Info

Art Opinions

Posts from the Ken Russell Category

Choose another category?

Uh, oh... Crimes of Passion Ken Russell, 1984 Cinematography | Dick Bush

Uh, oh…
Crimes of Passion
Ken Russell, 1984
Cinematography | Dick Bush

I have always hated being told what to do. I prefer to be the boss. My blog is my own as and so are the opinions expressed within it. The odd thing is that I tend to write better when under the pressure to fulfill the needs of another. When left to my own devices my words tend to gather in formation for unorganized tangents or obscure ideas.  This challenge continues to plague me. Sometimes I allow my words to flow out and I either attempt to edit / correct myself or I simply delete what has been written. I’ve attempted to write about two Ken Russell films in one post several times.

As he is one of my all-time favorite filmmakers his movies hold themselves as personal time markers in my life. If I’m having trouble remembering what year or when something of note in my life has happened I very often only need to think about when I saw a Ken Russell film. Please note I also love a number of other great filmmakers, but Ken Russell Movies serve as folded pages in my personal history journal. Robert Altman and Claude Chabrol do not connect to my life tracking in the same way.

You see? There! It just happened again!

This variation of Norman Bates has paid the ticket price, but the fact that he snorts poppers and whispers to himself as he watches is more than a little worrying... Anthony Perkins Crimes of Passion Ken Russell, 1984 Cinematography | Dick Bush

This variation of Norman Bates has paid the ticket price, but the fact that he snorts poppers and whispers to himself as he watches is more than a little worrying…
Anthony Perkins
Crimes of Passion
Ken Russell, 1984
Cinematography | Dick Bush

All I really needed to write was that I am somewhat passionate about the work of Ken Russell. That would have sufficed. Yet the combination of my brain and the corresponding fingers had to type more information than is required.

Ugh! Here they go again — I am not an argumentative person. I prefer logic. It is not unusual to encounter cinephiles and individuals who sometime enjoy an Art House film who become not only dismissive but often upset to discover that three is a Ken Russell film fan sharing breathing space. I’ve always expected opposition to the art I love. I will only discuss my defense of Ken Russell if asked or pushed into an intellectual corner. For the record, I’ve been pushed into that corner more times than I can count. As I get older I care less about what others think of me. Not too long ago a pal pointed out that I had failed to not only speak up to defend my opinion related to both Andrzej Zulawski and Ken Russell.

Were you expecting restraint or restraints? Kathleen Turner fully utilizes a night stick to the delight of a cop/client, Randall Brady. This scene was cut for US release, but returned in place for the unrated video release. Crimes of Passion Ken Russell, 1984 Cinematography | Dick Bush

Were you expecting restraint or restraints?
Kathleen Turner fully utilizes a night stick to the delight of a cop/client, Randall Brady. This scene was cut for US release, but returned in place for the unrated video release.
Crimes of Passion
Ken Russell, 1984
Cinematography | Dick Bush

At that moment my response seemed perfectly logical to me: Why should I waste my time to try and bend favor from another who felt it appropriate to take a pseudo-intellectual stab at two of my beloved film artists?

It seemed to me that no matter the reasoning, this would have been a waste of my energy.

My pal would have much preferred a potentially unpleasant film theory debate. My response to this individual’s dismissive comment had been,  “Well the audience tends to either love or hate artists like Zulawski and Russell. I understand why you might not agree with me.” For my pal, this was a defeatist way of handling a rude comment. Perhaps it was, but the truth is that it is rare for artists as impassioned, expressive and unique as these two to illicit a middle ground response. The very nature of their respective works aim to force a response. These two were Cinematic visionaries who fought against an industry that often tried to reign them in to conform to what would have been compromises.

No worries. It's just some mother observations to her daughter... Imogen Millais-Scott and Glenda Jackson Salome's Last Dance Ken Russell, 1988 Cinematography | Harvey Harrison

No worries. It’s just some mother observations to her daughter…
Imogen Millais-Scott and Glenda Jackson
Salome’s Last Dance
Ken Russell, 1988
Cinematography | Harvey Harrison

See? I didn’t need to inform any person who might be reading my blog any of that. I just rapt my fingers with a book, but they continue for want of following my often mis-wired brain despite logic’s protest.

But seriously why would I want to see D.H. Lawrence given a Masterpiece Theatre approach? Why would I rather look just at the scenery and listen to a British actor read snippets from a once forbidden novel? I’d much rather watch Glenda Jackson face and dance down free-roaming cattle of Scottish longhorn cows. Or watch Alan Bates seductively and almost pornographically dissect and consume a fig. Why would I want to see Oliver Reed and Bates chat their hidden desires when I can watch them strip naked and literally wrestle the other into submission? Isn’t that what Merchant and Ivory were for?

It's quite lovely. A bit of male nudity in a rather polite critique of early 20th Century English Society... Rupert Graves A Room With A View James Ivory, 1985

It’s quite lovely. A bit of male nudity in a rather polite critique of early 20th Century English Society…
Rupert Graves
A Room With A View
James Ivory, 1985

Oh man. Blah, blah, blah. My fingers will not be restricted as easily as my tongue.

What I want to discuss are two Ken Russell films that were made in the 1980’s when Russell’s options with major studios had come to a close. These options closed not so much as a result of disdain for Mr. Russell, but Mr. Russell’s disdain for the industry majors.

I’ve discussed this with both my brain and my fingers and I think we have all reached an agreement: I will write a bit about each film. I will try to avoid losing myself in meandering thoughts.

My hope is that if you’re reading my blog and have never seen either of these two films that you might actually think about checking them out.

"A lady of the night, a man of the cloth. and a passion worth killing for!" Crimes of Passion Ken Russell, 1984

“A lady of the night, a man of the cloth. and a passion worth killing for!”
Crimes of Passion
Ken Russell, 1984

1984’s Crimes of Passion was born of anger. Screenwriter, Barry Sandler, had finally managed to get a screenplay he cared about produced. Making Love was a bold film for it’s time. The idea of presenting a romantic love story between two men who were not somehow psychotic or dangerous was a whole new idea for Hollywood. By the time Making Love was released the world of sexuality was about to slip from a revolution directly into of all-consuming danger. Conceived and made before AIDS changed everything but release just as it was about to, the movie failed to do what it intended. An outstanding Activist and a sex positive artist walked away from the experience of Making Love ‘s failure and the hypocritical Hollywood viewpoint to write a scathing satire called Crimes of Passion. Fresh from losing a battle to adapt/create an innovative and good film version of Evita to the big screen, Ken Russell was looking for a new project. After battling against unimaginative and Hollywood/Broadway suits, it is easy to imagine Ken Russell hugging Sandler’s screenplay.

I’ve no idea how many times I’ve seen this highly entertaining and crude comical satire on everything from Identity, Marriage, Religion and most of all — Sexuality. I stopped counting a long time ago.

"It is truly an honor to be named Miss. Liberty 1984!" Kathleen Turner Crimes of Passion Ken Russell, 1984 Cinematography | Dick Bush

“It is truly an honor to be named Miss. Liberty 1984!”
Kathleen Turner
Crimes of Passion
Ken Russell, 1984
Cinematography | Dick Bush

If you are easily offended by crass humor or graphic sexuality, this will not be your movie. But if up for the envelope-pushing fun, this movie will not disappoint. Tongue planted firmly in cheek, Ken Russell’s Crimes of Passion is all at once funny, raunchy, rude, eccentric, profane, politically incorrect, unapologetically erotic, surprisingly suspenseful, unhinged and neon-drenched — This is surreal romp that entertains and shocks from beginning to end. Russell had no fear of shock or of being camp. The shocks and camp are not only intended, they are celebrated. Anthony Perkins was more than game to poke fun at his “Norman Bates” role with precision. But make no mistake, this movie belongs to Kathleen Turner.

"Is this a cruise missile or a Pershing?" Kathleen Turner as China Blue inspecting The Dildo of Death. Crimes of Passion Ken Russell, 1984 Cinematography | Dick Bush

“Is this a cruise missile or a Pershing?”
Kathleen Turner as China Blue inspecting The Dildo of Death.
Crimes of Passion
Ken Russell, 1984
Cinematography | Dick Bush

Turner’s participation in this film caused jaws to drop, but that reaction seems odd. It is very easy to understand why Kathleen Turner embraced the opportunity to play both Joanna Crane and China Blue. Aside from the fact that these two roles in one offered her a chance to act her ass off — it offered her the unique opportunity to demonstrate what she did best. This was Ms. Turner before the tragic illness of rheumatoid arthritis would force her into pause mode. In 1983 it seemed that the cinematic world was about to be hers. In fact she was at the very top of the A List, but she was in many ways imprisoned by an industry caught in contradictory conflict. From 1980 to 1981 everything changed within the world of Hollywood Cinema. She was an instant and well deserved movie star after she not only pulled off playing Lawrence Kasdan’s Femme Fatale in Body Heat — she owned the role.

"Save your soul, whore!" "Save your money, shithead." Kathleen Turner grows bored with a John. Crimes of Passion Ken Russell, 1984 Cinematography | Dick Bush

“Save your soul, whore!”
“Save your money, shithead.”
Kathleen Turner grows bored with a John.
Crimes of Passion
Ken Russell, 1984
Cinematography | Dick Bush

Although widely praised, Kathleen Turner never quite fit into the 1980’s Hollywood Era. Turner had the skills to be as naturalistic and real as any Actors Studio graduate, but she also conveyed the sort of charisma and on-screen presence more easily aligned with the great stars of the 1940’s cinematic era. It always seemed that when a film offered her the chance to fully utilize her considerable skills something else within the movie would let her down. It is actually rather comical to realize that Geena Davis received more praise for The Accidental Tourist. In retrospect it is Turner who steals that movie. Kathleen Turner does not perform in half-measure. This was largely lost on 1980’s filmmakers and their industry of the day.

"Sorry. I never forget a face. Especially if I've sat on it." Kathleen Turner blowing bubbles Crimes of Passion Ken Russell, 1984 Cinematography | Dick Bush

“Sorry. I never forget a face. Especially if I’ve sat on it.”
Kathleen Turner blowing bubbles
Crimes of Passion
Ken Russell, 1984
Cinematography | Dick Bush

It was not lost with Ken Russell and she knew that. Ms. Turner took a good deal of crap for taking on the lead role in Crimes of Passion, but she has always stood by the film. This was one of many key gifts of Ken Russell. He actually knew how to fully utilize his actors. Glenda Jackson and Vanessa Redgrave could not fail in any role, but under his direction they were both challenged and inspired. Jackson could not get by with her natural witty charm — for Russell she always had to dig just a bit deeper. As for Redgrave, her interesting reading of character mixed with often odd little mannerisms or ticks was given full flight in The Devils. As for Oliver Reed — no director ever captured his presence and talent as well as Ken Russell.

But the example that most like struck someone like Kathleen Turner was Ann-Margret got away with in Tommy. Ann-Margret is not short of talent, but what she excelled at was interplaying an undeniable erotic energy tempered by a magically conveyed sense that she was nobody’s object. This really seemed like the girl next door who would marry but still go for broke in the bedroom.

And millions of men melted while millions of women wished they could be this sexy without actually being bad... Ann-Margret Bye Bye Birdie George Sidney, 1963

And millions of men melted while millions of women wished they could be this sexy without actually being bad…
Ann-Margret
Bye Bye Birdie
George Sidney, 1963

George Sidney really didn’t do much in bringing Bye Bye Birdie to the screen, but he got one thing very right. The idea of putting Ann-Margret in front of a bright blue backdrop which she sang and moved in a hard bit of tease and bait was genius! This was the Sex Kitten personified! It would take almost a decade before Mike Nichols would give her a part suited to her talent. In 1971’s Carnal Knowledge she actually challenges Jack Nicholson as his needy girlfriend. But it was a supporting role.

When Ken Russell cast her as Nora in Tommy it caused a bit of head scratch. Here was a beautiful young woman who would be playing Roger Daltrey’s mom when they were essentially the same age. But here was a filmmaker offering Ann-Margret the opportunity to do the things she did best: Sing and emote. For Russell, Ann-Margret brought forward that idea of sexuality that fit perfectly into Tommy‘s damaged psyche.

Well, really. It was only a matter of time... Ann-Margret going the distance. TOMMY Ken Russell, 1975 Cinematography | Dick Bush

Well, really. It was only a matter of time…
Ann-Margret going the distance.
TOMMY
Ken Russell, 1975
Cinematography | Dick Bush

Tell Ann-Margret to sing and dance while covered in pork-n-beans, chocolate sauce and bubble soap residue — it only takes a minute before she finds a way to hump a phallic pillow with an erotic intensity. This surreal cinematic moment among several other surprisingly potent moments and Ann-Margret became a fully respected movie star with a Best Actress Oscar nomination.

Crimes of Passion and Ken Russell offered a similar opportunity for Kathleen Turner. In this 1984 role she was allowed to do what she did best: everything. As Joanna Crane she could play the realism of torment, sexual repression, loneliness and fear.

Joanna Crane: The repressed reality hiding within the surrealism... Kathleen Turner Crimes of Passion Ken Russell, 1984 Cinematography | Dick Bush

Joanna Crane: The repressed reality hiding within the surrealism…
Kathleen Turner
Crimes of Passion
Ken Russell, 1984
Cinematography | Dick Bush

As China Blue she could go full throttle movie star. The role would require her to be erotic, funny, sad, transgressive, daring, bold and most importantly it allowed her to explore the full range of human emotion. At last she would be on a screen big enough to capture her talent and beauty. Kathleen Turner delivered a masterful display of performances and Russell framed them exquisitely.

Unfortunately, the world of 1980’s new conservatism was not a welcomed place for a movie like Crimes of Passion. In the 1980’s graphic sexuality was allowed. Or, rather, it was allowed to a certain point. Crimes of Passion moved well beyond that point. It also pushed against the most stringent rule of the era — wild sexual abandon had to come at a price. The 1980’s sexually unrestricted character had to pay some moralistic price for indiscretion. Not to give too much away, the sexual pleasures in Crimes of Passion are not penalized. In fact, they are actually rewarded. That was a big “NO! NO!” in 1984. This was no longer the 1970’s.

This was a Regan and Thatcher world.

China Blue was not welcomed in it. For release in the US, Russell was required to make cuts in order to secure an R Rating. Even then, more than a few cinemas closed the film after the first day or two. This was especially true where I lived: The American Bible Belt.

These heels draw blood... Crimes of Passion Ken Russell, 1984 Cinematography | Dick Bush

These heels draw blood…
Crimes of Passion
Ken Russell, 1984
Cinematography | Dick Bush

Wait! My brain and fingers did it again! Damn!

Look, Crimes of Passion has been largely lost on the shelf of Cult Cinema for far too long. Sure, it is a Cult Film — but it is a great deal more as well. Just half an hour into this film and you will note its influence in modern cinema. Crimes of Passion is Neon-Noir. It is also hopelessly entertaining and very artistic. Dick Bush’s cinematography is excellent. Stephen Marsh’s production design is really quite brilliant. Rick Wakeman’s synth score is interestingly current. In fact, FOX TV’s American Horror Story owes a good deal to many aspects of this movie. It has been and continues to be influential.

"Don't fight me, child. I'm the messenger of God and I only want to heal you!" Anthony Perkins gets more than he bargained for... Crimes of Passion Ken Russell, 1984 Cinematography | Dick Bush

“Don’t fight me, child. I’m the messenger of God and I only want to heal you!”
Anthony Perkins gets more than he bargained for…
Crimes of Passion
Ken Russell, 1984
Cinematography | Dick Bush

The UK’s Arrow Video has secured all the licensing rights, has restored and will be releasing Crimes of Passion to DVD/Blu-Ray this coming July. Finally a new generation will be able to enjoy this twisted bit of cinematic magic!

Arrow Video Presents Crimes of Passion

Crimes of Passion Arrow Video Art Design by Twins of Evil

Crimes of Passion
Arrow Video
Art Design by Twins of Evil

This is a film that has never received the praise it deserves. It most likely never will, but for those of us smart enough to recognize it — Crimes of Passion is a film of complex and rude brilliance. Although it failed to please the majority of film critics and was a cinematic flop, the film did yield some return via the VHS market. I am sure Mr. Russell would have been much happier had the movie had performed better, he was not one to give up. It is key to note that Ken Russell always got the joke. He also made the film he set out to make.

Man! I did again — meandering about and ranting to the choir. If you’re reading this you are interested and I do not need to point these things out to you. Anyway, there is that second Ken Russell movie I want to discuss. Let’s see if I can restrain myself with more success.

O, Salome! Is that a banana you're eating or are you pinning for something a bit more... Salome's Last Dance Ken Russell, 1988

O, Salome! Is that a banana you’re eating or are you pinning for something a bit more…
Salome’s Last Dance
Ken Russell, 1988

It would not be true to write that I needed an excuse to cut school. I hated being told I had to be “present” every school day. I skipped school often. However it was unusual for me to call in “sick” to work. But I was so excited to discover that Ken Russell’s latest movie was actually playing at a cinema in Houston that I did both. I remember worrying that my shitmoblie might fail me on the drive there. Worse yet, I wasn’t sure I had enough money to make it back home. But it was worth the risk. Salome’s Last Dance was playing at a cinema located in the heart of what was then known as the gay section of Houston.

Fran Leibowitz has noted that while AIDS stole far too many great artists — it did something actually just as if not more devastating to the arts — it stole the best persons of the audience.

It was a very hot and humid day in Southeast Texas, but it was freezing in that cinema. Wearing shorts and a torn OP shirt, I was wanting for a coat. I was alone in the theatre until three men entered. All three of them were emaciated-looking and clearly quite ill. They sat a few rows in front of me. Once the movie started it was clear that these three men were clever enough to allow their literary knowledge to serve as an instrument to fully appreciate Ken Russell’s jokes vs being offended.

Caged and about to get a rough poke... Douglas Hodge  Salome's Last Dance Ken Russell, 1988 Cinematography | Harvey Harrison

Caged and about to get a rough poke…
Douglas Hodge
Salome’s Last Dance
Ken Russell, 1988
Cinematography | Harvey Harrison

As the miserable and insufferable Bosey is being tormented by half nude Amazonian dominatrix guards, these three audience members got the giggles. I laughed as well, though I was really puzzled by the spears with which they threatened Douglas Hodge’s Bosey. What were those fist things that were covering sharp tips? I was yet “mature” enough to know about dildo fisting toys.

Several queens form The Nazareans . As well as the late Imogene Claire.  Salome's Last Dance Ken Russell, 1988 Cinematography | Harvey Harrison

Several queens form The Nazareans . As well as the late Imogene Claire.
Salome’s Last Dance
Ken Russell, 1988
Cinematography | Harvey Harrison

When the head dominatrix shoves the fisting spear up Bosey‘s ass the three men fell into hysterics. Almost immediately after Bosey‘s little surprise, Ken Russell made his cameo entrance as a brothel photographer capturing Bosey/John The Baptist‘s torment with his camera. I’ve never really seen Russell’s cameo as Hitchcockian so much as I think they served more as naughty wink. As if to indicate the silliness of the filmmaker putting himself in a movie should serve as more of a cinematic jester. I could be wrong on that, but these three gay dudes totally “got” this movie and they loved every minute. Every snarky innuendo and every time Glenda Jackson hammed a line up, they chortled in glee. I understood the literary references and caught the camp, but some of the more adult ideas most likely escaped me.

I remember making a mental note that I really had to get my ass out of Texas as soon as I graduated from university. I mean, only three people in a cinema to see a Ken Russell movie?!!?

The same had happened when I saw David Lynch’s Blue Velvet a couple of years earlier.

"I will kiss your lips, John the Baptist!" Douglas Hodge and Imogen Millais-Scott Salome's Last Dance Ken Russell, 1988 Cinematography | Harvey Harrison

“I will kiss your lips, John the Baptist!”
Douglas Hodge and Imogen Millais-Scott
Salome’s Last Dance
Ken Russell, 1988
Cinematography | Harvey Harrison

Wait. I’ve done it again. I’ve lost myself and allowed my prose to wander off into a memory tangent. O my brain and fingers! Why do you fail me?!?

Salome’s Last Dance came into being thanks to a deal Russell had secured with Vestron after he made Gothic. He had some freedom, but his hands were tied when it came to the budget. He had to bring the movie in for under $1,000,000. About $200,000 under that million dollar mark. Ken Russell was a filmmaker who drew his own path in cinema. And he never had a problem with coloring along as he drew.  But he certainly wasn’t always going to color within the conventional lines. By 1987 his abilities to secure the kind of financing his films deserved were gone. The master filmmaker carried on and simply improvised.

Sitting just outside "the well" or, um, the dumbwaiter to listen to John The Baptist's rants... Salome's Last Dance Ken Russell, 1988 Cinematography | Harvey Harrison

Sitting just outside “the well” or, um, the dumbwaiter to listen to John The Baptist’s rants…
Salome’s Last Dance
Ken Russell, 1988
Cinematography | Harvey Harrison

After managing to find a way to turn Paddy Chayefsky’s overtly cerebral and ultra-thick dialogue into a watchable film, Altered States — Russell had no patience for Hollywood studios. They certainly had no patience for him. In the 1980’s he made several odd movies. Only one of these received any amount of critical praise. The Rainbow would be Mr. Russell’s final film that even slightly approached a standard or conventional narrative. It approached it very well, but at the time I remember thinking that The Rainbow lacked the sparks of innovation I had grown to love, but it appealed to a larger audience.  Looking at it now, The Rainbow is a solid and polished film. But pales in comparison to Russell’s more experimental and twisted films of this era. Over the years Crimes of Passion,  Gothic, and The Liar of the White Worm have secured  Salome’s Last Dance valued Cult Film status. There is certainly nothing wrong with being labeled a Cult Film, but some 20 to 30 years later — a couple of these movies reveal something far more than they did when first released. This is particularly true of both Crimes of Passion and Salome’s Last Dance.

Glenda Jackson takes a well-earned smoke break... Salome's Last Dance Ken Russell, 1988 Cinematography | Harvey Harrison

Glenda Jackson takes a well-earned smoke break…
Salome’s Last Dance
Ken Russell, 1988
Cinematography | Harvey Harrison

Salome’s Last Dance ‘s strange play-within-a-film has aged brilliantly. As Ebert noted in 1988, a low budget did not prevent Ken Russell from securing top noted artists both in front and behind the camera. The production design is both realistic and surrealistic in equal measure. It is also lush, erotic, witty, profane and “Wilde-ly” entertaining.

Russell does not change  Oscar Wilde’s play. Instead he constructed a way to offer some perspective on just how bold, daring and witty Wilde truly was. He also finds creative and clever ways to tie Oscar Wilde’s tragic personal life tied directly to the action of his Salome play. The film’s plot involves a surprise performance of Wilde’s play with the playwright as the only audience member. Russell bends history a bit to also tie this odd fictional staging to coincide with the arrest that would ruin the great writer’s life.

Glenda Jackson and Stratford Johns having a lot of fun and bringing it all to life... Salome's Last Dance Ken Russell, 1988 Cinematography | Harvey Harrison

Glenda Jackson and Stratford Johns having a lot of fun and bringing it all to life…
Salome’s Last Dance
Ken Russell, 1988
Cinematography | Harvey Harrison

Heading up Russell’s cast is the always brilliant Glenda Jackson, Nickolas Grace and Stratford Johns. Russell cast an unknown to play the brothel maid who is plays Salome.  Imogen Millais Scott was quite an amazing discovery. She quite literally manages to steal the movie away from Jackson. This in of itself is a masterful feat! Salome’s Last Dance would be Scott’s only film. The talented actress had caught a dangerous virus and lost her eyesight just before filming was to begin. To his credit, Ken Russell refused the idea of replacing her. While this might have been an act of kindness, it was a very wise decision. Imogen Millais Scott bites into each word with a demonic bratty precision. Ms. Scott’s performance is off-kilter brilliant. It is hard to know exactly, but there is something truly disturbing about the way Salome directs her eyes. Imogen Millais Scott had an unusual look about her anyway. She looks at once like a little girl and other times like someone far older. I find it difficult to articulate why, but this actress has a rather disorienting appearance. The role itself is perverse, but there is something uncomfortably disarming regarding her individual carriage. This Salome is envisioned as a Lolita gone to seed.

Uh, oh. Herod is boring Salome... Salome's Last Dance Ken Russell, 1988 Cinematography | Harvey Harrison

Uh, oh. Herod is boring Salome…
Salome’s Last Dance
Ken Russell, 1988
Cinematography | Harvey Harrison

The brothel workers and customers perform the play with rabid energy. Michael Arrals’ created costumes that were both period and wonky/cheesy BDSM. The production is decidedly kinky and perverse. As the film’s concept dictates, the largely male brothel goes for broke which allows Russell to amp up the erotic subtext of the play itself. Every member of Herod’s court is sexualized beyond belief. It seems as if Ken Russell called Central Casting London and asked for 15 British Nasties wanna-be’s. These ladies are not great actors, but they are not meant to be. It works effortlessly.

The concept of metanarrative is fleshed out in more ways than one. As Oscar Wilde watches his play once intended for Sarah Bernhardt but banned by the British government is now presented by sex workers and their customers. Russell is playing off real-life tragedy. By the time this film reaches the mid-point, the reality of the film’s “audience” and those “acting” on stage have already interlaced. Wilde’s play takes on additional meanings of transgression and emotional betrayals. Bosey is playing John The Baptist which takes on the inference that it will soon be Wilde being tortured in prison while Salome’s dance should have been performed by Bosey. And here we are watching the play with Oscar Wilde himself.

Stratford Johns and Imogen Millais-Scott Salome's Last Dance Ken Russell, 1988 Cinematography | Harvey Harrison

Stratford Johns and Imogen Millais-Scott
Salome’s Last Dance
Ken Russell, 1988
Cinematography | Harvey Harrison

The result is an avant-garde and Surrealist film that never loses its energy or the viewer’s interest. Considering that none of Wilde’s original play has actually been altered, it is a bit of cinematic genius that this film is so nasty and darkly comical. Russell’s staging of Salome’s Dance of the Seven Veils is spectacular and more than a little surprising. Gender is up for grabs. It has to be seen to appreciate the audacity. If you are familiar with British Literature and Oscar Wilde, you already know that this dance was an essential plot point and key to the general theme of the play. So it is somehow fitting that Ken Russell has found a whole new way to bring this dance to life — and with some new meaning. These shifts in meanings and the use of perverse comedy are Russell’s own imaginings — yet they fit Wilde’s play like a lubed up latex glove. Harvey Harrison’s cinematography is exceptional and the costumes are only rivaled by Michael Buchanan’s production design and Christopher Hobbs set work. The brothel’s perverse take on Salome is intended to look cheep and crass, but Russell still finds ways to often make it all look spectacularly lush. In place of a musical score, Russell wisely choose various pieces from the realm of public domain and was lucky enough to have use of the London Philharmonic Orchestra to fill the soundtrack of the movie.

But did you enjoy our little play? Nickolas Grace, Glenda Jackson and Stratford Johns Salome's Last Dance Ken Russell, 1988 Cinematography | Harvey Harrison

But did you enjoy our little play?
Nickolas Grace, Glenda Jackson and Stratford Johns
Salome’s Last Dance
Ken Russell, 1988
Cinematography | Harvey Harrison

Glenda Jackson is at her comedic best. It is clear that the great actress is having fun as both Herodias and Lady Alice. Stratford Johns is particularly invested in his performances as both Herod and Alfred Taylor. Like Jackson, he is clearly having fun, both actors are so shrewdly funny it is hard to take your eyes off them. It’s all a lot of fun, but both Jackson and Johns are able to turn it on a dime. The ultimate joke of the film is the absolute cruelty of what we have just seen. Wilde’s play ends with a thud, but Russell’s film manages to find a louder one. Innovative, hilarious, perverse, intelligent and stunning to behold — Ken Russell’s Salome’s Last Dance could have easily been made yesterday. It feels current.

This is more than a Cult Film. Salome’s Last Dance is cinematic art. The problem is that Ken Russell was about two decades ahead his time. Certainly not a conventional film and most likely not a movie for your grandparents — This is one film that deserves a new viewing and reassessment. It is currently available via US iTunes. The quality is not quite up to par with the now out of print DVD, but it is strong enough to see the magic that Ken Russell created with almost no money but a great deal of skill, imagination and limitless artistic abilities. It is more likely that we will see Gothic and The Lair of the White Worm restored before Salome gets a proper platform on which to dance.

Ready for her kiss... Salome's Last Dance Ken Russell, 1988 Cinematography | Harvey Harrison

Ready for her kiss…
Salome’s Last Dance
Ken Russell, 1988
Cinematography | Harvey Harrison

But at least her final dance can still be seen. There is some magic there and Ken Russell’s visionary work refuses to be silenced. Thank goodness.

matty stanfield, 4.15.2016

 

 

004-the-devils-theredlist

Uh, oh. Trouble is coming from all sides as Ken Russell takes British Film into the 1970’s. Despite on-going demand, Time Warner still refuses to allow us to take a full-on second look back. Britain’s most infamous film actually belongs to a United States based corporation. The Devils Ken Russell, 1971 Cinematography | David Watkin

When one thinks of 1960’s Film Art, the mind does not immediately jump to thoughts of British cinema. Most of us think of France’s La Nouvelle Vague, Germany’s Neuer Deutsche Film, Italy’s NeoRealism film movement, The Japanese New Wave or The Polish New Wave from which Britain did snatch Roman Polanski. Certainly there were groundbreaking British films that caught the spirit of London’s Swinging 60’s Era, but many of these films have aged rather poorly. Just think of Petulia, Morgan!, Darling, Billy Liar or Georgy Girl.  If honest, what really still works about these films is related to a time capsule interest. Many of these British films are quite valid (think A Taste of Honey, This Sporting Life, Room At The Top, A Hard Day’s Night, Seance on a Wet Afternoon, Performance ) but the majority have not held up as well as one might hope.

This is not true across the board. Stanley Kubrick’s British work has only gotten better with time and Michelangelo Antonioni’s visit into Swinging London culture of the time, Blow Up, remains a vital work. However, are these truly British films? It would seem that both of these filmmakers were in a sort of transitionary position. Antonioni was visiting England. Kubrick was still fairly new to British culture.

606cf88ec8e02988256261155a0bd85f

The great Julie Christie is The Ideal Woman of 1965’s British satire of Swinging London, but the film barely registers beyond nostalgia now. Darling John Schlesinger, 1965 Cinematography | Kenneth Higgins

Most of the iconic British films of the 1960’s are simply limited to nostalgia. Guy Hamilton, Andy Milligan, Lindsay Anderson, Karel Reisz and Lindsay Shonteff are exceptions but much of what they were trying to convey would soon better estimated by the likes of Alan Parker and most especially Mike Leigh. Ken Loach would not truly find his voice until he entered his 50’s in the 1990’s. There was also a good share of attention to The Angry Young Man of the day. Tony Richardson had moments of brilliance but looking back he seemed to have been challenged by what style of film best suited his voice. Richard Lester certainly left a mark, but here again we are slipping into time capsule pop culture moments.

The British New Wave is also largely obscured by the mega-epics of David Lean’s heavily praised, Lawrence of Arabia and Doctor Zhivago are considered to be a cinematic masterpieces. I’ve never been particularly impressed. To be honest, I’ve never made it through Lawrence of Arabia without falling asleep. Carol Reed’s adaptation of the stage musical, Oliver! was another huge British hit of the 1960’s that pushed pass the more reflexive films of the day.

There were two particularly strong and solitary British Film Artists who were finding new methods of cinematic language. Nicolas Roeg would soon move from the cinematographer chair to that of director and change the face of film editing as it was known. Ken Russell’s work for the BBC and his adaptation of Larry Kramer’s adaptation of DH Lawrence’s Women In Love all stand alone and unique in offering new ways of using film to express ideas and to tell stories. And he really stole the anticipated reigns of the film biography when The Music Lovers slammed onto movie screens across the world in 1970.

devils11

Ken Russell welcomes us to the 1970’s via way of 16h Century France as “the wife” of a Priest makes her way past the destruction of the Roman-Catholic Church… Gemma Jones The Devils Ken Russell, 1971 Cinematography | David Watkin

As British Film headed into the 1970’s some firm and potent voices formed. Certainly Stanley Kubrick’s A Clock Work Orange is a British Film. All American cultural ideas have fallen off his cinematic map. John Schlesinger pretty much left England for America. Ken Russell defied all expectations with his searing and important 1971 film, The Devils. As it turns out Ken Russell, Nicolas Roeg and Stanley Kubrick were not alone. The thing is some of the new British voices got somehow lost in the mix. Barney Platts-Mills’ may have only made one film in the 1960’s, but it is a powerful entry into British Film History. Three other filmmakers also created work not only ahead of the cultural curve — they challenged it and ran their work close to the edge of the rails.

As we stumble forward toward the third decade of the 21st Century, The British Film Institute has gone deep within the corners of their storage closets to re-release a couple of seldom seen motion pictures that capture 1960’s London in whole new ways. Most of these titles were dusted off, restored, re-released within the UK and issued to DVD/Blu-Ray between 2009 and 2011.

BFI_logo_972x426.3a026e90d1a61b0b9af3bad6901de543

The British Film Festival pulled several legendary but almost forgotten films and re-issued them to DVD/Blu-Ray in 2010 and 2011. These “lost” films of Jack Bond, Jane Arden, Joseph Despins and William Dumaresq teach us that Ken Russell and Stanley Kubrick were not alone in finding new ways to capture stories and ideas for the British Screen.

Two of these four filmmakers were actually Canadian born. Even still, these two ex-pats of Canada artists show no signs of unfamiliarity with the setting of their two crucial films that BFI re-issued several years back for the first time in over 40 years. The other two filmmakers are most certainly British and have cinematic voices which come close to that of Ken Russell and Nicolas Roeg. Like Russell / Roeg, these two British Film Artists were well-versed but often Anti-Intellectual in the way they approached their work. They were far more focused on the visual and the use of film editing. Rebels all, but each were reeling out their rebellion from different core identities. Unlike Ken Russell and Nicolas Roegs’ work of the 1960’s, all four of the other Film Artists will not appeal to a number of people, but it is hard to imagine anyone disputing their importance.

I’m currently exploring the work of a number of British filmmakers who are new to me. I plan on writing more on the art and collaborations of Jane Arden and Jack Bond. The work these two created almost defies terminology, but I’m going to give it my best shot!

But for this post, I want to touch on two films. The first of these two was born out of the mixed theatre and social service ideals of the great Joan Littlewood. “The Mother of Modern Theatre” devoted the second half of her life working with the young people of East London who were lost, without purpose or supervision. These young people were in constant threat of falling prey to all manner of trouble. Her idea was to create a space where these teenagers could be allowed to hang out and “act” out their issues, challenges and ideas. Firmly grounded in the arts but against what she viewed as Elitism of The National Theatre. Her Theatre Royal Stratford East was free of pretension and open to everyone. It was here that Barney Platts-Mills was inspired to scrap together a bit of money to make an amazing little film called Bronco Bullfrog.

Non-actors, Anne Gooding & Del Walker, "play" fictionalized versions of themselves and contemplate their futures. Bronco Bullfrog Barney Platts-Mills, 1969 Cinematography | Adam Barker-Mill

Non-actors, Anne Gooding & Del Walker, “play” fictionalized versions of themselves and contemplate their futures.
Bronco Bullfrog
Barney Platts-Mills, 1969
Cinematography | Adam Barker-Mill

Bronco Bullfrog stars non-actors who had been working with each other under the loose guidance of Joan Littlewood. While the plot is deceptively simple, a great deal of information about the grimness of urban decay, lack of parenting and dystopian boredom come through loud and clear. Glam and style-free, this is a study of teenagers floating along without purpose, direction or hope. Interestingly, it is not all gloom and doom. The characters of Bronco Bullfrog start to find their way as the film heads to conclusion. This is a gem of a film that has never received the praise or attention it deserved. As good as this movie is, it can hardly stand-up when positioned next to Joseph Despins and William Dumaresqs’ ultra-strange and unforgettable twisted little movie, Duffer.

duffer_banner

A good 6 years before anyone had seen the dark surrealism and humor of David Lynch, this low-budget experimental film serves as welcome warning that the art of filmmaking is about to take an innovative, creative and altogether new turn. Kit Gleave as Duffer Joseph Despins & William Dumaresq, 1971 Cinematography | Jorge Guerra

Joseph Despins and William Dumaresq crafted this weird and entertaining movie on a budget so low it is probably best not to state it. The camera work is surprisingly solid. Actually the cinematography is far more than solid, it is artistically sound. Cinematographer, Jorge Guerra, may not have had the best equipment but he most certainly knew how to use it. The shots are often brilliant.

There is no sound. The narration and voices were recorded by a different cast. It only takes a few minutes before it is clear that the lack of sound was not going to be a deficit. In fact, the creative dubbing actually adds to this film in more ways than one. Comical and often horrifying, the dubbed dialogue serves exceptionally as an aide to the film’s surrealism, dark comedy, menace and horror.

"WoManAmal!!!" Duffer's junkie gay keeper heaps on the abuse and chronicles it all for underground porn.  William Dumaresq as "Louis-Jack" Duffer Joseph Despins & William Dumaresq, 1971 Cinematography | Jorge Guerra

“WoManAmal!!!” Duffer’s junkie gay keeper heaps on the abuse and chronicles it all for underground porn.
William Dumaresq as “Louis-Jack”
Duffer
Joseph Despins & William Dumaresq, 1971
Cinematography | Jorge Guerra

The dubbing actually heightens the discomfort as we watch a young man attempt to reconcile the emotional, physical and sexual abuse of his older junkie boyfriend by engaging in an affair with a female prostitute. Enduring the sort of sadistic torment one seldom sees addressed in film, Despins and Dumaresq were extremely clever in presenting it in very dark comical ways that disturb but never so much that one needs to run for cover. The kind but obviously more than a bit twisted herself, prossie called Your Gracie gives the lost teen some solace while fully utilizing him as a tool.

508

Erna May as “Your Gracie” is using Kit Gleave’s “Duffer,” but he hopes she is saving his masculinity… Duffer Joseph Despins & William Dumaresq, 1971 Cinematography | Jorge Guerra

As the KINK/BDSM with his male keeper becomes more severe and his trysts with his female lover decrease — Duffer is pulled into his male lover’s Horse addiction and begins to suffer one of the most bizarre psychosomatic delusions I’ve ever seen. The poor kid’s delusions continue to morph into what appears to be a psychotic break. This twisted, funny, unsettling and fascinating experimental film deals with almost every aspect of human cruelty and horror imaginable. And just to amp up Duffer’s already potent cinematic stew, we gradually begin to suspect that our protagonist may not be the most reliable narrator.

Just a bi-sexual boy walking through 1970 Notting Hill either on his way from or toward abuse at the hands of older suitors.  Kit Gleave in his only film role... Duffer Joseph Despins & William Dumaresq, 1971 Cinematography | Jorge Guerra

Just a bi-sexual boy walking through 1970 Notting Hill either on his way from or toward abuse at the hands of older suitors.
Kit Gleave in his only film role…
Duffer
Joseph Despins & William Dumaresq, 1971
Cinematography | Jorge Guerra

As the film unspools more perversities and jaw-drop moments at break-neck speed, we are constantly given an exceptional examination of 1970’s Notting Hill. You may think you’ve seen urban decay and dystopian-like settings, but Duffer presents an England few of us have seen. Filmed on location and on the very cheap, this is perplexing and truly extraordinary view of the state of things circa 1969-1970. I realize that some of you will be annoyed that I’m grouping this film into the 1960’s British New Wave, but Duffer is clearly set in the 1960’s. This is not the 1970’s.

The film begins with Duffer sitting alone by the water. A pretty young woman pauses as she crosses a bridge far above the handsome boy. As the film whirls to conclusion we find him once again in the same place. It is impossible to not ponder where the film’s reality begins or ends. In fact, there is a distinct possibility that none of it is real. However there are just as many clues that all of what see presented has happened in reality. I’m not dropping a spoiler here, the viewer begins to distrust poor Duffer almost immediately. This is a narrator we are unable to trust. But the most jarring aspect of this film is that it presents itself solidly within the Surrealist Context.

All alone in his thoughts... Duffer Joseph Despins & William Dumaresq, 1971 Cinematography | Jorge Guerra

All alone in his thoughts…
Duffer
Joseph Despins & William Dumaresq, 1971
Cinematography | Jorge Guerra

It is important to note that as much as I praise Duffer, it is not for all tastes. While never truly graphic, it is most definitely profane and very perverse. The humor is so dark that many will feel guilty laughing. This is one demented movie. It also features a deeply strange musical score from the composer who gave the world the 1960’s Broadway smash, Hair. Galt McDermot’s score plays like something you would hear in an alternate universe Tin Pan Alley. Just when you think you will only be hearing a piano — a quickly use of electronics starts to grind forward.

"Mind how you go..." No where in Notting Hill is safe! Duffer Joseph Despins & William Dumaresq, 1971 Cinematography | Jorge Guerra

“Mind how you go…” No where in Notting Hill is safe!
Duffer
Joseph Despins & William Dumaresq, 1971
Cinematography | Jorge Guerra

Duffer screams out for repeated viewings to understand, to ensure that what you think you’ve just seen was actually shown and for the simple fact that this movie is endlessly entertaining. And trust me, this movie gets under your skin. Once it slips under, it stays there. In addition, something about Duffer seems to be signaling the audience to watch out for David Lynch. Were it not so very British, it could easily be mistaken for something a young David Lynch might have created. Unique, innovative, disturbing, haunting, funny and altogether original, Duffer is a must see lost British Cinematic Treasure.

Well there is nothing quite like watching your lover's home movies abusing you... Kit Gleave watches what we can only guess hurt a great deal. Duffer Joseph Despins & William Dumaresq, 1971 Cinematography | Jorge Guerra

Well there is nothing quite like watching your lover’s home movies abusing you…
Kit Gleave watches what we can only guess hurt a great deal.
Duffer
Joseph Despins & William Dumaresq, 1971
Cinematography | Jorge Guerra

 

I honestly found no flaw in Duffer.

Just pulled back into darkness after being "fixed" for activities best kept there... Duffer Joseph Despins & William Dumaresq, 1971 Cinematography | Jorge Guerra

Just pulled back into darkness after being “fixed” for activities best kept there…
Duffer
Joseph Despins & William Dumaresq, 1971
Cinematography | Jorge Guerra

I loved this film, but the work of both Jane Arden and Jack Bond really blew me away. Blown out the window and lying on the pavement outside our San Francisco home, the collaborations of Arden and Bond require more than a little thought and meditation. I’m still letting their three films digest, but I’ll be writing about them soon.

Pushing Feminist Agenda, Drug Experimentation, Examination and Destruction of an identity born of societal and cultural domination, Jane Arden & Jack Bond pull us into the dangerous threat of absolute madness... The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

Pushing Feminist Agenda, Drug Experimentation, Examination and Destruction of an identity born of societal and cultural domination, Jane Arden & Jack Bond pull us into the dangerous threat of absolute madness…
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Matty Stanfield, 12.23.2015

 

No one quiet knew what to think when Ken Russell's surrealistic absurdist comedy-rock musical opened in 1975. However a number of smart university students got in line to drop a bit of acid with their popcorn as the movie unspooled... LISZTOMANIA Ken Russell, 1975 (The UK Poster)

No one quiet knew what to think when Ken Russell’s surrealistic absurdist comedy-rock musical opened in 1975. However a number of smart university students got in line to drop a bit of acid with their popcorn as the movie unspooled…
LISZTOMANIA
Ken Russell, 1975
(The UK Poster)

I love movies. All types of movies, but most those of the Art House variety. Among the world of serious cinephillia, British filmmaker Ken Russell often causes a sort of frantic run to the nearest Exit. While nearly all will agree that his early BBC films and his adaptation of D.H. Lawrence’s Women In Love are brilliant. The rest of his work is generally regarded as excessive and hysterical madness. In the last decade a new found appreciation has evolved for his still controversial critique of merging Church and State, Catholicism, religion and the human tendency toward cruelty in his 1971 film, The Devils.

Your senses will never be the same... Ken Russell's biggest commercial success would end up elevating the concept of something we would call "the music video." TOMMY Ken Russell, 1975

Your senses will never be the same… Ken Russell’s biggest commercial success would end up elevating the concept of something we would call “the music video.”
TOMMY
Ken Russell, 1975

His biggest commercial success was the filmed rock opera, Tommy. Released in 1975, film critics had a hard time dismissing it. Nothing had shown up on screens quite like it. 40 years later this loud and hopelessly entertaining film is still regarded as the perfect marriage of Ken Russell cinematic urges and mid-1970’s rock culture. That same year, feeling inspired and with a bit of film industry power he had never enjoyed, he went for the pop culture jugular: He made Lisztomania.

If you should find yourself in a room of film loving intellectuals and bring up this notorious big-budget major studio released rock musical flop, you will either encounter smirking laughter or a total silence of seething judgement. I have never really seriously cared what people think of me.

Though, I do hate it when someone thinks me to be a mean-spirited person. That I am not.

But am I a fan of Ken Russell? Yes. Do I love Russell’s odd cinematic error that is Lisztomania? Oh, yeah. I love it.

"Well, this will teach you not to BANG on the piano!" Says The Count before extracting his revenge for catching Roger Daltrey and Fiona Lewis going at it. Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

“Well, this will teach you not to BANG on the piano!”
Says The Count before extracting his revenge for catching Roger Daltrey and Fiona Lewis going at it.
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

I fully embrace the insanity that is Lisztomania. I bow my head in awe that there was ever a time in the history of Warner Bros. that they would fully engage, promote and full scale release a movie like Lisztomania. While I know the film is more than a little problematic, I struggle to understand how anyone could refute the uniqueness of this crass bit of Pop Art. I struggle even more to understand why anyone would not enjoy the insane logic of it’s existence. And my jaw drops when someone tells me that they find it dull.

Well, here I do exaggerate. Only two people have ever told me that they were bored by Ken Russell’s Lisztomania. And both of these people pointed out that they found the first 15 minutes of the movie dull. Once Roger Daltrey’s cockney-accented take on Hungarian/German composer, Franz Liszt. True enough, the only even minor slow-paced moment in the film is a concert in which Daltrey entertains an audience of mostly young female fans swooning and screaming if at a rock concert. The scene does seem a bit out of place in the film, but it makes sense given the point that Ken Russell is attempting to make.

Marie d'Agoult fumes as her lover, Franz, pulls on his rock star platform boots to head off on yet another tour to be filled with groupies and fun... Fiona Davis / Roger Daltrey Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Marie d’Agoult fumes as her lover, Franz, pulls on his rock star platform boots to head off on yet another tour to be filled with groupies and fun…
Fiona Davis / Roger Daltrey
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

And, of course, prior to this concert sequence, we are treated to a British Music Hall-sylte (the British version of similar to American vaudeville theater) gone into the profane and raunchy. The opening of the film features Count d’Agoult catching his wife, Marie, enjoying frantic sex with her piano tutor, Franz. Nude and silly antics ensue accompanied by a from of sort of Gaelic-Country musical narration. End all ends with the count having poor Marie and Franz placed nude inside a piano as the Count plays chords. Franz is panicked and Maria seems to be gaining a bit of, well, pleasure from some of the piano banging.

Suddenly they are nailed into the piano left on train tracks about to face their death. Cut to a backstage gathering of some of the great European composers, artistes and groupies awaiting for Franz to take to the stage. Enter a young, idealistic and ambitious Richard Wagner who attempts to pimp his music to Franz.

It is all quite over-the-top, silly, illogical, surreal and just straight-up weird. Please note: This was all Ken Russell’s intent. Everything in Lisztomania is intentional, profane, silly and often spastic.

Who needs the old tired religious icons of dull saints and martyrs when we can worship St. Elton and St. Pete? Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Who needs the old tired religious icons of dull saints and martyrs when we can worship St. Elton and St. Pete?
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

As Russell had just wrangled the Rock God Machine that was/is The Who to create the movie, Tommy, — he noted several similarities to the level of decadence and public sensation that followed the band and it’s lead singer to that of classical composer, Franz Liszt. It dawned on Russell that when one reads accounts of Franz Liszt’s career one could easily draw comparisons that form the idea that Liszt was in many ways the world’s first Pop Star.

Kissing The Holy Cowboy Boot of The Pope and all of his movie star saints... Roger Daltrey and Ringo Starr's foot Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Kissing The Holy Cowboy Boot of The Pope and all of his movie star saints…
Roger Daltrey and Ringo Starr’s foot
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

True enough. Liszt had legions of young women who would fight their way into the places he performed. These women were fanatical in the way they would behave as Liszt played his piano. Screaming, swooning and often having to be restrained from trying to touch the renowned artist. And if one is to believe commentary of his day, Franz Liszt quite enjoyed the attention. In the early 1800’s German Essayists and Cultural Critic, Heinrich Heine, coined the term “Lisztomania” to describe the hysteria that the composer’s playing, music and mere presence seemed to drive many of his female listeners to hysterical reactions and distractions. However, it should be pointed out that this was not really given the same levity as Beatlemania in the early to mid-1960’s. The idea of “Pop Star” or “Rock Star” and “Celebrity” had no where began to take hold of culture. This seemed more like a strange temporary illness than a “normal” fever-pitched reaction to a performer.

Soothing his audience of demanding female fans... Roger Daltrey as Liszt Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Soothing his audience of demanding female fans…
Roger Daltrey as Liszt
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

Female audience members of Liszt’s piano performances were known to scream his name, swoon, attempt to climb onto the stage, scream out demands that he play the piece we all know as “Chop Sticks” and often followed him about in hopes of grabbing a tossed cigar butt to stuff down their blossoms. Up until his early 30’s Liszt was known to play the piano standing and often jump from behind the piano to speak to his audience. He was also never too far from scandal. His on-going and tempestuous affair with Marie d’Agoult was the cause of much rumor and discussion. Interestingly this only served to promote his popularity. Then there was Russia’s Princess Carolyn’s patronage and obsession with him and his work. Later in life he suffered the indignities of a piano student, Olga Janina, who could be called the first known insane “Fan Girl” who wold break into his home, steal personal belongings, stalk and even write controversial books about him. She wrote these more to get his attention than for profit.

The fans want more than music from Franz... Roger Daltrey Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

The fans want more than music from Franz…
Roger Daltrey
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

His daughter, Cosima, would go on to marry Richard Wagner. Wagner’s interests were not limited to music, but also to philosophy. A philosophy which was alarmingly worrying in it’s view of German superiority. Cosima was quick to pick up and fuel her husband’s ideals about German cultural and racial superiority. She is largely to credit with the establishment and curation of the Bayreuth Festival. This festival became more about promotion of philosophy that would lead into pure antisemitism. This would continue to grow as Germany entered the NAZI Era. Cosima died in 1930. Without question, the legacy of she and Wagner’s Bayreuth Festival remains controversial to say the very least.

Devoted daughter turns into Super Evil Goddess, Cosima finds some new uses for the doll created in the likeness of her dad, Franz. Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Devoted daughter turns into Super Evil Goddess, Cosima finds some new uses for the doll created in the likeness of her dad, Franz.
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

All of this strange history wrapped up in the lives of classical music composers was like a magnet to Ken Russell. Russell adored the biography film, but never limited himself to the typical “by-the-numbers-film-rule-book” when making them. Far more concerned about creating the passion and ideals of the artists’ works than sticking to traditional narrative, Russell’s composer bio films are unusual in the way in which he approaches their lives. He viewed the artist as rebel.

Capturing it all, and given more freedom of expression than any other filmmaker had yet to allow him, Peter Suschitzky’s work truly shines in this movie.

Super Ego translates to an erection beyond expectation and worthy of a British Hall musical dance. Roger Daltrey and his Rock Cock Rock Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Super Ego translates to an erection beyond expectation and worthy of a British Hall musical dance.
Roger Daltrey and his Rock Cock Rock
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

But when he made Lisztomania, he threw out all sense of logic. He become unhinged as he crafted a a sort of Pop Culture Comic Book movie about the life of Franz Liszt. The logic of any adherence to history time lines is absent. Franz List starts out as a sexy, raunchy and sex-crazed rock star. Soon he retreats to find his spiritual core only to be called out to defend not only the sanctity of music, but his emerging arch-enemy, Richard Wagner, breaks into his spiritual isolation to feed off his talent filled blood. Like a vampire, Wagner sucks a good deal of life force from Liszt.

Paul Nicholas as Wagner turned Artistic Vampire out for Franz's special creative force blood... Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Paul Nicholas as Wagner turned Artistic Vampire out for Franz’s special creative force blood…
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

Wagner sets out with Franz’s daughter, Cosima. They form a Nazi Cult! The Pope, played by Ringo Starr, calls on Franz to perform an exorcism to rid Wagner of the demon that has possessed him. Franz, playing at being a priest, kisses the cowboy boot of the bedazzled Pope, kicks his lover – Olga Janina (played by Little Nell) to the curb – and meets Wagner’s attempt at a German God Creation, THOR, (played by Yes’ Rick Wakeman) – this creation is a joke. The exorcism backfires. Through Cosima’s evil magik, Wagner rises up from Hell as The Hitler Monster and it is up to Franz and his harem of beautiful lovers and assorted groupies to fly down from Heaven in a rocket ship and blast Evil Old Wagner to bits!

Adorned with Saints Judy Garland, Monty Cliff, Elvis & Marilyn -- Ringo Starr is Your Pope! Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Adorned with Saints Judy Garland, Monty Cliff, Elvis & Marilyn — Ringo Starr is Your Pope!
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

Along the way, Ken Russell injects more glitter and wacked-out visionary trip-outs faster than a mood ring changes colors. Franz slips into Princess Carolyn’d vaginal canal, comes out to the sirens of former lovers who manage to tease his penis out to gigantic proportions. Sporing a hard-on of about 8 feet, a an old-school Vaudeville like dance number ensues. Believe it or not, the set pieces just continue to amp-up until Ken Russell’s Franz Liszt saves the world from Nazis.

Little Nell watches unimpressed as Ringo The Pope warns Roger Daltrey's Liszt of Wagner's turn to the dark side... Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Little Nell watches unimpressed as Ringo The Pope warns Roger Daltrey’s Liszt of Wagner’s turn to the dark side…
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

And, just to make it all the more odd, Rick Wakeman re-arranges the music of Liszt and Wagner to early-electro-prog rock with Roger Daltrey supplying of so very modern lyrics. A&M Records and Warner Bros pimped the soundtrack album hard and released a single. The original vinyl is now a collector’s item, but Rick Wakeman re-mastered it all and released via iTunes in 2005.

Rick Wakeman gives Liszt & Wagner the FM Prog-Rock treatment for the soundtrack of Lisztomania. A&M Records, 1975

Rick Wakeman gives Liszt & Wagner the FM Prog-Rock treatment for the soundtrack of Lisztomania.
A&M Records, 1975

The movie bombed and the soundtrack failed. If you want to see the movie, you will need turn to the Warner Archive for a fairly solid transition to DVD.

http://www.wbshop.com/product/lisztomania+1000336824.do?sortby=ourPicks&refType=&from=Search

If you have a multi-region DVD player, you can still find a limited edition printing out of the UK. The quality of the UK print is fantastic and features a rambling commentary track by the great Ken Russell himself recorded not too long before his passing.

Wagner rises from Hell as The Nazi Super Monster. Only Franz and his groupies can save the day! Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Wagner rises from Hell as The Nazi Super Monster. Only Franz and his groupies can save the day!
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

Lisztomania is not a great movie. Despite moments of true brilliance and experimental cinema, it is ultimately a cinematic error that holds an interesting bit of merit. This is a movie that stretches so far beyond the boundaries it is hard to use any normal criteria for judging it. It is a crazy and oddly entertaining film that sits by itself. Surrealistic, Absurdist, Satire and Super Hero Comic Book mess of a movie. It has most certainly become a Cult Movie, but it is a bit too intellectual to fully fit into the “So bad it’s good” ideology. And it is far too silly to be taken at all seriously.

Franz looks on as Wagner readies to "turn on" his creation of German Perfection. Played by Rick Wakeman, Wagner's creation drinks a whole lotta beer, belches and literally takes the piss on the floor... Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Franz looks on as Wagner readies to “turn on” his creation of German Perfection, THOR! Played by Rick Wakeman, Wagner’s THOR drinks a whole lotta beer, belches and literally takes the piss on the floor…
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

It sits all alone as a film completely unique unto both itself and to the Film Artist who was Ken Russell.

This is my last defense of one of my favorite movies. I’ve intentionally tried not to give too much of the film away. My hope is that someone who has not seen it will venture to see it.

Comforted only be the boob of Little Nell, Franz finds little comfort in the isolation of the Catholic Church. But hold steady, Pope Ringo is on the way... Roger Daltrey / Little Nell Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Comforted only be the boob of Little Nell, Franz finds little comfort in the isolation of the Catholic Church. But hold steady, Pope Ringo is on the way…
Roger Daltrey / Little Nell
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

From time to time the unedited R-rated film shows up in full on YouTube, tho Warner Brothers is rightly quick to yank it off. I do not expect we will ever see this film restored.

However, it’s fanbase continues to build. Just search the Internet.

Alone, odd, wacky, profane, and rocking to it's own beat -- This odd cinematic error stands alone. Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky (US Original Movie Poster)

Alone, odd, wacky, profane, and rocking to it’s own beat — This odd cinematic error stands alone.
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky
(US Original Movie Poster)

Rock on.

Matty Stanfield, 9.25.2015

Recently I saw Belinda Sallin’s documentary, Dark Star: H.R. Giger’s World. An art gallery curator spoke regarding the therapeutic healing aspects of Giger’s work.  He commented that many artists deal with the darker aspects of human experience and survival by diving deep into the damage of human suffering to find the “voice” and “inspiration” for art but then re-emerge to take a break from all of the darkness. The curator then stated a fundamental in understanding the late H.R. Giger, H.R. Giger dove down deep and stayed there. Whatever childhood or personal traumas this man endured — he opted to find a way to be comfortable in the darkness and pain. This is one of the reasons his art speaks to so many people on such a profound level.

Art Therapy Dark Star: H.R. Giger's World Belinda Sallin | 2014 Eric Stitzel | Cinematography

Art Therapy
Dark Star: H.R. Giger’s World
Belinda Sallin | 2014
Eric Stitzel | Cinematography

I saw this film out of curiosity of the way Sallin and her Cinematographer, Eric Stitzel, had reportedly approached the artist and his home. It was a rewarding cinematic experience. It also gave me pause to look at the often disturbing sexualized themes of Giger’s art.

Debbie Harry KooKoo, 1981 Photograph | Brian Aris Art/Design | H.R. Giger

Debbie Harry
KooKoo, 1981
Photograph | Brian Aris
Art/Design | H.R. Giger

What had often struck me as phantasmagorical exploration into BDSM / KINK erotica, was actually offering a great deal more to his ardent followers. H.R. Giger’s dark work served not only as his personal art therapy, but offered the same release to viewers. So much so that an entire subculture of artistic and marginalized people have taken these works to form detailed maps tattooed all over their bodies.

Art speaks to us. Sometimes it is there to only allow an escape. Other times it is a form of magical pleasure. This is especially true of Film Art and Music. The Sound of Music has held generations of people within its sway. The same is certainly even more true of Star Wars or the television series, Star Trek.

Just the sight of the iconic graphic logo sets millions of hearts and brains' a-flutter.

Just the sight of the iconic graphic logo sets millions of hearts and brains’ a-flutter.

As for music, a song can bring us back to the happiest moments of our lives and the saddest. There are more than a few generations of people who think of songs as Anthems. A sort of collective “call to arms” on the fields of sport or in pursuit of summer fun. This of course is the power of art. No matter how “lofty” or “petty” the concerns of the artists, the work that results impacts in various and powerful ways.

In 2009, I was diagnosed with D.I.D. (Dissociative Identity Disorder). The diagnosis was horrifying to me. It would take me about two and a half years before I could fully “own” this disorder.

"Scary monsters, super creeps. Keep me running, running scared..." David Bowie Scary Monsters and Super Creeps | 1980 Photography | Brian Duffy Painting /Art Direction | Edward Bell

“Scary monsters, super creeps. Keep me running, running scared…”
David Bowie
Scary Monsters and Super Creeps | 1980
Photography | Brian Duffy
Painting /Art Direction | Edward Bell

However, as shocking as this diagnosis was, it did make sense. I had been “losing time” for almost a year. I would be sitting some place and then find myself in another with no clue as to how or why.

Most scary was finding myself in places that I did not know. I did not yet have a smart phone to help me determine where I was. I was convinced I had a brain tumor.

After visits to numerous specialists to clear me of any physiological issues, it came down to psychologists and psychiatrists.

After 18 months and four psychiatric professionals who consulted with each other, it was determined that I was “lucky.” After several years of repeated and nightmarish childhood sexual assault, my mind had developed a way of surviving it.

Roger Daltrey is "blind, deaf and dumb"  Tommy Ken Russell | 1975 Cinematography | Dick Bush

Roger Daltrey
is “blind, deaf and dumb”
Tommy
Ken Russell | 1975
Cinematography | Dick Bush

The subconscious took over and created tiny spaces in which to place the seeming “unsurvivable” emotions and pain. As I entered adulthood these fragments within my brain remained somehow active.

What were once my mind’s coping strategies morphed into oddly functional capacities. One of the reasons I had so much trouble in accepting the diagnosis of D.I.D. was that I had no problem remembering what had happened to me. In fact, I remembered everything with almost detailed precision.

"Ain't got no distractions Can't hear no buzzers and bells. Don't see no lights a-flashin' Plays by sense of smell. Always gets a replay, Never seen him fall.." The Who and Elton John Tommy Ken Russell | 1975 Cinematography | Dick Bush

“Ain’t got no distractions
Can’t hear no buzzers and bells. Don’t see no lights a-flashin’ Plays by sense of smell. Always gets a replay, Never seen him fall..”
The Who and Elton John
Tommy
Ken Russell | 1975
Cinematography | Dick Bush

After intense therapy I began to realize that there were entire blocks of time over the course of my life from the age of 9 to 38 of which I had no memory.

Having been an exhaustive journaler from way back, I spent a couple of months sorting through them.

Pages had been ripped out or “detracted” by self-imposed scribbles to prevent me from reading what I had been up to.

Suddenly it all begin to make sense.

The Who Tommy | 1969 Full Gate Sleeve Art | Michael McInnerney

The Who
Tommy | 1969
Full Gate Sleeve
Art | Michael McInnerney

Aside from the fact that I had to quit and walk away from a highly successful professional life and face life in the “fun world of Disability” I had to come to understand the odd way in which my mind helped me to succeed where many would have failed.

The sad fact of D.I.D. is that sooner or later the coping strategies backfire. Instead of assisting the individual, they start to turn against the goals of the owner.

"Gather your wits and hold on fast, Your mind must learn to roam. Just as the Gypsy Queen must do You're gonna hit the road..." Tina Turner as The Acid Queen Tommy Ken Russell | 1975 Cinematography | Dick Bush

“Gather your wits and hold on fast, Your mind must learn to roam.
Just as the Gypsy Queen must do You’re gonna hit the road…”
Tina Turner as The Acid Queen
Tommy
Ken Russell | 1975
Cinematography | Dick Bush

For women this tends to happen sooner in life. For men, it appears the strange functioning powers hold off giving-out later in life. So it was as I entered my 40’s that I could no longer succeed in the line of work or any level of employment that required active thought and responsibility. This may change in the future, but for now I am told that I need to “re-adjust” my life goals. For now, I need to think about a life without a traditional career.

I could go on and on — and, in fact, I have written a great deal about this struggle. The point of this blog entry is to discuss how Film and Music Art have helped me all of my life.

Lost within his mind... The Who  Tommy | 1969 Photography | Barrie Meller

Lost within his mind…
The Who
Tommy | 1969
Photography | Barrie Meller

Much like H.R. Giger and has fans, darkness in art is often a forgiving and cathartic place for me to seek refuge. Unlike Giger and many of his fans, it is not a place in which I can stay for too long. I have to “escape” all of it. But I cannot stay away for too long. There is a healing to be found in both the world of darker art and certain levels of escape art.

Pink Floyd  The Wall | 1979 Inside Full Gate Fold Art Direction | Roger Waters Art | Gerald Scarfe

Pink Floyd
The Wall | 1979
Inside Full Gate Fold
Art Direction | Roger Waters
Art | Gerald Scarfe

As a child I was utterly consumed with fascination regarding the music and film world. Rather than attempt to “restate” myself regarding these Artists and their work I will simply mention them and include some images. You can draw your own conclusions. Maybe a few of you will even relate or connect to a different (I hope!) but similar way.

What's Up Doc? Barbra Streisand / Ryan O'Neal Peter Bogdanovich | 1972

What’s Up Doc?
Barbra Streisand / Ryan O’Neal
Peter Bogdanovich | 1972

I was four years old when my parents decided to take me to see a “re-issue” of Bambi. The cinema was sold out. So they opted for us to see What’s Up Doc?

I was too young to find the movie funny or interesting. However, I recall something very vivid about the experience of seeing Peter Bogdanovich’s classic film: This different looking lady was laying on top of a grand piano. She started to sing, “You must remember this…

Barbra Streisand What's Up Doc? Photograph | Steve Schapiro, 1971

Barbra Streisand
What’s Up Doc?
Photograph | Steve Schapiro, 1971

and my four year old ears and eyes were forever changed. Something in this lady’s voice grabbed hold of me and never let go.

After the movie I demanded to know who this lady was.

I believe it was my father who told me she was a singer.

I demanded that we cross the busy street to K-Mart so I could get the What’s Up Doc? record. There was no such thing. But I think my demand was puzzling enough for my parents to follow it. I selected my first record album based on the fact that the cover was of a child who seemed close to my own age.

Barbra Streisand My Name Is Barbra | 1965

Barbra Streisand
My Name Is Barbra | 1965

I would go on to play this album so much that I swear you could hold it up and see through the vinyl. I listened to Barbra Streisand constantly. Over the years her voice became my equal to chicken soup.

I was 8 when I discovered The Who and Ken Russell’s Tommy. Both the 1969 album and the 1975 movie.

Your senses will never be the same... Tommy Ken Russell | 1975 Cinematography | Dick Bush

Your senses will never be the same…
Tommy
Ken Russell | 1975
Cinematography | Dick Bush

The connection to this film and The Who album seem almost painfully obvious with hindsight. 

"You didn't hear it. You didn't see it. You won't say nothing to no one. Never in your life. You never heard it, Oh, how absurd it all seems without any proof." Ann-Margret, Oliver Reed, Jack Nicholson Tommy Ken Russell | 1975 Cinematography | Dick Bush

“You didn’t hear it. You didn’t see it. You won’t say nothing to no one. Never in your life. You never heard it, Oh, how absurd it all seems without any proof.”
Ann-Margret, Oliver Reed, Jack Nicholson
Tommy
Ken Russell | 1975
Cinematography | Dick Bush

It would not be long before I found a powerful level of escape from weed and downers. (Valium was my particular favorite) But music and most especially Film Art formed into a core of my being. While most of my friends were obsessed with Welcome Back Kotter and Happy Days, I was consumed with Ken Russell’s rock opera film and Streisand’s rock-pop remake.

A Star Is Born Barbra Streisand / Kris Kristofferson  1976

A Star Is Born
Barbra Streisand / Kris Kristofferson
1976

As I am unable to legally work, I have found creative entry ways into helping re-discover work and artists that matter to me. Aside from filing my time, it has led to some unexpected connections and a sometimes exciting background “roles” in helping to get films restored and re-issued.

Sometimes my assistance leads to nowhere. Other times it helps.

I’m not an artist.

I’m not paid.

But my voice is now heard in surprising new ways.

Lisztomania Ken Russell | 1975

Lisztomania
Ken Russell | 1975

D.I.D does not get in my way the way it used to. Right now the main challenges are defeating phobias and odd thought processing. 

And, no. My life is nothing near nor has it ever been remotely like the depictions of the disorder seen on television or movies. I don’t change clothes and personas.

Actually, it is so nuanced that few ever noticed.

"Let me take you to the movies..." Led Zeppelin  Physical Graffiti | 1975 Art Direction / Design: Peter Corriston, Mike Doud & Elliot Erwitt

“Let me take you to the movies…”
Led Zeppelin
Physical Graffiti | 1975
Art Direction / Design:
Peter Corriston, Mike Doud & Elliot Erwitt

There was a period of about 4 years where it would sometimes be clear to others that something wasn’t quite “right” but for the most part it has never been easily spotted.

And I’m very relieved to say that I have not “lost time” in over 3 years now.

The challenges now seem to creep up in phobias, self-doubt and often inabilities related to concentration. Sometimes letters re-arrange as I write or read.

That is when it is time to stop and just lose myself — in Art.

Shades of and introduction to Arthur Rimbaud & Rebellion Patti Smith Horses | 1975 Photograph | Robert Mapplethorpe

Shades of and introduction to Arthur Rimbaud & Rebellion
Patti Smith
Horses | 1975
Photograph | Robert Mapplethorpe

Art that seems to speak to struggles, fears, reality, surrealism and ideas 

"Well, it sure don't look like Texas." 3 Women Robert Altman | 1977 Cinematography | Charles Rosher Jr.

“Well, it sure don’t look like Texas.”
3 Women
Robert Altman | 1977
Cinematography | Charles Rosher Jr.

that seem to have the ability into which I can escape. 

"Oh, you are sick!" Eraserhead David Lynch | 1977

“Oh, you are sick!”
Eraserhead
David Lynch | 1977

…And, to heal the broken.

Matty Stanfield, 8.25.2015

break the idol... Tommy  Ken Russell | 1975 Cinematography | Dick Bush

break the idol…
Tommy
Ken Russell | 1975
Cinematography | Dick Bush

In the final act of William Friedkin’s 1973 iconic film, The Exorcist, the film’s struggling priest and his wiser elder discuss the nature of evil, how to address it and how to understand it’s logic:

Especially important is the warning to avoid conversations with the demon. We may ask what is relevant but anything beyond that is dangerous. He is a liar. The demon is a liar. He will lie to confuse us. But he will also mix lies with the truth to attack us. The attack is psychological, Damien, and powerful. So don’t listen to him. Remember that – do not listen.”

Why her? Why this little girl?  Max von Sydow The Exorcist William Friedkin, 1973 Cinematography | Owen Roizman

Why her? Why this little girl?
Max von Sydow
The Exorcist
William Friedkin, 1973
Cinematography | Owen Roizman

Why her? Why this girl?”
“I think the point is to make us despair. To see ourselves as animal and ugly. To make us reject the possibility that God could love us.”

The Exorcist first arrived to cinemas in December of 1973. This film’s reception and the reactions it caused are of historical note. Financed and distributed by Warner Brothers the movie caused fear, panic attacks, a couple of heart attacks, repulsion, anger and accusations of “blasphemy.”  While The Exorcist is essentially a Supernatural Horror Film, William Friedkin’s epic film was approached with a level of realism and artistry that could not be refuted. It was a highly artistically-valid film. As for being an exploitive use of a child actor and blasphemy, well The Vatican gave this film the seal of approval. It was even blessed for “realistically depicting demonic evil.” Cue priests, nuns, ministers and most God-fearing people line up and see it.

Marketing The Exorcist was challenging for Warner Brothers. It was clear to everyone that this was more than just a horror film. This early poster was rejected.  The Exorcist William Friedkin, 1973

Marketing The Exorcist was challenging for Warner Brothers. It was clear to everyone that this was more than just a horror film. This early poster was rejected.
The Exorcist
William Friedkin, 1973

If one is able to take pause and look at Friedkin’s film independent of it’s source novel and The Vatican, this movie also offers an interesting spin on the state of American Culture at the beginning of the 1970’s.

Another "mock-up" idea for promoting that felt a little too After School Special for most at Warner Brothers.  The Exorcist William Friedkin, 1973

Another “mock-up” idea for promoting that felt a little too After School Special for most at Warner Brothers.
The Exorcist
William Friedkin, 1973

It can easily be summed up as metaphor for the feeling that parents had lost control of their children amid the emergence of “Anti-Establishment Movement” to “Sexual Revolution” to “Drug Culture” to the ever-increasing power of Rock rebellion.

Eureka! And Warner Brothers creates an iconic marketing campaign by using an "altered" shot from the movie itself.  The Exorcist William Friedkin, 1973 Cinematography | Owen Roizman

Eureka! And Warner Brothers creates an iconic marketing campaign by using an “altered” shot from the movie itself.
The Exorcist
William Friedkin, 1973
Cinematography | Owen Roizman

Both the novel and film also indirectly address the tragic side of becoming a priest. The film conveys that Jason Miller’s Priest is something more to his best priest buddy. While his friend seems to be able to repress his sexual desires, it appears to be bit more of a strain for Miller’s “Father Karras” a repressed and guilt-ridden former boxer who has escaped into the Priesthood as much to do good as to escape his all-too moral desires. Interestingly, the self-proclaimed Atheist mother find it easier to accept that her daughter might be possessed by The Devil than this conflicted priest. This film is also examining the impact of repression and the reasons men decide to become priests. Granted, it is in a somewhat passive way, but it is there.

"Stick your cock up her ass, you motherfucking worthless cocksucker." Whether it by taunting into Father Karras' most repressed fears of self-identity or by picking at his guilt for not having cared for his mother the way he feels he should have -- this demon knows the priest better than he knows himself.  Subliminal Experimental Editing - so fast you can almost mess it.  The Exorcist William Friedkin, 1973 Cinematography | Owen Roizman

“Stick your cock up her ass, you motherfucking worthless cocksucker.” Whether it by taunting into Father Karras’ most repressed fears of self-identity or by picking at his guilt for not having cared for his mother the way he feels he should have — this demon knows the priest better than he knows himself.
Subliminal Experimental Editing – so fast you can almost mess it.
The Exorcist
William Friedkin, 1973
Cinematography | Owen Roizman

No matter how you want to interpret or view The Exorcist – the power of this infamous film is beyond denial. I remember sitting in sold-out huge Boston cineplex auditorium in 2000 to see the “Restored” and the “Version I Had Never Seen.”  I was actually curious to see how a modern day audience would react to this early 1970’s film. I think I was expecting that we would all find the movie darkly comic. I was wrong. This was the normal “cineplex” audience. You know, the one that freely converses, talks back to the screen and generally rude masses. True to form, as the commercials and previews screened children were screaming, teenagers were tossing candy at each other and all sorts of mayhem that will ruin a movie viewing experience for me. But as soon as The Exorcist started, the entire tone of the packed auditorium changed.

The Exorcist William Friedkin, 1973 Cinematography | Owen Roizman

The Exorcist
William Friedkin, 1973
Cinematography | Owen Roizman

By the film’s midpoint you could have heard a pin drop. Almost 30 years later, this movie was freaking us out. And it still shocks.

Which brings us to one of those long pondered questions which forever escaped logic. How did WB’s The Exorcist secure an
“R-Rating” by the MPPA in 1973? How did it reclaim that same rating 30 years later? Other far less sadistic or graphic films had been slapped with an “X-rating” and by 2000 we had seen the arrival of the dreaded “NC-17” label. Why would the MPAA give an art film like “Henry & June” an “NC-17” and “The Exorcist” an “R-Rating?”

One of the tamer blasphemies of Holy Icons The Exorcist William Friedkin, 1971 Cinematography | Owen Roizman

One of the tamer blasphemies of Holy Icons
The Exorcist
William Friedkin, 1971
Cinematography | Owen Roizman

Granted, neither or films for children, but if I were a parent and asked to pick which of these two films were “less appropriate” for a child under 17 years of age — I would select The Exorcist. I think most would.

A sweet little girl transformed into murderous and blasphemous monster.  Linda Blair watches her Exorcist die a painful death with a mix of interest and annoyance. She didn't get his soul.  The Exorcist William Friedkin, 1973 Cinematography | Owen Roizman

A sweet little girl transformed into murderous and blasphemous monster.
Linda Blair watches her Exorcist die a painful death with a mix of interest and annoyance. She didn’t get his soul.
The Exorcist
William Friedkin, 1973
Cinematography | Owen Roizman

Or maybe not? I’m not a parent. Maybe I have it wrong.

To put The Exorcist‘s “R-Rating” in perspective, in the same year the MPAA rated The Exorcist as “R” it slapped the dreaded “X-Rating” to Nicolas Roeg’s Don’t Look Now. In comparison this rating makes no sense. Luckily, Nicolas Roeg’s film had Paramount behind it’s distribution. Somehow the MPAA rethought it and relented an “R-Rating” for Roeg’s experimental film. But only two years earlier the MPAA assigned Ken Russell’s The Devils with an “X-Rating.” And, this was after WB required Ken Russell to cut out a significant amount of footage. Warner Brothers held on to two copies of Ken Russell’s original theatrical cut. While Russell’s The Devils is a provocation, it never goes anywhere near the level of having a 14 year-old girl defile herself with a crucifix.

"Hell will hold no surprises for them!" Warner Bros marketing campaign for  The Devils Ken Russell, 1971

“Hell will hold no surprises for them!”
Warner Bros marketing campaign for
The Devils
Ken Russell, 1971

Interestingly much has been made about William Peter Blatty’s The Exorcist novel having been based on an actual and true incident involving a teenage boy in the 1950’s. However, when one actually looks into the “true story” much more of what actually happened is unclear. In most ways, this “true incident” appears to be largely lost within the shadows of marketing and urban legend. As grim and horrifying as The Exorcist is, both the 1973 and the 2000 versions offer the audience “hope.” This is a hope grounded in faith and the power of good over evil. There is nothing at all wrong with that. But it does seem a flimsy excuse to let it pass with an “R-Rating” when Friedkin’s more recent independent movie, Killer Joe, was given an “NC-17.”

Interesting to note that until the MPAA introduced the "NC-17-Rating" -- The official "X-Rating" was actually less restrictive in number of states. It was left to individual states and cinemas to determine the age restricted. News to me.

Interesting to note that until the MPAA introduced the “NC-17-Rating” — The official “X-Rating” was actually less restrictive in number of states. It was left to individual states and cinemas to determine the age restricted. News to me.

In Kirby Dick’s 2006 documentary, This Film Is Not Rated, hidden cameras and a number of covert activities were utilized to break in to the odd world of Motion Picture Association of America’s rating system. The documentary revealed several things, but only one was surprising: Every screening held by the individuals who are “chosen” to serve as raters is blessed by both a Christian Minister and a Catholic Priest. While neither is supposed to lecture or push any decision of the raters, they are free to include whatever they wish in their blessings.

And here is the answer to the mysterious reasoning behind The Exorcist rating. It is Vatican approved.

Father Granier's use of The Confessional is questionable to say the least.  Georgina Hale / Oliver Reed The Devils Ken Russell, 1971 Cinematography | David Watkin

Father Granier’s use of The Confessional is questionable to say the least.
Georgina Hale / Oliver Reed
The Devils
Ken Russell, 1971
Cinematography | David Watkin

It may contain graphic and obscene scenes of blasphemy, but it has a Catholic Intent. The priests fix it all! Or at least it seems to be thought.

The intent of Killer Joe is to satire the impact of greed on marginalized lower-class family dysfunction.

As for Ken Russell’s The Devils? The intent is aimed as satirizing both politics and religion. It depicts both fundamental aspects of most human life as opportunities for corruption, greed, ambition and power.

Graham Armitage as France's King Louis XIII performs for Cardinal Richelieu, his assistant nuns and a slew of The French Royal Court's most depraved. The Catholic Church doesn't mind The King's sins, they just want to share in the power and the wealth... The Devils Ken Russell, 1971 Cinematography | David Watkin

Graham Armitage as France’s King Louis XIII performs for Cardinal Richelieu, his assistant nuns and a slew of The French Royal Court’s most depraved. The Catholic Church doesn’t mind The King’s sins, they just want to share in the power and the wealth…
The Devils
Ken Russell, 1971
Cinematography | David Watkin

Oh, and unlike The ExorcistThe Devils is actually based on “historic fact.” I only put that in quotation marks because I am referring to 17th Century French history. However, the sources and descriptions of the events that Russell fictionalizes in The Devils tie much closer to what he shows us than anything of truth connected to The Exorcist. This means The Devils depicts a very scary moment in both French and Catholic history in which greed and power not only “suggested” nuns to blaspheme,

The Ursuline nuns are not there by choice, but because they form society's rejects. Repressed and Caged. They do not require too much in the way of pressure from The Catholic Church to slip into hysteria that quickly morphs into Satanic blasphemy.  The Devils Ken Russell, 1971 Cinematography | David Watkin

The Ursuline nuns are not there by choice, but because they form society’s rejects. Repressed and Caged. They do not require too much in the way of pressure from The Catholic Church to slip into hysteria that quickly morphs into Satanic blasphemy.
The Devils
Ken Russell, 1971
Cinematography | David Watkin

a primary Cardinal and his priests most likely “required” their nuns to comply or face torture — nothing is too much to  a rebellious priest and assist the Catholic Church forge closer to a demented French King. Ken Russell didn’t even feel it necessary to change any of the actual names of the individuals who have already been forged into history.

This might explain Warner Brothers refusal to relinquish Ken Russell’s infamous and acclaimed 1971 art film, The Devils. Restoration of this film is of growing concern to Film Historians and Film Art Preservationists. Film only lasts so long and only WB knows where and how their 2 copies of The Devils are being stored. WB is not known to always apply a great deal of logic to their catalog. And they have an essential collection of cinematic work.

In many ways,  Mother Superior, Sister Jeanne of the Angels, is the only "innocent" character in this film. She is ill and then sexually-assulted by Exorcists and Priests to extract false confession. From the very beginning we know she is hanging on to sanity by a string.  Vanessa Redgrave The Devils Ken Russell, 1971 Cinematography | David Watkin

In many ways, Mother Superior, Sister Jeanne of the Angels, is the only “innocent” character in this film. She is ill and then sexually-assulted by Exorcists and Priests to extract false confession. From the very beginning we know she is hanging on to sanity by a string.
Vanessa Redgrave
The Devils
Ken Russell, 1971
Cinematography | David Watkin

Going into it’s 45th year, this film may soon be lost forever unless WB takes care of it or releases it to a company who will. As you read this you might feel the need to roll your eyes or dismiss it, but this is worse than censorship: it comes at the risk of losing a valuable piece of cinematic history.

While I’m not sure one could state that Ken Russell’s The Devils is a better film than Friedkin’s The Exorcist.  William Friedkin made the better film. The Exorcist is a cinematic masterpiece. No questions asked.

Ken Russell’s cinematic work is challenging. An eccentric British filmmaker, he shares more in common with the films of Michael Powell or even more like those of Andrzej Zulawski. Russell’s films tend to have a manic pace and no restraint. They are often bombastic, loud, crass and dangerous to know. “Women in Love” and “Tommy” are probably his two most accessible films. But his work is often magical and intellectual. In the case of The Devils, it is angry. No question that Russell was a cinematic genius. But as is the case with many genius artists, he often had a hard time restraining himself from excess and obsession.

That being stated and noting that The Exorcist is the better film. I do think a case could be argued that The Devils is an equally important film. It is also worth noting that The Exorcist has been such an influential and cultural juggernaut of world-wide scope, multiple copies in all formats exist in a number of places. The future preservation of The Exorcist is secured.

However, as time and investigations move further along — it is becoming clear that there might only be two remaining prints of The Devils as it was originally to be released in 1971. For quite a while there was thought to be a secured copy held by Ken Russell’s daughter. It would appear that this is not the case. One other possibility for a print of the full film turned up as invalid. It would appear that Warner Brothers is the only one who has a pristine print of the original film.

Vanessa Redgrave as Sister Jeanne of the Angels swoons her way into a disturbing world of Christ Imagery erotic daydreaming... The Devils Ken Russell, 1971 Cinematography | David Watkin

Vanessa Redgrave as Sister Jeanne of the Angels swoons her way into a disturbing world of Christ Imagery erotic daydreaming…
The Devils
Ken Russell, 1971
Cinematography | David Watkin

Despite pleas from The British Film Institute, The Great Britain Historical Society, The Ken Russell’s Estate, The BBC, The Criterion Collection and a power-laden Official Petition — Warner Brothers simply refuses to relinquish the film to anyone for any reason. It was viewed as a major victory for BFI when WB finally agreed to supply them with with limited licensing rights and a copy to “restore” and transfer limited to British Region Code DVD/Blu-Ray (no cinema screenings allowed) It didn’t matter. At last an organization would be able to properly restore and save the film. It was a bit of shock for the distinguished BFI to discover that Warner would not “loan” or “share” an actual print of the film. Instead BFI received a Digi-Beta tape of the American X Certificate version. The American “X-Rated” version was even more cut up than the UK version. This Digi-Beta tape greatly limited the ability to “restore” quality and it was not the original theatrical release of the movie.

Oliver Reed as Father Urbain Grandier. While presented as a man of faith and ethics, he is also a cruel and callous man who is more than happy to seduce the females of his flock. The line between good and evil is a thin one for this "progressive" priest.  The Devils Ken Russell, 1971 Cinematography | David Watkin

Oliver Reed as Father Urbain Grandier. While presented as a man of faith and ethics, he is also a cruel and callous man who is more than happy to seduce the females of his flock. The line between good and evil is a thin one for this “progressive” priest.
The Devils
Ken Russell, 1971
Cinematography | David Watkin

BFI did their best. The quality is better than the briefly and highly censored VHS tape WB released in the mid 1980’s. Some scenes are fuzzy, some aren’t, some have audio issues that could only be minimally-addressed. Worst of all, the most crucial scenes of Russell’s work are still missing.

Welcome to 17th Century France. Plague is in full force as Catholic and French Histories take a dark turn. The Devils Ken Russell, 1971 Cinematography | David Watkin

Welcome to 17th Century France. Plague is in full force as Catholic and French Histories take a dark turn.
The Devils
Ken Russell, 1971
Cinematography | David Watkin

South Korea also secured a limited licensing from WB, but this was also made from a similar Digi-Beta tape that was an “R-rated” cut of the film that had never been seen. This version actually doesn’t completely make sense so much has been cut. There is one bootleg copy floating around, but the quality is so bad it is almost impossible to watch — and very often is impossible to hear.

Vanessa Redgrave's Sister Jeanne is both amused and disgusted when faced with a woman who actually seeks to devote her life to Christ. After eloquently dismissing her devotional intention to be a waste as this f Ursuline nunnery is a safe home for the deformed and unmanageable. When she discovers Father Granier has already seduced the would-be-devout-nun her jealousy and rage holds back no punches: "Whore! Strumpet! Hypocrite! You tell me you have no vocation? Of course you have a vocation! Fornicator! Fornicator! Sacrilegious bitch! Seducer of priest, that's your calling! Your place is in a brothel. You filthy whore! Get back to the gutter where you belong!" The Devils Ken Russell, 1971 Cinematography | David Watkin

Vanessa Redgrave’s Sister Jeanne is both amused and disgusted when faced with a woman who actually seeks to devote her life to Christ. After eloquently dismissing her devotional intention to be a waste as this f Ursuline nunnery is a safe home for the deformed and unmanageable. When she discovers Father Granier has already seduced the would-be-devout-nun her jealousy and rage holds back no punches:
“Whore! Strumpet! Hypocrite! You tell me you have no vocation? Of course you have a vocation! Fornicator! Fornicator! Sacrilegious bitch! Seducer of priest, that’s your calling! Your place is in a brothel. You filthy whore! Get back to the gutter where you belong!”
The Devils
Ken Russell, 1971
Cinematography | David Watkin

Warner Brothers has never actually officially addressed the reasoning behind their refusal to allow access to The Devils. Because they have stated that Ken Russell’s original cut of the film is within their possession and protection, many thought that the executives were holding off to “cash in” once the film’s notorious and infamous director had died. However, we lost Mr. Russell in late 2011 at the age of 84. Warner Brothers continues to refuse requests, petitions and any individual writer seeking information. The reasons for not letting the film out run deeper than any possible profit or historical cinema preservation merits.

It is particularly interesting in an age where any controversy is viewed “a selling factor” if it can make a buck. WB is a huge corporation. The bottomline and increasing profit is a main concern. So why keep The Devils hidden away? No one connected to the film’s controversy is left who would care.

"Satan is ever ready to seduce us with sensual delights." Vanessa Redgrave The Devils Ken Russell, 1971 Cinematography | David Watkin

“Satan is ever ready to seduce us with sensual delights.”
Vanessa Redgrave
The Devils
Ken Russell, 1971
Cinematography | David Watkin

The only living artist who could object would be Vanessa Redgrave. She, like many who worked for Ken Russell, remained a close friend until the end of his life. She has also expressed pride in having been a part of the film and considers it one of her best bits of work. Her role was originally intended for the equally esteemed Glenda Jackson. Jackson, also a life-long friend of Ken Russell and family, had discussed the fact that she turned down Redgrave’s infamous role because, at that time, she was tired of playing Russell’s sexually neurotic and hysterical muse. She made that statement both in truth and jest. Years later she would film her final role in Russell’s experimental and demented film Salome’s Last Dance. At the time Jackson noted that she had some regrets at having not played Sister Jeanne.

Acclaimed cinematographer, David Watkin, served as Cinematographer. He remained proud of this early film for offering him some freedom in establishing his own style while adhering to Russell’s vision. Prior to The Devils, Watkin was best known for having filmed 2 iconic movies:  The Knack… and How to Get It and The Beatles’ Help.

A perverse fantasy of a sick woman will soon help pave the way toward public execution.  Oliver Reed / Vanessa Regrave The Devils Ken Russell, 1971 Cinematography | David Watkin

A perverse fantasy of a sick woman will soon help pave the way toward public execution.
Oliver Reed / Vanessa Regrave
The Devils
Ken Russell, 1971
Cinematography | David Watkin

His style was really already formed, but he felt the freedom Russell allowed offered him great benefit. He died in 2008.

Another interesting aspect of The Devils is that it features the early work of the iconic Derek Jarman. Jarman’s imprint on The Devils is unforgettable. Serving as the film’s production designer, The Devils features some truly amazing sets. Jarman would go on to be an important and experimental voice in Film and the art of Queer Film.

One of many post-modern sets created by then Production Designer, Derek Jarman.  The Devils Ken Russell, 1971 Cinematography | David Watkin

One of many post-modern sets created by then Production Designer, Derek Jarman.
The Devils
Ken Russell, 1971
Cinematography | David Watkin

Jarman’s style was always unique, but it is clear that Russell’s aesthetic impacted his own vision.

Aside from the Film Theory aspect, The Devils is of note because it is a fictional account of something that is of historical note for both France and The Catholic Church. This is probably a page of history that both the country and The Vatican would rather forget. Interestingly, this might be the main reason WB is not letting the film go.

Aldous Huxley plunged deep within the history of what happened in 17th Century Loudun with the publication of his historical novel, Devils of Loudun. It was a controversial read then and it still is, but there is nothing in it than can be refuted. The few times Huxley actually is forced to put forward an explanation for things unexplained he offers several ideas to explain. And all are sound.

Let the "exorcisms" begin... The Devils Ken Russell, 1971 Cinematography | David Watkin

Let the “exorcisms” begin…
The Devils
Ken Russell, 1971
Cinematography | David Watkin

Huxley crafted a historical narrative to address the controversial, mysterious and sordid historical fact that involved Cardinal Richelieu, a rebellious priest by the name of Father Urban Grandier, An Ursuline Convent of nuns and their Mother Superior, Sister Jeanne of the Angels. It is know that Father Grandier disagreed with both the King and The Catholic Church at the time. It seems fairly obvious that he seemed to disagree with idea of celibacy and was corrupt in that he engaged in sexual trysts with women of his flock. It is also of note that Father Grandier was reported to be handsome, charismatic and flirtatious. For unknown reasons, he declined Sister Jeanne’s request to act as “Spiritual Advisor” for for both she and her nuns. Cardinal Richelieu already viewed Father Grandier as a threat to the church and The Church’s desire to become closely aligned with The King. King Louis XIII, the infamous monarch of the House of Bourbon is a figure of legendary in and of himself. And both of these powerful men needed the other for a while due to political and power circumstances.

All the nuns are gathered to stand in giant burrial holes and "suggested" to convulse, blaspheme, carnally degrade themselves for the "good" of God. Or faces the same torture imposed upon their  Superior Mother. They are all eager to follow The Cardinal, The King and The Exorcists' guidance for transgressive behavior.  The Devils Ken Russell, 1971 Cinematography | David Watkin

All the nuns are gathered to stand in giant burrial holes and “suggested” to convulse, blaspheme, carnally degrade themselves for the “good” of God. Or faces the same torture imposed upon their Superior Mother. They are all eager to follow The Cardinal, The King and The Exorcists’ guidance for transgressive behavior.
The Devils
Ken Russell, 1971
Cinematography | David Watkin

In what could be compared to the Salem Witch Trails only far more perverse and blasphemous in nature, Huxley put forward a number of reasons that France, The Catholic Church and the People of Loudun thought Father Grandier had made a pact with Satan that allowed the pristine Ursuline nuns to be fully possessed by demonic forces. It is of historical record to the level of debauchery that these “possessions” led the “blessed” nuns and their “heavenly” Mother Superior to act out public acts of sexually perverse behaviors including orgies and evil sexual blasphemy with religious symbols and Christ Icons.

The King and his Royal Court make an appearance to giggle at the atrocious perversion of The Catholic Church.  The Devils Ken Russell, 1971 Cinematography | David Watkin

The King and his Royal Court make an appearance to giggle at the atrocious perversion of The Catholic Church.
The Devils
Ken Russell, 1971
Cinematography | David Watkin

Under both the blessing of the Cardinal and the approval of King Louis XIII, a series of public exorcisms were performed that involved more than just sprinkling of Holy Water. The nuns went further into “fits of hysteria” and their Mother Superior named Father Grandier as the evil responsible for their demonic actions. The public watched the acts of debauchery and exorcisms in what reads like some sick and twisted form of entertainment. The exorcisms went further into public acts of sexual torture. And then, it all stopped. The nuns and their Superior were free of their demons and redeemed  in the “Eyes of God.” 

A fellow priest begs Granier to confess and be spared. He refuses. The guilt-ridden priest seems to be praying more for himself than Granier.  Oliver Reed / Murray Melvin The Devils Ken Russell, 1971 Cinematography | David Watkin

A fellow priest begs Granier to confess and be spared. He refuses. The guilt-ridden priest seems to be praying more for himself than Granier.
Oliver Reed / Murray Melvin
The Devils
Ken Russell, 1971
Cinematography | David Watkin

Grandier was questioned and tortured by the exorcist, the priests and their followers to extract a confession of having formed a pact with The Devil and conspiring to corrupt all of France and the Catholic Church. He never confessed or gave in to the torture. Ultimately, he was burned at the stake.

Granier refuses to give-in to the political ploy of The Cardinal's Exorcist.  Oliver Reed / Michael Gothard The Devils Ken Russell, 1971 Cinematography | David Watkins

Granier refuses to give-in to the political ploy of The Cardinal’s Exorcist.
Oliver Reed / Michael Gothard
The Devils
Ken Russell, 1971
Cinematography | David Watkins

This, according to history, was the only way both The King and The Cardinal could be sure that Loudun were rid of the Satanic Grip. The public execution was treated as entertainment. Everyone in the town celebrated and the nuns were also granted approval to witness the horrid death.

Father Granier's abandoned son is brought to watch his father's execution.  Georgina Hale  The Devils Ken Russell, 1971 Cinematography | David Watkin

Father Granier’s abandoned son is brought to watch his father’s execution.
Georgina Hale
The Devils
Ken Russell, 1971
Cinematography | David Watkin

Huxley theorized a number of ideas. One of the most controversial being that most women who became nuns at this time had been deemed “unmanageable” and desperate for shelter. Though not completely clear, it would appear that The Mother Superior suffered some major physical birth defect. Her holiness was viewed to be a result of her plight. It is historically stated that Father Grandier enjoyed antagonizing Sister Jeanne of the Angels.

Huxley writes that the levels of sexual repressions, lack of serious faith, The Mother Superior’s disdain for the priest, the fact that many of the men in Loudun viewed Grandier as a trouble-maker with both The King and The Cardinal — and ultimately the political possibilities between a power-hungry Cardinal and a possible insane and perverse King led to one of the ugliest moments in French and Catholic history.

Huxley goes into great detail about the many realistic and human possibilities that factored into this incident. He leans toward the political, hypocracy and a shared temporary delirium or hysteria for the nuns. He also suggests that it many not have been so psychological. It might have boiled down to the nuns having to do as instructed by their Cardinal. Anyway one looks at it, it is not a pretty picture of religion or politics.

The Devils Ken Russell, 1971 Cinematography | David Watkin

The Devils
Ken Russell, 1971
Cinematography | David Watkin

Filmed at the very end of the 1960’s, the political and liberal Ken Russell saw this story and the play it had inspired to be an ideal topic to explore as metaphor. Russell’s The Devils is excessive in every way possible. While often beautifully staged and crafted — the film pulses with a hysterical pace. The acting is intentionally “theatrical” and most certainly presented to shock. The political ideologies spell forth throughout. Russell does not spare Oliver Reed’s Father Grandier as solidly ethical character. He is impossible to like, but it is equally impossible that this character deserves what he is given. Especially since he is given it for entirely the wrong reasons.

Vanessa Redgrave fares best in the film. In fact she is fantastic in the role. She is able to match the operatic pacing of the film with a carefully eccentric and darkly comical read on her character. It is an impossibly brilliant performance. Russell presents both she and her nuns as women who have “devoted” their lives to God because society has no other use for them. The only character who appears to actually feel a true calling to the devoted life of a nun is quickly dismissed by Redgrave’s Sister Jeanne of the Angels. She is too pretty to waster her time locked up in the convent. And what a convent it is. While Redgrave’s character runs a strict order, she simply turns the other way as her nuns grab at vague attempts as sexual gratification.

Sympathy for the Devil? Oliver Reed The Devils Ken Russell, 1971 Cinematography | David Watkin

Sympathy for the Devil?
Oliver Reed
The Devils
Ken Russell, 1971
Cinematography | David Watkin

When the nuns become a pawn of The Church and The State, it is as if they’ve been not only granted “permission” to explore their repressed desires, the threat of torture looms if they don’t take those “desires” to blasphemous limits. This is the portion of the film that remains controversial almost 45 years later. The scenes are disgusting. They are not erotic. They are upsetting. What’s more — these scenes which have been labeled The Rape of Christ — can be found from time to time on YouTube. BFI has access to an inferior copy from whereabouts unknown. They were shown on British television documentary about the film in the late 80’s. Compared to much of what we see now on cable, they are really barely eligible for an R rating much less an X or NC-17.

Faith and Religion Distorted For Ambition, Greed, Power and Control... The Devils Ken Russell, 1971 Cinematography | David Watkin

Faith and Religion Distorted
For Ambition, Greed, Power and Control…
The Devils
Ken Russell, 1971
Cinematography | David Watkin

The scenes that are the most disturbing are in the R-rated cut. Sister Jeannes’ “exorcism” is actually rape and sexual torture. 40 some odd years later, these scenes are still hard to watch. Yet these scenes get an “R-Rating” when an “NC-17” would be more appropriate. Another controversial segment which would probably secure a “PG-13” rating today is actually one of the more blasphemous scenes in the movie. Sister Jeannes convulsive sexual fantasies of Father Granier as Christ are not graphic, but oddly disturbing. Filmed beautifully and erotically, Oliver Reed emerges as Christ descended from the Cruxifiction walking upon water to Sister Jeanne. As she kisses his bloodied feet and sweeps her hair over them. She begins to move up his body as if about to engage in felatio when the wind blows her vaguely nun-like wrapping off — her hump back is revealed and she screams in horror as everyone begins to mock and degrade her.

Georgina Hale The Devils Ken Russell, 1971 Cinematography | David Watkin

Georgina Hale
The Devils
Ken Russell, 1971
Cinematography | David Watkin

The Devils may not have been crafted with the precise and deftly serious style as The Exorcist, but Ken Russell’s film is concerned with far more serious cultural issues than Evil vs. Good. In The Devils, Ken Russell is presenting ideas that still seem to shake people to their core. It is a satirical political commentary that works incredibly well. Fever-pitched and unapologetic it is an essential film.

And when one stands back from both of these films, The Exorcist is actually the more perverse and controversial film. Welcome to the schisms of Film Theory, History, Politics and Religion.

The tragically deformed Mother Superior fosters an unhealthy desire of Christ as a source of eroticism. And her priest, Father Granier, has taken the place of Christ in her mind. Enter Erotic Surrealism... Vanessa Redgrave The Devils Ken Russell, 1971 Cinematography | David Watkin

The tragically deformed Mother Superior fosters an unhealthy desire of Christ as a source of eroticism. And her priest, Father Granier, has taken the place of Christ in her mind. Enter Erotic Surrealism…
Vanessa Redgrave
The Devils
Ken Russell, 1971
Cinematography | David Watkin

I have written about both Ken Russell, his work and this film in particular a number of times. I’ve also done some “covert investigation” in separating fact from fiction regarding Warner Brothers and possible prints of the original cut. If anyone is persistent, it a fan of film. There are a great number of Film Preservationists, Film Historians, devoted Ken Russell fans and Cinematic Curiosity Seekers who are still pushing to gain access to this film. Unless Warner Brothers is lying to us and they lost both of those prints, there is always a chance that Ken Russell’s The Devils might one day gets its moment in on the screen.

Matty Stanfield, 8.10.2015