BOOK REVIEW | THE DESCENT | KATIE PROBERT

ABOUT THE BOOK

In 2003, six women disappeared in the Appalachian Mountains while on a caving expedition. In 2005 their footage was found. That’s the tagline you didn’t see on this film, but easily could have. Nor is there any “based on real events” caption at the beginning, possibly a choice by director Neil Marshall to avoid accusations of exploiting his subject matter. But there is another, darker theory: that Marshall was pressured by the American government to present the film as entirely fictional, and to keep silent about what he knew.

Twenty years ago, Neil Marshall’s film, THE DESCENT was released, building on the success and praise of his previous movie, DOG SOLDIERS. "This is the fresh, exciting summer movie I've been wanting for months. Or for years, it seems, “said Jim Emerson, reviewing on behalf of Roger Ebert for the Chicago-Sun Tribune. Now, author, Kate Probert pulls on her safety gear and descends into the darkness, to explore what made the film such a thrilling, perfect horror movie.

REVIEW

Midnight Movie Monographs is a series of books by PS Publishing, the Yorkshire based SFF and Horror publisher. The series takes a deep dive into various horror films.

In this release, author Katie Probert takes a look at the film The Descent. We learn in the introduction that this is Katie’s favourite horror film and when the list of films came up for grabs, this was the one that she had to do.

The book works on two levels. Firstly, as a dissection of Neil Marshall’s Appalachian Horror story, and secondly as a (fictional) true crime conceit that she poses at the beginning of the book.

In this in depth look at the film, Katie Probert takes the reader through the whole of the film, dissecting both the plot and the story behind the making of the film. In addition to this, Probert adds nuggets of trivia to flesh out her analysis and her own views on the film.

Not only that, Probert delves deeper into her subject matter as fear, trauma and the subversion of the final girl trope that the film utilises.

This is a fascinating treatise on a subject that someone obviously loves, and that is why the book works so well. There is an obvious love for the film and the exuberance that Probert has for the film is infectious to the reader.

Where there is a danger that Probert can describe the film with the dryness of a film study, Probert stays away from this approach and describes the film in an affable and approachable way. Even someone who hasn’t seen the film can approach this book and know the events and engage in the discussions that are prevalent throughout the text.

For fans of the film, this is an interesting and insightful look at the film, but even if you haven’t seen the film, you can read this book and know what is happening.