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When 19th Century writer, Jules Michelet, wrote La Sorcière (Satanism and Witchcraft) his goal was not limited to providing a history of Medieval European Witchcraft. In truth he was seeking to do something far more interesting — his intention was to reveal that history as a cultural rebellion against the oppressions of the Roman Catholic Church and Feudalism. Michelet was sympathetic to the plight of peasant women of this era. What culture and history named as Satanic or Witchcraft, he attempted to redefine from the other side of a largely unrecognized side of this phenomenon: Paganism.

An impoverished woman doesn't quite fit into her community is to be judged as an Evil Witch. Illustration by Martin van Maele from Jules Michelet La Sorcière, 1911 Edition.

An impoverished woman doesn’t quite fit into her community is to be judged as an Evil Witch.
Illustration by Martin van Maele
from Jules Michelet La Sorcière, 1911 Edition.

The idea, as presented by Michelet, was to look underneath such dark practices as Devil Worship and discover its true origins. In fact, he viewed this with an eye to where non-prescriptive spiritual beliefs might lead to something of beauty and goodness. Was the cultural magnifying glass obstructing the goodness to propagate the fear of the people? His sympathies were given to the oppressed and victimized. Paganism was not necessarily Evil from Michelet’s viewpoint. His book would assist in laying out a model for modern Pagan Wiccan Ideologies.

Were these men afraid of Witchcraft or simply afraid of a women refusing patriarchal control? "The Witch, No. 3" Joseph E. Baker, c. 1890

Were these men afraid of Witchcraft or simply afraid of a women refusing patriarchal control?
“The Witch, No. 3”
Joseph E. Baker, c. 1890

Michelet reconstructs and reimagines a situation in which a coven of desperate women push their unique forms of social protest into darkness by the use of decadent rituals performed under the power of the moon. Black Sabbaths performed by witches. It was not the strength found in nature that was the problem. The problem was when these spiritual and empowering rituals sought to do harm. He then devotes the remainder of the book to reconstructions / imaginings taken from the horrific European witch trials. Michelet’s writings were debunked as inaccurate and problematic long ago, but he is responsible for turning a sympathetic light toward oppressed women and scorn on irrational societal fears. If nothing else, La Sorcière speaks to a very different kind of revolutionary danger that goes far beyond the simple political. If a society chooses to push large groups into oppression and misery, there is simply no telling what those groups might form to rebel.

Entering the 1970's society felt that parents had control of their children. Cue a masterful film about a pretty little girl possessed by The Devil. Linda Blair The Exorcist William Friedkin, 1973 Cinematography | Owen Roizman

Entering the 1970’s society felt that parents had control of their children. Cue a masterful film about a pretty little girl possessed by The Devil.
Linda Blair
The Exorcist
William Friedkin, 1973
Cinematography | Owen Roizman

As the world crashed out of the 1960’s and slammed into the resulting gains and damages of the 1970’s, Japan’s Mushi Production was looking to take on a bigger slice of the Animated Movie Pie. They instructed their animation team to create three adult-oriented projects referred to as The Animerama Trilogy. Mushi Productions and legendary animator, Osamu Tezuka, were looking to keep up with an ever evolving and reactionary era. The Animerama Trilogy would be Anime / Manga with a difference. These three films were to be full-on erotica and they would also adhere to psychedelic animation.

"All those lonely people..." Taking animation into the psychedlic. Yellow Submarine George Dunning, 1968 Art Direction | Heinz Edelmann

“All those lonely people…” Taking animation into the psychedlic.
Yellow Submarine
George Dunning, 1968
Art Direction | Heinz Edelmann

Perhaps it was worries about trying to push ahead of the coolness / originality created within the animated Beatles movie, Yellow Submarine, combined with rumors of hardcore content about to explode within mainstream cinematic entertainment. This was the era of Last Tango in Paris, The Devils, A Clockwork Orange and The Exorcist. It was at this time that two truly pornographic films enjoyed mainstream success. Deep Throat and Beyond The Green Door were not limited to creepy porn cinemas. Whatever propelled Mushi Productions to push the cinematic envelope, this was The Sexual Revolution and Liberation moving in full-tilt-boogie mode. Mushi Productions was ready to make X-Rated pornographic animated films. The sexuality was to be both erotic and graphic, but equal attention needed to be applied in the areas of plot and artistic quality.

The original movie poster Belladonna of Sadness / Tragedy of Belladonna Eiichi Yamamoto, 1973

The original movie poster
Belladonna of Sadness / Tragedy of Belladonna
Eiichi Yamamoto, 1973

Belladonna of Sadness was actually the second of the trilogy. Tezuka assigned Eiichi Yamamoto to serve as Belladonna‘s director and visionary leader. He quickly convinced painter, Kuni Fukai, to helm the film’s art direction duties. Artistic freedom and quality were of upmost importance. Astro Boy was the money maker for Mushi Productions. This trilogy was to be creative. Concerns regarding commercial success were to be pushed off the table.

The oppressed victim transforms into a magically powerful Witch... Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamasaki

The oppressed victim transforms into a magically powerful Witch…
Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamasaki

Yamamoto understood the importance of story and the importance of artistic quality. Fukai was not particularly interested in Anime or Manga, but he did want the freedom to pursue his artistic vision. He was also drawn to the idea that Tezuka was not particularly interested in movement. His goal was to focus on the detail of illustration. In other words, traditional ideas of animation were out the window. Fukai found the film’s development and production to be an enjoyable artistic experience. Based upon interviews, it is clear that Fukai captured the director’s ideas onto scrolling murals. The film’s cinematographer, Shigeru Yamasaki, then set the framing as his camera moved along the murals and other illustrations. Belladonna of Sadness took two years to create using less than ten additional animators. Masahiko Satoh was hired to provide the musical score. It is a jazzed-fused mash-up of experimental synthesizers with syrupy pop ballads. The musical score works incredibly well. Like the film itself, Satoh’s score has a large number of fans as well.

Defying conventional ideas of Anime and animation... Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamasaki

Defying conventional ideas of Anime and animation…
Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamasaki

By the time Belladonna of Sadness was ready for release, Mushi Productions was about to fall into bankruptcy. Their Japanese distributor, Nippon Herald Eiga, was at a loss when it came to marketing the movie. Even though the strange film was well received at the 1973 Berlin International Film Festival, it received a limited release in Japan without any success. Having now seen this infamous movie, it seems all the more odd that it came and went with little to no interest.  It was never officially released outside of Japan. In the late 1970’s it was discovered that Belladonna had gained a minor female following.

Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamasaki

Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamasaki

An attempt to re-cut the movie so that it might hold a more immediate appeal to female viewers only resulted in muting the film’s power. Much of the hardcore sexuality and sexual violence was trimmed away. It is easy to understand why the director decided to remove some of these elements as they have and continue to cause problematic issues, but those original choices still make sense to the overall reach of the film. However Yamamoto had the idea of incorporating a scan of Liberty Leading the People by Eugene Delacroix to serve as a potent closing image.

A poisonous flower? Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamasaki

A poisonous flower or a source of magical healing?
Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamasaki

The additional mix of Delacroix’s style makes sense given that the movie pulsates via a number of various stylistic influences. But the most logical piece of this idea is that the painting better conveys the film’s closing lines. Belladonna of Sadness has always enjoyed a strong reputation among fans of the Anime / Manga genres. Various and inferior versions of the movie floated around for years. The folks at Cinelicious Pics worked hard to secure the rights to restore and distribute an uncensored version of the movie to the world. All of the eroticism, depravity and sexual brutality has been returned. But the 1979 inclusion of Delacroix’s painting remains. Belladonna of Sadness is now available in 4K remaster.

How to describe this film without giving too much away? I’m not confident I can do that so I will keep my summary simplistic and utilize shots from the film to indicate the beauty, complexity and ultra-weird world it portrays. The over-all look of the film is tied to an idea of glam beauty that you might expect to see in illustrated adverts of the early to mid-1970’s. The film’s protagonist, Jeanne, is rendered as a slender and sublimely perfect nymphette. Her appearance is the one consistent element of the movie’s imagery. Jeanne‘s beauty does not match the world in which she has been born. She is simply too elegantly beautiful to belong here.

The identity finds no solace or safety in marriage... Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamasaki

The identity finds no solace or safety in marriage…
Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamasaki

She is a peasant girl who has just married a humble but handsome man. Only minutes into her marriage, Jeanne is raped by the land’s Feudal Lord — and his entire court including Church leadership. This might sound silly, but that animated / painted sequences of rape and sexual torture are truly horrific. Kuni Fukai and his team found ways to render this human cruelty that go well beyond the boundaries of living actors. The sequence is traumatic and may prove to be more than some are willing to watch. When the film was screened in San Francisco more than a few people opted to leave the cinema. If you thought the killing of Bambi‘s mom was harsh, that classically upsetting animated moment is rendered sweet in comparison.

Believe it or not, this film's animated depiction of rape is disorienting, visceral and horrifically disturbing. Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamasaki

Believe it or not, this film’s animated depiction of rape is disorienting, visceral and horrifically disturbing.
Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamasaki

The ability of this film to capture both the act of rape and the consequence of the attack is nothing short of brilliant. As horrible as these sequences are — they are essential. The rape of Jeanne is not presented as erotic, but it does force forward an uncomfortable issue. While Yamamoto is clearly not looking to excite the audience, that doesn’t mean that this depiction of rape is above reproach. An argument could be made that his film goes too far. Somewhere in the synapse of the depicted horror there registers a worrying sense of the sadistic.

Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamasaki

Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamasaki

Is the explicit manner in which these brutalities are depicted meaningful or exploitive? While I think a case could be made, ultimately I was moved by the way the film managed to present the sheer trauma and damage of rape. Even still it must be noted that these sequences are so repulsive and shocking — they push it all so far that the viewer’s mind and body are both required to react.

It is a manipulation. It is a tough watch. Maybe too tough to be considered as an “entertaining” experience — and, no matter, this movie’s intentions are to entertain.

Draw your own conclusion.

Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamasaki

Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamasaki

Belladonna of Sadness is obviously surrealistic, but it is persistently grounded in realistic logic. Jeanne‘s life and marriage are ruined. As she attempts the impossibility of healing and restoring her identity she falls into a spiraling depression. Pushed past the edge of sanity, Jeanne appears to retreat into an attempt at calming through sexual self release. Or at least this is how I interpret it. Instead of finding peace, she discovers The Devil. Playful and ever-ready to flirt, The Devil never attempts to hide his identity. He repeatedly points out that Jeanne has summoned him.

Evil has not come to Jeanne without invitation. 

Jeanne makes a pact and gives her body and soul for as she phrases it, “something bad.” The something bad is actually empowerment and full claim of her sexual liberation.

Surrendering to Satan... Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamasaki

Surrendering to Satan…
Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamasaki

Our protagonist is angry when she awakens from her surrealistic fuck-fest with Satan. She has anticipated that she would wake in Hell. She thought her hair would have turned into snakes. She expected to be a scary old hag. Instead she wakes refreshed, clean, energetic, healed and surrounded by flowers that seem to radiate energy.

"You had already died, anyway." Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamasaki

“You had already died, anyway.”
Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamasaki

I want people to turn away in horror when I pass by in the street. I don’t want to forget anger and hatred!” Jeanne seethes to The Devil.

You have become beautiful, Jeanne. Like a young girl in love. Radiant. You are even more beautiful than God,” The Devil replies.

The One who owns her soul explains that a woman can be angry, scary and raging with hatred and remain beautiful. Why? Because she does not fully understand the power of her own self and beauty. The Devil teaches her that she can channel her beauty, charm, intellect and intelligence to do good or utilize those same powers to cause righteous evil. Nature will bend to Jeanne‘s will. Why? Because she is woman.

Meet Jeanne, The Witch. Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamazaki

Meet Jeanne, The Witch.
Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamazaki

Yamamoto’s vision of The Devil is a penis of various sizes and compulsions. Evil is represented by the penis. It is comical, but it is also oddly effective in depicting Jeanne’s initiation into the sensual. The vagina is used to symbolize a wide range of ideas and aspects of life, but the key to Belladonna of Sadness‘ use of yonic symbology are related to joy, pleasure and life.

"Are you The Devil?" "Yes," replies the cock along with an opportunity for empowerment... Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamasaki

“Are you The Devil?”
“Yes,” replies the cock along with an opportunity for empowerment…
Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamasaki

Welcome to Eiichi Yamamoto’s take on Feminist Theory. As Jeanne allows herself to shed inhibitions — she evolves into a powerful sexual predator. She seduces and gains strength as the men begin to lose theirs. Jeanne has long left her former life, she is now surrounded by beauty. She finds creative and magical ways to return to her fellow peasants.

Jeanne magically creates food and wine. She brings sexual education to her fellow peasants. She turns the poisonous Belladonna flower into medicine that stops pain — most importantly notes is that her magic flower  takes away the pain of childbirth for the women of her village. And she pulls the peasants back to her Sexual LSD’d-like trip’d out home for orgy sabbaths. All of which are depicted in stunning ways and in a multiple manner of styles. Some of the film’s stylings are truly beautiful, others are crude, some are silly, some profane and all are aiming to shock.

Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamasaki

Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamasaki

Eventually Jeanne must decide how she really wants to use her new found power.

Ultimately there is a reason Yamamoto named the protagonist “Jeanne.”

Jeanne d’Arc, anyone? Did I mention the story takes place in France? 

Do ya wanna hold me? Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamazaki

Do ya wanna hold me?
Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamazaki

Regarding the film’s X-Rated ideologies — Belladonna of Sadness aims to sexually excite. This is eroticism. To be more specific, this is experimental eroticism.

Why is it experimental? For more reasons than I care to list, but this is an animated film. Depictions of the human body morph from realistic renderings to the profanely abstract. This is even more true when applied to genitalia.

Is Belladonna of Sadness actually erotic? I guess that depends on what winds your clock. Personally, I do not find illustrations all that sexy. But that is just me.

Eroticism morphs... Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamazaki

Eroticism morphs…
Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamazaki

I should also point out that I’ve no interest in animated film, Anime or Manga. The fact that I wanted to write about Belladonna of Sadness indicates a great deal regarding how I feel about it. I loved the experience of this movie.

I admire the artistic audacity, experimentation and the epic go-for-broke approach. And I take great pleasure in seeing something totally new and unique. I have never seen a movie like this one. It is unique. It is also a problematic film and it doesn’t always work. But when Belladonna of Sadness does work — it compulsively pulls us into its own astounding world.

Erotica Abstracta / Fascinating to watch Belladonna of Sadness Eiichi Yamamoto, 1973 Cinematography | Shigeru Yamazaki

Erotica Abstracta / Fascinating to watch
Belladonna of Sadness
Eiichi Yamamoto, 1973
Cinematography | Shigeru Yamazaki

Belladonna of Sadness has been gyrating for over 43 years. It isn’t going anywhere. For more info: http://www.cineliciouspics.com/belladonna-of-sadness/

Matty Stanfield, 8.25.2016

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

"Contains the hit single, 'Miss You!'" A magic moment when the wrapping matched the content. The Rolling Stones Some Girls, 1978

“Contains the hit single, ‘Miss You!'”
A magic moment when the wrapping matched the content.
The Rolling Stones
Some Girls, 1978

I recently found myself flipping through used vinyl at a store near the Berkeley campus. It was like slipping back into my pre-teen years when I would become enraptured by the look of an album cover. My parents owned more than a few of them. However there was a leaning toward 8-Track Tapes in my childhood. As soon as I was old enough to scrape some money together I would purchase some of these albums. Often these long playing records promised more on their covers than was delivered. But sometimes the music would not only match — it would be even better than the cover revealed.

What follows are the covers that I recall most vividly from my childhood. There is no particular order and no thought of content. This is a visual list of Art Design / Photography interlaced with promotion and art. Many are iconic — others not so much.

Sexy, funky and fierce... Betty Davis Betty Davis, 1973

Sexy, funky and fierce…
Betty Davis
Betty Davis, 1973

 

Go ahead, wander into the wonder of Village Ghetto Land... Stevie Wonder Songs in the Key of Life, 1976

Go ahead, wander into the wonder of Village Ghetto Land…
Stevie Wonder
Songs in the Key of Life, 1976

 

The ultimate in cool... The Who Who's Next, 1971

The ultimate in cool…
The Who
Who’s Next, 1971

 

"Mama's got a squeeze box she wears on her chest. And when Daddy comes home he never gets no rest. 'Cause she's playing all night..." The Who by numbers, 1975

“Mama’s got a squeeze box she wears on her chest. And when Daddy comes home he never gets no rest.
‘Cause she’s playing all night…”
The Who
by numbers, 1975

 

Speaking of The Who... TOMMY Original Movie Soundtrack, 1975

Speaking of The Who…
TOMMY
Original Movie Soundtrack, 1975

 

The Holy Mother of the Soundtrack Album... Saturday Night Fever 1975

The Holy Mother of the Soundtrack Album…
Saturday Night Fever
1977

 

Another soundtrack with which I was obsessed. And a really cool / iconic photography by Scavullo Streisand / Kristofferson A Star Is Born, 1976

Another soundtrack with which I was obsessed. And a really cool / iconic photography by Scavullo
Streisand / Kristofferson
A Star Is Born, 1976

 

Uh, oh! Is that Mick or Little Joe Dallesandro hiding behind the zipper? The Rolling Stones Sticky Fingers, 1971

Uh, oh! Is that Mick or Little Joe Dallesandro hiding behind the zipper?
The Rolling Stones
Sticky Fingers, 1971

 

"We're gonna come around at twelve with some Puerto Rican girls just dying' to meet you..." The Rolling Stones Some Girls, 1978

“We’re gonna come around at twelve
with some Puerto Rican girls just dying’ to meet you…”
The Rolling Stones
Some Girls, 1978

 

How many were inspired to learn the guitar after hearing this album? The art design is excellent. Led Zeppelin IV, 1971

How many were inspired to learn the guitar after hearing this album? The art design is excellent.
Led Zeppelin
IV, 1971

 

Amazing art direction / design and an album that continues to play throughout my life. Led Zeppelin Physical Graffiti, 1975

Amazing art direction / design and an album that continues to play throughout my life.
Led Zeppelin
Physical Graffiti, 1975

 

An artistic venture chronically five artists' messy shared life became an essential album. "Now here I go again, I see the crystal visions I keep my visions to myself, it's only me Who wants to wrap around your dreams and have you any dreams you'd like to sell?" Fleetwood Mac Rumours, 1977

An artistic venture chronically five artists’ messy shared life became an essential album.
“Now here I go again, I see the crystal visions
I keep my visions to myself, it’s only me
Who wants to wrap around your dreams and have you any dreams you’d like to sell?”
Fleetwood Mac
Rumours, 1977

 

"Don't say that you love me..." Fleetwood Mac TUSK, 1979

“Don’t say that you love me…”
Fleetwood Mac
TUSK, 1979

 

Glam! Roxy Music Roxy Music, 1972

Glam!
Roxy Music
Roxy Music, 1972

 

A bit of a kick with your glam... T. Rex T. Rex, 1972

A bit of a kick with your glam…
T. Rex
The Slider, 1972

 

The contents don't quite match up, but this is an awesome cover! Mott The Hopple The Hopple, 1974

The contents don’t quite match up, but this is an awesome cover!
Mott The Hopple
The Hopple, 1974

 

Going all ambient on our ass... Brian Eno Another Green World, 1975

Going all ambient on our ass…
Brian Eno
Another Green World, 1975

 

Leon Russell Will O' The Wisp, 1975

Leon Russell
Will O’ The Wisp, 1975

 

Play that funky music white boy... Wild Cherry Wild Cherry, 1976

Play that funky music white boy…
Wild Cherry
Wild Cherry, 1976

 

Welcome to NYC Punk... The Ramones The Ramones, 1976

Welcome to NYC Punk…
The Ramones
The Ramones, 1976

 

NYC PUNK tries some tongue in cheek disco and goes mainstream... Blondie Parallel Lines, 1978

NYC PUNK tries some tongue in cheek disco and goes mainstream…
Blondie
Parallel Lines, 1978

 

NYC PUNK goes top ten seeing no evil... Television Marquee Moon, 1977

NYC PUNK goes top ten seeing no evil…
Television
Marquee Moon, 1977

 

Mapplethorpe captures the pristine moment of NYC PUNK gone deep within artistic rebellion... Patti Smith Horses, 1975

Mapplethorpe captures the pristine moment of NYC PUNK gone deep within artistic rebellion…
Patti Smith
Horses, 1975

 

Iconic, controversial and defiantly erotic... Patti Smith Group Easter, 1978

Iconic, controversial and defiantly erotic…
Patti Smith Group
Easter, 1978

 

"She's got electric boots a mohair suit You know I read it in a magazine..." Elton John Goodbye Yellow Brick Road, 1973

“She’s got electric boots a mohair suit
You know I read it in a magazine…”
Elton John
Goodbye Yellow Brick Road, 1973

 

Does it get any cooler? David Bowie Aladdin Sane, 1973

Does it get any cooler?
David Bowie
Aladdin Sane, 1973

 

It might have only had one hit single, but who wouldn't want to take Cher home in her disco armor?!?! Cher Take Me Home, 1979

It might have only had one hit single, but who wouldn’t want to take Cher home in her disco armor?!?!
Cher
Take Me Home, 1979

 

Watch out! There's a ghost hiding inside the gate fold! Eagles Hotel California, 1976

Watch out! There’s a ghost hiding inside the gate fold!
Eagles
Hotel California, 1976

 

Make fun all you want, this is a cool album cover dedicated to the new age of 1970's Disco. Bee Gees Main Course, 1975

Make fun all you want, this is a cool album cover dedicated to the new age of 1970’s Disco.
Bee Gees
Main Course, 1975

 

So one could argue that 1970 was still the 1960's, but this album both rocked and scared me! Featuring a cover that haunts... Black Sabbath Black Sabbath, 1970

So one could argue that 1970 was still the 1960’s, but this album both rocked and scared me! Featuring a cover that haunts…
Black Sabbath
Black Sabbath, 1970

 

There might only be a couple of hits on each album, but Carly Simon gave some great record cover in the 1970's. Carly Simon Boys In The Trees, 1978

There might only be a couple of hits on each album, but Carly Simon gave some great record cover in the 1970’s.
Carly Simon
Boys In The Trees, 1978

 

Unexpected cool cover from Streisand. Great cover of Carole King's "Where You Lead" and a deeply painful cover of John Lennon's "Mother." But Ed Thrasher's photography is awesome. Barbra Streisand Barbra Joan Streisand, 1972

Unexpected cool cover from Streisand. Great cover of Carole King’s “Where You Lead” and a deeply painful cover of John Lennon’s “Mother.” But Ed Thrasher’s photography is awesome.
Barbra Streisand
Barbra Joan Streisand, 1972

 

A folk singer goes in a whole new direction... Joni Mitchell Hejira, 1976

A folk singer goes in a whole new direction…
Joni Mitchell
Hejira, 1976

 

Pop and funky fashions! ABBA Greatest Hits, 1975

Pop and funky fashions!
ABBA
Greatest Hits, 1975

 

This band hypnotized me and most of my elementary school friends. Plus a power ballad! KISS Destroyer, 1976

This band hypnotized me and most of my elementary school friends. Plus a power ballad!
KISS
Destroyer, 1976

 

I never really got into this album, but I loved the way it all looked! Alice Cooper From the Inside, 1978

I never really got into this album, but I loved the way it all looked!
Alice Cooper
From the Inside, 1978

 

One of those album covers that just sticks in your mind. ...As do many of its songs. Alice Cooper Welcome To My Nightmare, 1975

One of those album covers that just sticks in your mind. …As do many of its songs.
Alice Cooper
Welcome To My Nightmare, 1975

 

This cover is either really bad or really good. I'm not really sure, but I will never forget it. And they did rock us. Queen News of the World, 1977

This cover is either really bad or really good. I’m not really sure, but I will never forget it. And they did rock us.
Queen
News of the World, 1977

 

Awesome album cover! Lou Reed Coney Island Baby, 1976

Awesome album cover!
Lou Reed
Coney Island Baby, 1976

 

Mom and Dad, meet Joe Strummer... The Clash The Clash, 1977

Mom and Dad, meet Joe Strummer…
The Clash
The Clash, 1977

 

Yet another cool album cover from Strummer and friends... The Clash London Calling, 1979

Yet another cool album cover from Strummer and friends…
The Clash
London Calling, 1979

 

Impossibly cool album cover. The contents would later accompany on more than a few trips. ...so to speak. Michael Oldfield Tubular Bells, 1973

Impossibly cool album cover. The contents would later accompany on more than a few trips. …so to speak.
Michael Oldfield
Tubular Bells, 1973

 

A fantastic photograph to accompany her most polished effort. It arrived after she died. Iconic and essential. Janis Joplin Pearl, 1971

A fantastic photograph to accompany her most polished effort. It arrived after she died. Iconic and essential.
Janis Joplin
Pearl, 1971

 

Perfect. Pink Floyd Far Side of the Moon, 1973

Perfect.
Pink Floyd
Far Side of the Moon, 1973

 

Never has a discarded fashion shoot yielded such a classic album cover! David Bowie Pin Ups, 1973

Never has a discarded fashion shoot yielded such a classic album cover!
David Bowie
Pin Ups, 1973

 

Matty Stanfield, 6.8.16

 

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

As the digital age is allowing anyone with a camera to be a “filmmaker” it is becoming more challenging for true film artists to find ways to get their work seen. This has required many talented filmmakers to pursue the more audience-friendly genres of horror, rom-com and the most dangerous choice of coming of age chronicles.The restrictions of user-friendly movie genres seems not only an unlikely prospect but an impossible option for the filmmaker who emerges from this quiet but revelatory movie. The challenge that Brandon Colvin ran into was a clear way to get the film screened.  Largely by sheer creative will and a year’s worth of fellow filmmaker’s commentary, Sabbatical has finely found its path to audience.

Sabbatical, 2014. A film by Brandon Colvin. Poster Design by Jenni Dickens

Sabbatical, 2014. A film by Brandon Colvin. Poster Design by Jenni Dickens

The plot is deceptively simple: A college professor takes a sabbatical to return to his childhood home less to focus on a new book and far more to provide assistance to his fragile mother who recently suffered a stroke. When he returns his forced to figure out how to “re-connect” not only to his family, former lover and friends but to the very core of his identity.

Robert Longstreet as Ben in  Sabbatical

Robert Longstreet as Ben in Sabbatical

The important cinematic elements here have little to do with the actual “story” but far more within the way Brandon Colvin so brilliantly “tells” it. This challenging aspect of Colvin’s film is what makes it so very important. Not to deny the emotional power the film carries, but this is really more of an intensely effective study in Formalist Film Theory and Philosophy than a movie concerned with narrative. Colvin makes masterful use of Aaron Granat’s exceptional cinematography, set design, colors, pacing and literal perspective to communicate the complexities of universal human challenges. Colvin clearly has a visionary eye, but he has aligned himself with a group of deeply gifted artist. Tony Oswald’s work as the film’s editor is in perfect tandem with the filmmaker’s devotion to presenting emotion, tone and though a pace with true purpose.

Kentucker Audley, Rebecca Koon and Robert Longstreet at dinner. Eric Enstrom's Grace painting looming over their attempt at connection. In Brandon Colvin's Sabbatical.

Kentucker Audley, Rebecca Koon and Robert Longstreet at dinner. Eric Enstrom’s Grace painting looming over their attempt at connection. In Brandon Colvin’s Sabbatical.

Despite his shoestring budget, he has made an extraordinary and masterful work. His cast seems not to only understand the rigid framework in which they most perform but nothing feels labored in performances that often edge close to an almost Avant-Garde minimal approach. Robert Longstreet is one of the most under-valued actors working in film. He is able to convey more with the most casual use of his physicality and tone of voice better than most of the highly regarded film actors of the day. Rebecca Koon, Kentucker Audley and Thomas Jay Ryan are all exceptional in their abilities to fit into Colvin’s vision with ease. But it is Rhoda Griffis who is given the most challenging role as Ben’s former lover. Like Longstreet she has the presence and charisma of movie star. Most importantly, she finds a way to firmly establish her character who functions not only as our protagonist’s erotic desire, but also the only person he encounters who is actually trying to connect with him. She becomes a sort of Existential Mirror for Ben.

Rhoda Griffis, Kentucker Audley and the amazing Robert Longstreet in Sabbatical.

Rhoda Griffis, Kentucker Audley and the amazing Robert Longstreet in Sabbatical.

In one of the film’s most important scenes, Griffis reads a bit of Ben’s writing aloud. It is as much the manner in which she uses her voice with a weary sort of challenge as it is the content of the writing that we know she sees through Ben’s Kierkegaard/Nietzschean posing. But,that does not change the fact that Colvin has crafted a film the cinephiles and philosophy lovers will savor from beginning to end. While SABBATICAL is clearly a cinematically referential film — every one from Bresson and Bergman to the more obscure stylings of Jost and Hollis Frampton immediately came to my mind — It is crucial to point out that Brandon Colvin is not mimicking, stealing or even borrowing from these great artists’ work. The concept of the other artists’ work serves merely as jumping point to create a stylistic exploration that is completely unique. And, the though provoking use of the word, “sabbatical” consistently caused the viewer to re-evaluate what it really means. Is Ben’s return a break to grow? To focus on work? To help his mother? To reconnect to his past? Or, is this a sort of cease? And, if this is a ceasing — is it achieving identity-related conclusion. Or is Ben actually stopping? If so, what does that imply?

Rebecca Koon as Elizabeth in Sabbatical

Rebecca Koon as Elizabeth in Sabbatical

There is no hand-holding for the audience here. This is a challenging film art. It thrills me to discover an American Independent Filmmaker who is not only talented enough but brave enough to create a film like SABBATICAL. We don’t often have the objectivity and ability to fully evaluate the future impact of a movie. But I am fairly certain that Brandon Colvin has made a film the comes as close to being a cinematic masterpiece. The last times I can remember feeling I was seeing a movie this unique was when I snuck into a screening of RAGING BULL and a few years later accidentally stepped into a screening of BLUE VELVET. This film has no connection to those two iconic movies other than it carries just as much innovation and unsettling power in surprising new ways.

Thomas Jay Ryan and Robert Longstreet as two friends uncomfortably re-connect in Sabbatical

Thomas Jay Ryan and Robert Longstreet as two friends uncomfortably re-connect in Sabbatical

All the more impressive, Brando Colvin achieves with a micro budget and within 72 minutes what very few filmmakers manage even with $400,000,000, 3 hours and our culture’s bland A List movie stars. As SABBATICAL reaches conclusion, the potency of what has been so artistically presented comes to the audience like breath of new air. A few hours later, I realized that Colvin had managed to do more the deliver a potent movie — he had gut-punched me so quickly that I didn’t  feel the pain until a few hours later. SABBATICAL is a film so clever and intelligent it demands your attention. Unforgettable.

Robert Longstreet in Brandon Colvin's Sabbatical

Robert Longstreet in Brandon Colvin’s Sabbatical

For more insight, and viewing options please follow the link below.

http://sabbatical-mossgarden.com