron E. Rains), along with two Army Majors, Archie (Jeremy Holm) and Paulie (Ezra Buzzington), all arrive with smiles and well wishes, but each of them carries a dark past. And what they don’t know is Hock has brought them together to perform a séance in an attempt to contact his late wife, Susan. Anything more about the plot might verge on spoiler territory, but needless to say, this is a horror film, and frights are to be found.
However, as mentioned earlier, “Brooklyn 45” is anything but a typical ghost story. Geoghegan sets the stage early on with the title card mimicking the style of ‘40s films. The boxy 4:3 aspect ratio, the costuming, the set design, and the line delivery make the viewer feel as if the filmmaker dug up an 80-year-old film and simply cleaned it up a little bit. Audiences almost wish Geoghegan had the confidence to continue this look throughout the film, but several minutes in, the aspect ratio slowly expands, and the picture clears up into that unmistakable digital look of a 2023 production. That said, the early effect sets the stage well for what’s to come.
You see, “Brooklyn 45” could have very easily been a stage play. The film takes place in one room and features a small cast delivering tack-sharp dialogue in a manner that suggests they’re performing for those in the back of the house. That is to say that everything—from the costuming, the lighting, and the acting—feels just a bit heightened and theatrical. This could all go terribly wrong if the cast isn’t up to the challenge. But luckily for Geoghegan, he has assembled a great group of performers to help sell this slightly ridiculous story and hamfisted message. And while you can never fault a filmmaker for wanting to point out how we’re bound to repeat our horrible history if we don’t learn from it, it can be done more subtly, to be sure.
The two performances that really stand out come from Ramsay and Fassenden. Ramsay is asked to present herself as a strong, capable military woman, who is not above torture (or enhanced interrogation, if that’s what you’d prefer to call it), but also has this warmth of a friend who makes everyone feel better about themselves. Then there’s Fassenden, who presents Hock as a distraught man longing for his wife, but also at the end of his rope. He’s given a couple of scenes early on that require him to captivate the audience and sell them on the unbelievable things that are to come. Both actors take these challenges and knock them out of the park.
Enhancing these performances is the single-location set-up of “Brooklyn 45.” This forces the audience to pay close attention to the actors and what they’re saying. Of course, this could also be incredibly dull, if the direction and cinematography doesn’t keep things interesting. Thankfully, Geoghegan and cinematographer Robert Patrick Stern use every inch of the beautifully designed parlor room to ensure that the audience stays engaged. And overall, the production design of “Brooklyn 45” is truly beautiful and also deeply haunting. The room feels lived-in and real.
Unfortunately, quality actors, gorgeous design, and quality camera work aren’t always enough. And “Brooklyn 45” does have some noticeable faults. The dialogue, though cracking and often clever, often repeats itself, making the film feel like it’s spinning its wheels as early as the second act. This is a shame because the film’s beginning delivers a shocking gut punch, with viewers expecting the rest of “Brooklyn 45” to be just as electric. That’s just not the case. Sure, there’s tension, but if suspense draws out for too long, a film, especially one heavy emotions like this, just feels exhausting. By the time the final act plays out, it mostly saves the film, but some viewers may wonder if losing a bit of that fat in the middle would have made for a much tighter, impactful viewing.
Of course, we can’t talk about a horror film without talking about the scares, right? Well, as hinted at earlier, the frights in “Brooklyn 45” are mostly psychological. And honestly, those are the most terrifying and disturbing. But the movie’s lower budget rears its ugly head when it comes to the ghosts and supernatural elements. It’s sad to say that sometimes the effects are distracting and a bit corny. In particular, there’s one scene towards the end when a character opens a door and sees something that is supposed to be the most terrifying visual this person has ever witnessed. But it just doesn’t work, plain and simple. And that’s a shame because it makes viewers wish for a version of this story where the supernatural elements are almost completely eliminated, and things are more vague or understated.
Overall, though, Geoghegan’s “Brooklyn 45” is largely able to rise above its shortcomings and deliver a unique, chilling story about the horrors of war and unsettling depths of humanity. [B-]
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