GRUDGE

Set against the backdrop of Cold War paranoia in 1952, GRUDGE follows a young man whose discovery draws him into a dangerous web of government secrecy, deception, and intrigue. As the line between truth and conspiracy begins to blur, he finds himself pursued by forces determined to keep certain secrets buried. Inspired by the shadowy atmosphere of classic film noir, GRUDGE is a suspenseful journey into an era when suspicion was everywhere—and the truth could be deadly.

I first met Walter Haussner at our local film festival in Green Bay. He traveled all the way from his home in Oregon to accompany the showing of his 2022 film Xpendable, a film noir short that won “best of” at our film noir weekend that year. I knew when I saw that film that I got to see the work of a very talented cinematic artist. I am hoping that when Walter makes his first feature film, perhaps someday soon, he will include that film, as well as this one as extras on a physical media release.   Grudge opens with a thrilling car chase. It is 1952. The Cold War is in play. The car chase gives way to a foot race as two men chase one man down a steep hill. The follow-cam work is exceptional. As the wooded terrain becomes a place for a cat-and-mouse game of hide and seek, Haussner effectively uses a crane shot (an effective use of drone technology) to capture the suspense from above.   We come to learn that the man’s name is Bill (Braydon Simmons as William Metscher) as he finds a hiding place inhabited by Moira Putnam (Amelia Sorensen), and her friend Dieter Lang (Anthony Benson).  She takes Bill in and becomes involved in the dangerous situation Bill is ensconced in. Who is William Metscher? Is he what the government says he is? How does Moira know what to believe? The suspense mounts as Haussner brings his film noir screenplay to its thrilling and colorful conclusion.   I understand that Grudge will soon hit the festival circuit. If you have a chance to catch it, do so. Haussner’s stable of actors do a solid job, and his use of shadow and light is as skilled as any film noir I have ever seen. Susan Begin Haussner does a terrific job with foley, soundtrack, and sound design. The Black and White cinematography (Haussner) is captivating, framing the story in a compelling visual experience. I can’t wait to see what Walter does next. Oh, and don’t miss the fiddling phenomenon that is Johnny and the Rowdy Creek Ramblers.