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Every once in a while a movie comes along that captures a cultural moment. And, sometimes, that same movie can also offer insights into subcultures long forgotten. And, with a backward glance, the moving images and sounds seem to act as a unified predictor. A film like this becomes a touchstone to our past. A link from our current to a past that often feels foreign and alien. This is one such movie…

"This is as far as the elevator goes." Liquid Sky Slava Tsukerman, 1982

“This is as far as the elevator goes.”
Liquid Sky
Slava Tsukerman, 1982

It was in August of 1982 that Slava Tsukerman’s notorious cult film, Liquid Sky, debuted at Montreal World Film Festival. Heads were turned, jaws dropped and the festival awarded the Special Jury Prize to the director. The film went on to receive several other key Art Film Festival awards. Sadly the movie received a minimal theatrical release. In the US it did manage to strike a chord and secure a following via its VHS release. Liquid Sky has become an essential Cult Film. The fact that it continues to be challenging to track down and watch have only added to its allure within the Cult Film Cannon.

This is not your average low-budget movie. The filmmaker, his wife and his cinematographer were fresh from The Soviet Union. They had managed to find a way to New York City to make a movie. It wasn’t long before they were collaborating with a performance artist who seemed to be on the fast track to stardom within the underworld of the Post-Punk/New Wave club scene. This history of the film’s 28 day production story can be found across the span of The Internet. The key here is understanding that this Russian filmmaker captured a moment both fantastic and scary. He may not have had a big budget, but he most certainly had a big cinematic vision filled with ideas and aspirations.

Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

There are a couple of crucial elements which blast the viewer within the first three minutes of Liquid Sky:

  1. A human face framed within a sphere of neon light that reveals itself to be a mask of sorts.
  2. The music sounds vintage early ’80’s, but is just slightly off-key and deeply odd — even a bit altogether off.
  3. The Twin Towers / Empire State Building skyline (the lower midtown perspective?) is not only familiar — it is iconic. And yet, there is a myst of fog that seems sort of wrong.
  4. A flying saucer hovers toward the screen.
  5. Unhappy people in a darkly grim club jerk and dance about. The beats indicate fun, the melody warns danger and the people look more focused than happy.

Welcome to Slava Tsukerman’s Liquid Sky. This cult film is respected for a number of reasons, but perhaps the most important and immediate is the use of electronic music. The often discordantly familiar mixed with unique samplings of dialogue and other bits of music make it completely unique. We are hearing one of the earliest uses of the first true digital sampler keyboards and it is scoring the entire movie. These are the sounds of the Fairlight CMI Series 1 that pulsate out from the screen. The music manages to be at once primitive and complex. It is sinister, but with the slightest twinge of pop happy beats.This very well might be the first example of ElectroClash. The Fairlight CMI Series 1 was not actually new, but not many musicians owned them and even fewer knew how to play/use the digital sampling keyboard.

Stephen Paine demonstrated and sold The Fairlight CMI Series One to both Kate Bush and Peter Gabriel on the same day. EMI, London, 1978

Stephen Paine demonstrated and sold The Fairlight CMI Series One to both Kate Bush and Peter Gabriel on the same day.
EMI, London, 1978

Peter Gabriel and Kate Bush were among the first few musicians to actually purchase and pursue the use of the instrument. The Fairlight CMI gave life to Peter Gabriel’s 1980 album and his 1982 Deutsches Album. It played an even stronger role in giving Kate Bush’s sonic visions live for both Never for Ever and The Dreaming albums. And in fact it is easy to state that the sounds and looks of Liquid Sky have served as influence for a number of creative artists.

When actress, Paula E. Sheppard, takes the club’s darkly lit stage — she is straddling a cumbersome sort of electronic box. It might appear that her mic is broadcasting the inner workings of her chest, but her heartbeat has been sampled. It pulsates from her electronic box. As she lifts that microphone up towards her vexingly beautiful and malicious face she begins an odd bit of what I would call “Slam Poetry.” She seems to threaten her club audience with her words. While the verses to “Me and My Rhythm Box” might be pretentious — they are also oddly effective. In another actor and filmmakers’ hands this scene could have been painfully bad. But here, within the confines of Liquid Sky — this drone and wail of a song plays energetically and deeply weird. This is electronic music with a purpose. The cheesy happiness of 1980’s MTV is not present. Nor will you notice any of the ironic No-Wave disco-threat of Blondie. Slava Tsukerman and his synth composers — Brenda I. Hutchinson and Clive Smith — are in total and complete step with their filmmaker’s vision. Liquid Sky ‘s musical score is totally unique, worrying and unforgettable.

"Me and my rhythm box. Are you jealous, folks? My rhythm box is sweet. Never forgets a beat..." Paula E. Sheppard rocks the mic at The Pyramid Club, East Village NYC, c. 1981 Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“Me and my rhythm box.
Are you jealous, folks?
My rhythm box is sweet.
Never forgets a beat…”
Paula E. Sheppard rocks the mic at The Pyramid Club, East Village NYC, c. 1981
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

I suppose some might disagree, but it isn’t a far leap to realize that what we are seeing and hearing would go on to influence artists lucky enough to secure a copy of Media Home Entertainment‘s highly prized VHS tape. You should not jump to judge my assertion until you have seen this movie and compared it to early sounds/looks of artists like Fischerspoon, Miss Kittin & The Hacker as well as pop-sensation Lady Gaga.

Liquid Sky Influencing Electroclash "Hi Huh-I Hyper Hyper-media-ocrity You don't need to Emerge from nothing You don't need to tear away! Feels good Looks good Sounds good Looks good Feels good too..." Fischerspooner, Emerge, 2001

Liquid Sky Influencing Electroclash
“Hi Huh-I Hyper
Hyper-media-ocrity
You don’t need to
Emerge from nothing
You don’t need to tear away! Feels good
Looks good Sounds good Looks good Feels good too…”
Fischerspooner, Emerge, 2001

Paula E. Sheppard’s Adrian is performing not on a set, but in a very real Post-Punk/New Wave NYC Underground club. The Pyramid was where Tsukerman filmed all of the movie’s club scenes. This club is legendary and has served as home to a number of NYC subcultures for decades. The lower East Village hole-in-the-wall could tell us an unlimited number of stories. At one time a home to NYC PUNKS then to their Post-PUNK / New Wave offspring and on toward to both the American Hardcore and GLBTI NYC communities.

By 2006 Pyramid Club presents PUNK by way of nostalgia... No wave here. The Radicts and The Bruisers Pyramid Club advert, 2006

By 2006 Pyramid Club presents PUNK by way of nostalgia… No wave here.
The Radicts and The Bruisers
Pyramid Club advert, 2006

Adrian’s musical performance and jaded delivery hold up to the likes of Miss Kittin and The Hacker. While she may not have the ability to fully utilize her rhythm box as well as Miss Kittin or Fischerspooner — both owe this film a nod for their sounds that would lead us into the ElectroClash sound of the early ’00’s. And it makes sense. Adrian is attempting to thrive within the dystopia of post-70’s NYC. This is Ed Koch’s nightmare of a city. As grim as it was — it did provide some surprisingly cheap housing options and opportunities.

Liquid Sky inspires... "Every night with my star friends. We eat caviar and drink champagne. Sniffing in the VIP area we talk about Frank Sinatra. Do you know Frank Sinatra? He's dead..." Miss Kittin & Hacker The First Album, 2001

Liquid Sky inspires…
“Every night with my star friends. We eat caviar and drink champagne. Sniffing in the VIP area we talk about Frank Sinatra.
Do you know Frank Sinatra? He’s dead…”
Miss Kittin & Hacker
The First Album, 2001

It was not off the Manhattan grid, but it was not an area that most would have cared to have roamed after sunset. The club offered risk of danger and lent an edge to an evening of clubbing before the fall of the Berlin Wall and during the cruel leadership of Ronald Reagan. As Debbie Harry sang on her 1989 album:

“Darkness falls like a black leather jacket and melts into the sidewalk like a sleeping drunk. In the streets, the wind throws yesterday’s headlines around.
Another night comes and goes. So, for awhile back then there was someplace to go.
Somewhere more home than a house. A family of choice, not an accident, but sometimes as soon as something gets started it’s over.

Now the days are much shorter and the people from the good part of town all come around, but the something is missing even though there’s more there now.
I shrug off my attempts to explain how a torn T-shirt made it all danger again…” Debbie Harry, End of the Run, 1989

The Ultimate Queen of NYC PUNK / Post-PUNK / New Wave Debbie Harry Photograph | Arthur Elgort, 1989

The Ultimate Queen of NYC PUNK / Post-PUNK / New Wave
Debbie Harry
Photograph | Arthur Elgort, 1989

Now Ms. Harry would have been referring to CBGB‘s or MUDD Club, but it is important to note that Pyramid Club might not have been on the radar of the darlings of the NYC PUNK / POST-PUNK or New Wave of 1981 — but in perhaps an even more important way — Pyramid Club was home to the many clubbers who couldn’t quite make it to the big rooms of those more anti-popular clubs. And it was within Pyramid‘s walls that some very real shit went down.

No. This is not Lady Gaga, but the looks / sounds may have inspired her. Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

No. This is not Lady Gaga, but the looks / sounds may have inspired her.
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

It is likely that Blondie’s lead singer walked through Pyramid doors at some point. Most certainly it is likely that Madonna ventured there. Liquid Sky features Otto von Wernherr in the role of the German astrophysicist who is the only person aware of an alien presence that has invaded the home of the film’s two main characters. Wernherr was a musician / actor / artist and fixture of the late 70’s / early 80’s NYC Downtown Scene and an early Madonna collaborator. That collaboration was already happening as Liquid Sky was filmed.

The more famous attempt to capture the NYC underground Post-Punk/New Wave movement is actually less revealing than what is found in Liquid Sky... Debbie Harry & Jean-Michel Basquiat Downtown 81 / New York Beat Movie Edo Bertoglio, 1981/2000 Cinematography | John McNulty

The more famous attempt to capture the NYC underground Post-Punk/New Wave movement is actually less revealing than what is found in Liquid Sky
Debbie Harry & Jean-Michel Basquiat
Downtown 81 / New York Beat Movie
Edo Bertoglio, 1981/2000
Cinematography | John McNulty

If Liquid Sky‘s Adrian character is the symbol of artist, then the character of Margaret is more closely tied to the artist who yearns for success and validation that is almost impossible to secure. We know immediately that Anne Carlisle’s Margaret is a model. She is also Adrian‘s promiscuous lover and flatmate. As Adrian performs with her rhythm box, Margaret is backstage prepping for a fashion show. A show that will be taking place in the club. The other models seem only to be in background of Margaret‘s beauty. The only model who challenges her is an effeminate gay man, Jimmy.

"Are you going to come to my roof tomorrow night?" Anne Carlisle x 2 Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“Are you going to come to my roof tomorrow night?”
Anne Carlisle x 2
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

At first glance he seems to be Margaret‘s doppelgänger. The then up and coming performance artist, Anne Carlisle, is playing both Margaret and Jimmy. To Slava Tsukerman’s credit, the dual roles are only obvious when the film wants it to be. Tightly and cleverly edited, Margaret and Jimmy are two very different characters. Margaret and Jimmys’ fashion show takes place within minutes of the film’s beginning.

Striking a pose... Anne Carlisle Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

Striking a pose…
Anne Carlisle
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

This fashion sequence serves as not only a set-up for the film’s oddly complex world, it also pulls us into the era in which the film was made. While these models look like what we might associate with the very early 1980’s — it is important to note that these “looks” were ahead of the cultural curve in 1981. When I first saw this movie in 1983, these models/actors looked absolutely other-worldly. Their painted faces, geometric clothing and posing were all new to my eyes. While they might have shared some similarity with Adam Ant, Missing Persons, Bow Wow Wow, Boy George and Flock of Seagulls — the people on the screen offer no semblance of charity or fun. This clique is hard-edged and seemed almost intent on menace.

"Something strange is going on here." Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“Something strange is going on here.”
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

These hipsters want your attention, but they are not willing to beg for it. Just the opposite, these models and their respective looks are daring us not to give them our attention. The colors may be bright neon and they might be covered with make-up, but these danger boys and girls are out for blood. This is not just a fashion show — it is almost a declaration of war.

Dare you not to look and love me... Benjamin Liu Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

Dare you not to look and love me…
Benjamin Liu
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

Also within minutes of the film’s start we figure out that there is a lot more going down than performance, fashion and clubbing. Adrian is an established heroin dealer. That human face mask hangs in she and Margaret‘s penthouse apartment. This work of art offers dual meaning. It is the same face shared by both Margaret and Jimmy. It is also not a mask — it is the holding/hiding place for Adrian‘s supply of heroin. A supply that she sells to everyone from uptown artsy folks but to everyone within her orbit. Margaret might be the only person in Adrian‘s world who has no interest in the power of her powdered sky just waiting to be heated into milk for injection.

So here we have a film that is about clubbing, strutting and drugs. Where does the Sci-Fi element come in?

"Are you sure this has something to do with UFO's?" Anne Carlisle Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“Are you sure this has something to do with UFO’s?”
Anne Carlisle
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

No one can ever accuse Slava Tsukerman of constructing a slow-moving film. We witness the arrival of invaders from space within minutes of the movie’s beginning. Liquid Sky‘s construction is tight and unusual. Things happen simultaneously. They also happen with minimal explanation or character development. In most cases this approach would stunt a film, but it is one of Liquid Sky‘s magical elements. I should note that I first saw this film when I was 16 years of age. This might seem a great trip movie, but it is not. As trippy as the film is it is not conducive to positive altered state viewing. The paranoia, cruelty and perversities work against the fun aspect of a stoned age viewing. It is most likely due to my state at the time I first saw Liquid Sky that I did not understand the invasion from space plot twister.

"In the beginning Aliens were spotted in places with large amounts of heroin. Later Aliens appeared in specific subcultures -- punk circles. Still around heroin, but in these circles even more. Strange deaths have occurred..." Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“In the beginning Aliens were spotted in places with large amounts of heroin. Later Aliens appeared in specific subcultures — punk circles. Still around heroin, but in these circles even more. Strange deaths have occurred…”
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

We see the alien flying saucer arrive at nearly the same time we meet Adrian, Margaret and Jimmy. We also are given the alien’s perspective as it approaches the rooftop of Adrian and Margarets’ penthouse apartment. Most cleverly we are also given a view of the alien itself. The alien and its space ship interior. Both perspectives are truly psychedelic. But how does the introduction of alien invasion, surveillance, fashion, music, drug use/abuse and sexuality anchor Liquid Sky to the subcultures within which the film is placed?

"Where are the drugs?" Paula E. Sheppard Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“Where are the drugs?”
Paula E. Sheppard
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

Most likely it was never Tsukerman’s intention to create a film that we can now view as a sort of chronicle of the NYC Post-Punk/New Wave subculture. And it is most certainly sure that he never intended the movie to serve as a signal predicting the horrors of the AIDS epidemic. Wether intentional or not, there should be no denying the film’s ability to do both things. Liquid Sky is a low-budget film with big budget aspirations. It is essentially a science fiction horror movie, but its genre goals are almost buried beneath a polarizing depiction of the New York City Underground Club scene of 1981. It is a depiction that stings and slips under the viewer’s skin.

"Jimmy is the new Miss. America! he has all the mannerisms of a sex symbol." Anne Carlisle Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“Jimmy is the new Miss. America! he has all the mannerisms of a sex symbol.”
Anne Carlisle
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

At first, in 1981, it seemed that a disease was being caught / spread by members of the gay community. It was quickly becoming an outbreak. Initially the sicknesses was coined as The 4H Disease as the syndromes seemed to be inflicting homosexual men, heroin users, hemophiliacs and Haitians. Despite some obvious signs, that initial name did not catch on as well as GRID (Gay-Related Immune Deficiency) It wasn’t long before the CDS realized this was not an illness restricted to any one segment of the population. Certainly those living in cities like New York were realizing this long before the tragic epidemic was assigned the name AIDS in July of 1982. But in 1981 the young people populating the New York City Underground had not yet fully grasped the meaning of what was beginning to strike their respective communities. Paranoia and fear were already running rampant for a number of socio-political reasons. Liquid Sky captures an artistic world caught in the magic and the horror of the era.

"Homosexual, heterosexual, bisexual. Whether or not I like someone doesn't depend on the kind of genitalia they have. As long as I find someone attractive. Don't you think? Anne Carlisle Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“Homosexual, heterosexual, bisexual. Whether or not I like someone doesn’t depend on the kind of genitalia they have. As long as I find someone attractive. Don’t you think?
Anne Carlisle
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

The world of Liquid Sky takes place in the rag-tag world of the Artist as Outsider. More specifically, the world of Tsukerman’s film is concerned with outsiders and misfits. As in reality, the world of the arts is populated with youth, creativity and sexual experimentation. Sexuality is either fluid or leaning toward homosexuality. The Post-PUNK/New Wave NYC subculture is tightly connected to the pulse of the NYC Gay subculture. And both are freely connected to sex, drugs, music and art. Liquid Sky has a morality, but it is based in humanism rather than in the political.

Early on we watch Margaret attempt to seduce her male counterpart, Jimmy. It is here we are granted a cruel view of misogyny. It isn’t that Jimmy is just turned off by the idea of fucking a woman  — he makes it fairly clear that he detests women across the board. He treats Margaret as if she were nothing more than a link to drugs. Margaret has a tough shell, but something about Jimmy‘s cruelty eggs her on toward him. This seems to be a girl who is not used to being turned down. Despite his cruelty she is unwilling to write the mean queen off.

The only character who seems concerned with any other’s sexual preference is Adrian‘s uptown client. A failing artist who seems to have once clung to the idea that heroin will spark his artistic vision is now just uncomfortably numb. He finds Margaret’s androgynous beauty alluring, but he is far too concerned regarding her sexual preference. To Margaret and Adrian this junkie is normal and dull.

"What kind of drugs will you have?" Anne Carlisle Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“What kind of drugs will you have?”
Anne Carlisle
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

Adrian clearly identifies as lesbian and seems to be disgusted by Margaret‘s promiscuity. And like Margaret she too has dreams of fame and success. Both women are damaged, but while Margaret has soaked up her sadness — Adrian funnels an insane level of sadness and rage into her work. Theirs is a dysfunctional relationship beyond reason, but they seem to cling to each other. Sex is merely fun and a tool. All of these characters trade in sex and shared works. Adrian is repulsed by the idea of her client wanting to have sex with Margaret but is totally cool with sharing her spoon, syringe and rubber band. Margaret attempts to procure cocaine by snuggling up to straight dude at the club. In the end she is brutally raped. She seems to accept this act of cruelty as a dark part of her life with which she must deal. She also seems totally committed to being mistreated by her girlfriend.

"I am a stranger in this country. How can I see what they do on private property?" Otto von Wernherr Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“I am a stranger in this country. How can I see what they do on private property?”
Otto von Wernherr
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

Both Anne Carlisle and Paula E. Sheppard are highly effective in their respective roles. We may not know these two characters but they feel genuine. The same is true for much of the cast. Otto Von Wernherr would never win an award for acting, but he is believable as the befuddled West German scientist trying to understand what these space aliens are doing in this circle of artists. At first he suspects the aliens are only interested in the heroin which shoots so freely among these characters, but soon it is revealed that these invaders are even more interested in the chemical reaction that orgasm creates within the brains of these humans. The interesting trick of the film is that while the film is never formerly concerned with character development, it fully utilizes the skills and charisma of the actors.

"For me it's easy. Hell to Hell. I'm not dancing in marijuana jungles. I live in concrete mazes. Stone and glass hard like my heart. Sharp and clean. No romantic illusions for changing  the world. I don't lie to myself that love can cure because I know I'm alone. And you fought that every day. You lied. You lied. You go to hell. Suits you well."  The nihilism of the slam poet runs deep. Paula E. Sheppard Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“For me it’s easy. Hell to Hell. I’m not dancing in marijuana jungles. I live in concrete mazes. Stone and glass hard like my heart. Sharp and clean. No romantic illusions for changing the world. I don’t lie to myself that love can cure because I know I’m alone. And you fought that every day. You lied. You lied. You go to hell. Suits you well.”
The nihilism of the slam poet runs deep.
Paula E. Sheppard
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

Sex has become an empty act. It no longer means anything to Margaret. So when the people who force their way with her sexually begin to die at the instant of orgasm she has little to no concern for the deaths. She is more curious than concerned. When an older artist brushes aside her need for conversation, she barely puts forward an argument as he rapes her. Thing take on a perverse edge when Adrian walks in do discover the nude male body. She slips into a sort of trance and begins a grim sort of rap to the beat of her fist on her thigh. When she reveals her deepest sexual fantasy is to have sex with a dead man, Margaret is repulsed. However it takes a good deal of necrophiliatic  attempt before she tries to stop Adrian.

All the more upsetting when we realize that Margaret mistakes the aliens murdering her sexual partners to be a sign of power. For the first time in her life she thinks she is found her awakening. Her sex is no longer something to be traded or abused. Alien intervention has allowed her sex to become a threat. A threat she is more than happy to put to work.

"How many of you want to see me fuck Margaret and not die?" Paula E. Sheppard & Anne Carlisle push past the R-rating of the day... Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“How many of you want to see me fuck Margaret and not die?”
Paula E. Sheppard & Anne Carlisle push past the R-rating of the day…
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

The characters of Liquid Sky are sick, twisted and sad. And yet we feel compelled to watch. This is not the sort of interest one experiences while watching a John Waters movie. Despite a few goofs and a low-budget, Liquid Sky is an interesting film. Once the movie begins, the viewer is going to be in for the long haul. The alien aspect of the film is largely secondary. We are concerned with the people. Margaret‘s misguided interpretation of the strange events that have started to happen all around her lead her down a very dark alley of self-examination.

And it doesn’t take deep thinking to discover that Slava Tsukerman’s film serves most effectively as horrific predictor of the AIDS epidemic.

"I was taught that to be an actress one should be fashionable. And to be fashionable is to be androgynous. And I am androgynous not less than David Bowie himself. And they call me beautiful. And I kill with my cult. Isn't it fashionable?" Anne Carlisle Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“I was taught that to be an actress one should be fashionable. And to be fashionable is to be androgynous. And I am androgynous not less than David Bowie himself. And they call me beautiful. And I kill with my cult. Isn’t it fashionable?”
Anne Carlisle
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

Liquid Sky is not a movie for the squeamish, but neither is it actually an example of “shock cinema.” Much of what we think we see is never really shown. And what is shown is potent. This is a horror film, but it is less a horror film about alien invasion than it is a horror film about human nature. Before everything goes inside out and upside down, Margaret is offered the chance to be interviewed for a cool underground fashion magazine. The reporter who would appear to be totally linked in with the whole gang takes a cruel turn when she interviews the would-be model. The aggressive reporter informs Margaret that her style of dress, make-up and living are tacky. Even though she is able to put the reporter in her place, her privilege is not granted or acknowledged. Margaret dares to be different, but ultimately she only finds power in what she thinks is her ability to kill.

"You wanted to know whom and what I am? I'm a killer." Anne Carlisle Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“You wanted to know whom and what I am? I’m a killer.”
Anne Carlisle
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

Liquid Sky finds a surprising, clever and fitting conclusion. But the film’s resolution is not so easy that it makes the viewer comfortable. As low-fi as it sometimes is, Liquid Sky disturbs. It also entertains, informs and inspires. Going on 35 years, it continues to enlarge its following. Over the last couple of years there have been screenings held at BAM, MOMA and other venues. Slava Tsukerman and Anne Carlisle have always made themselves available to discuss the film, their work and their hope to find funding to restore and preserve Liquid Sky‘s original negative print.

It is decaying. Literally.

"This subculture is not like 'The Mods' or 'The Rockers.' The punks don't need help from the outside to kill themselves..." Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“This subculture is not like ‘The Mods’ or ‘The Rockers.’ The punks don’t need help from the outside to kill themselves…”
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

The VHS tape still fetches a good price on the market. Several DVD’s are floating around, but the quality is not good. Unlike most film art, Liquid Sky has actually managed to become more controversial with time. It also has the rare distinction of having aged like fine wine. This movie is more interesting every time I see it.

Despite the film’s strong following and the fact that it continues to inspire new generations of audience, there have been no takers to restore, preserve and redistribute. When the 1970’s slasher film, Alice Sweet Alice, began receiving some delayed glory there was hope that it might help Liquid Sky find a new life. After all  Alice herself is one of the key stars of this movie and Paula E. Sheppard has a cult following of her own.

A strange little girl. Before she slammed with her rhythm box she was "Alice." ...And she was scarier than the mask. Paula E. Sheppard Alice Sweet Alice Alfred Sole, 1978 Cinematography | Chuck Hall

A strange little girl. Before she slammed with her rhythm box she was “Alice.” …And she was scarier than the mask.
Paula E. Sheppard
Alice Sweet Alice
Alfred Sole, 1978
Cinematography | Chuck Hall

However she has always run from attention and rumor is that she found the experience of Liquid Sky negative. And sadly, Alfred Sole’s under rated horror film is still more famous for featuring a young Brooke Shields than it is for being an interesting and unusual genre film.

Liquid Sky continues to flow... "I stand here waiting for you to bang the gong. To crash the critics saying, "is it right or is it wrong?" If only fame had an IV, baby could I bear Being away from you, I found the vein, put it in here..." Lady Gaga Applause, 2013

Liquid Sky continues to flow…
“I stand here waiting for you to bang the gong. To crash the critics saying, “is it right or is it wrong?”
If only fame had an IV, baby could I bear
Being away from you, I found the vein, put it in here…”
Lady Gaga
Applause, 2013

Even still, there is always hope. Tsukerman and Carlisle have even scripted a sequel that is ready to roll. No matter what the future holds for Liquid Sky, it is a movie that deserves attention. Seek it out if you dare.

Matty Stanfield, 1.31.2016

"Killing all the teachers..." Rebellion, Fashion, A Warning, Electroclash and a bit of history all in one VHS tape... Liquid Sky Slava Tsukerman, 1982 Cinematography | Yuri Neyman

“Killing all the teachers…”
Rebellion, Fashion, A Warning, Electroclash and a bit of history all in one VHS tape…
Liquid Sky
Slava Tsukerman, 1982
Cinematography | Yuri Neyman

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

from 2015 Slant Magazine piece by MARC SPITZ

“A glowing spaceship appears over the New York City skyline as dissonant New Wave music fills the multiple ears with their dangling rings. Junkies, models, poseurs and performance artists feed off each other in a battle to be the most fierce, all the while unaware that tiny aliens are harnessing their ecstasy. Most visitors to New York go to Serendipity for a frozen hot chocolate — these buggers are literally fueling their space ship with the power of the human orgasm, which turns the screen electric blue and red and green and purple.

“Liquid Sky” is set in New York City in the few years between disco and AIDS when young denizens indulged in exhibitionistic sex and hard drugs and took their fashion cues from the gleefully androgynous English New Romantic movement (big hair, frills, ruffles, theatrical make up). They danced like rusty robots in neon lit nightclubs. Within this odd demimonde Margaret (Anne Carlisle) lives and works as a successful model. She has the perfect life, with one exception: she kills everyone she has sex with, whether that sex is loving, non-consensual or even with her male doppelganger “Jimmy” (also played by Anne Carlisle, then a face at the Mudd Club, a key hangout of the period). Margaret is high maintenance (“You know this bitch takes two hours to go get ready to go anywhere,” says girlfriend Adrian, who nearly steals the film with her performance of “Me and My Rhythm Box”).

Shot in Ed Koch’s crumbling New York on a tiny budget, “Liquid Sky”’s now highly-influential look, which has informed the costumes of everyone from Karen O to Lady Gaga and Sia, came largely from Carlisle’s closet or thrift shop shopping bags. Carlisle, director Slava Tsukerman and co-producer Nina Kerova created a new kind of glamor queen who, Bowie-like, quite easily stokes the desire of the men and women — before leaving a crystal spike in the back of their brain. “I kill people that fuck me,” the character confesses. Is it worth it? Almost. Is it almost ghoulishly predictive? Absolutely. This was 1982.

“They already had AIDS, but it wasn’t that publicized,” says Tsukerman, who swears the film was conceived as science fiction. Tsukerman, who traveled from Moscow to Hollywood and then found himself in Carlisle’s fast-fashion world, where it seemed that everyone was a dancer, painter, band member, filmmaker or actor, adds, “The information about AIDS came after Liquid Sky.”

Carlisle was equally aghast when her real life friends began dying of this new sexually transmitted disease. “It was so amazing, because the film is really about dying from sex and then everyone started dropping. It was really, really eerie. That happens sometimes in creative life. You do something and it’s an accident that it actually comes true. It’s mystical.”

The two were already well established in the world of downtown film before “Liquid Sky” was co-conceived. Tsukerman had a film called “Sweeet Sixteen” which was nearly financed. “It was about a girl who was killed in a car accident in 1935 and her father, a crazy scientist, saves her head and makes a mechanical body,” he says. Andy Warhol was supposedly committed make an appearance. Carlisle had a film called “The Fish” which she was showing around the clubs. When the pair met, it was clear that Tsukerman found his muse — but he had reservations, once “Liquid Sky” began pre-production, that Carlisle, primarily a painter, model and self described “nihilist” who attended the School of Visual Arts, could handle the role of both Margaret and Jimmy, even though, as she recalls, “I had a boy’s haircut and a mini skirt. No one else was doing that.” Carlisle convinced him one day. “We were scouting locations and I dressed as a man and I picked up a girl in front of him and that was my audition,” she says. “She thought I was a boy. I admitted I was a girl and she said she was still into it.”

“Liquid Sky” has a pre-apocalyptic feel of the Cold War sci-fi with the slickness of much more expensive films like its contemporary “Blade Runner,” but the budget (about a half-million) nearly sparked a mutiny. “The crew was paid very little and they did revolt at one point over the food,” Carlisle says. “They were worked day and night. We worked terrible hours. That the film got made at all was a miracle. It was really — at one point, I was arguing with them, we’re making art here and you’re worried about food. And he said you’re making art here. We want pizza!”

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

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Watching, thinking and studying from all perspectives. Separation Jane Arden Jack Bond, 1968 Cinematography| Aubrey Dewar & David Muir

Watching, thinking and studying from all perspectives.
Separation
Jane Arden
Jack Bond, 1968
Cinematography| Aubrey Dewar & David Muir

The collaborative work between artists and lovers, Jack Bond and Jane Arden, had become the thing of legend. While all three of their feature length films had been acclaimed and considered to represent two of the most important voices in British Cinema, this was largely thanks to the film reviews that lingered on long after they had screened. Jack Bond was coasting on the British New Wave film scene of the 1960’s seemingly destined for great success when he met Jane Arden. She proved to be the perfect match for the talented filmmaker both personally and professionally. Jane Arden was an actor and frequent BBC talking head when she met Jack Bond. Eccentric, intellectual, beautiful, talented, innovative and always controversial — Jane Arden flourished to great heights after she met Bond. Neither of these artists were content to go with the flow of their time. Arden proved to be an outspoken Feminist, provocateur and filmmaker. Jack Bond’s views often matched hers and while every bit as experimental as Arden, he seems to have possessed a key eye for editing that lent itself to giving shape to Arden’s visionary work.

Pain, Rage and Sanity are pushed to extreme limits. The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

Pain, Rage and Sanity are pushed to extreme limits.
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Jane Arden committed suicide in 1982. Devastated by her death, Jack Bond quickly set out to secure and store all copies of their 3 feature length films and impressive short feature within the vaults of the British Film Institute. He did so with the legal restriction that none could be screened or released. It is easy to imagine most film artists rushing to promote and celebrate their work, but for Jack Bond these films were far too intimate, personal and revelatory. It was not until some 20+ years had passed that one of Jane Arden’s children contacted Jack Bond. It was her youngest son who convinced him to reconsider his infamous decision to lock away the films. It would not be until 2009 that these three films would be screened and another one to two years before BFI could distribute the newly restored prints to DVD/Blu-ray. Even still, this work remains largely lost to American audiences — and a good many Europeans as well. It was only in the last several months that I began to slip into the worlds that Arden-Bond co-created.

A totally unique cinematic language form this disorienting and disturbing psychological thriller... Anti-Clock Jane Arden & Jack Bond, 1979 Cinematography | Jack Bond (Uncredited)

A totally unique cinematic language form this disorienting and disturbing psychological thriller…
Anti-Clock
Jane Arden & Jack Bond, 1979
Cinematography | Jack Bond (Uncredited)

These films are all available via the British Film Institute on region-free Blu-ray. They can be found on Amazon or BFI‘s own website. If you truly love innovative, challenging and remarkable Film Art — viewing these three films is essential. Each film stands alone, but all three share a common thread of searching for equality, understanding and full formation of identity. The purpose of this blog post is to promote this work so that it can reach the audience who has not yet discovered it.

Transcendental Meditation and Video Experimentation lend toward an attempt to understand self and environment. VIBRATION Jane Arden & Jack Bond, 1975

Transcendental Meditation and Video Experimentation lend toward an attempt to understand self and environment.
VIBRATION
Jane Arden & Jack Bond, 1975

I will do my best to not provide spoilers. I will also do my best to restrain my enthusiasm so that this is shorter. I will rely upon more than a couple of images from the work. It is key to note that imagery is of utmost importance to the work of Arden-Bond. But it is also crucial to note that their work was not style over content. The content of these films is rich and urges repeated viewings. These films were made by rebellious thinkers and none fit neatly into categorization.

Separation

London's Swinging '60's is explored with equal amounts of intellectualism, style and unique innovation. Separation Jack Bond, 1968 Cinematography | Aubrey Dewar & David Muir

London’s Swinging ’60’s is explored with equal amounts of intellectualism, style and unique innovation.
Separation
Jack Bond, 1968
Cinematography | Aubrey Dewar & David Muir

While Jack Bond is credited as this film’s director, it is clear that Jane Arden was closely involved with almost every aspect of the film. Considered to be one of England’s first truly avant-garde films, Separation is actually a great deal more. Once the viewer adjusts to the film’s often dated but striking innovative method of storytelling, this experimental movie is a highly effective study of a woman falling apart — or away from life.  A middle-aged woman’s emotional and mental crisis results not so much from a failed marriage or poor choices — but from the societal and cultural judgements made against women as they age. Ideas of “reality” and “fantasy” are constantly blurred. Most certainly surreal but never dislodged from logic or realism.

The future, the present and the past all whisper our leading lady further into conflict... Iain Quarrier, Jane Arden and David de Keyser Separation Jack Bond, 1968 Cinematography| Aubrey Dewar & David Muir

The future, the present and the past all whisper our leading lady further into conflict…
Iain Quarrier, Jane Arden and David de Keyser
Separation
Jack Bond, 1968
Cinematography| Aubrey Dewar & David Muir

This is as close as Arden-Bond got to “light cinema.” It could be argued that the majority of this film takes place in the female protagonist’s inner self. As viewers we can only ever be certain of her past. Her present and future slip between what feels like cerebral fantasy to an alienated realism. Has she left her husband or has she left what appears to her idea of an out-dated Patriarchal Institution? Has she abandoned her child or has she lost the child? Is this good-looking, young and eagerly hip dude her new lover or imagined? And what of this other women who populate the film’s non-linear storyline?

Forever late or too early... Jane Arden Separation Jack Bond, 1968 Cinematography| Aubrey Dewar & David Muir

Forever late or too early…
Jane Arden
Separation
Jack Bond, 1968
Cinematography| Aubrey Dewar & David Muir

For a film shot on the streets of the ever-styling streets of late 1960’s London, Separation does not look like most of the British films that came out of this period. The editing is never self-conscious or overtly eager to confuse the eye. Procul Harum provide a good deal of the film’s music and Mark Boyle’s celebrated Pop Art lava lamp-like projections jolt the film with sporadic uses of vivid color. Unlike most movies of this era and place, these are not used to trip us out — but almost more to stumble us further into the protagonist’s crisis. Much of the film is filmed in lush black and white.

Groving by force or choice? Jane Arden Separation Jack Bond, 1968 Cinematography| Aubrey Dewar & David Muir

Groving by force or choice?
Jane Arden
Separation
Jack Bond, 1968
Cinematography| Aubrey Dewar & David Muir

At turns naturalistic and stiffly artificial, Separation brims over with ideas and theories. Jane Arden’s Feminist Theory has started to take form but is still growing. This is largely a film of questions, doubts and fear. Our character is falling apart, but it is unclear if this is headed toward Nihilism or hope. There is a strong possibility that Jane Arden’s character is not so much falling apart but might have already broken into pieces. She might actually be in the process of reformation from the ruins of oppression and conformity. This magical film is sharply focused toward the struggle of Feminist Equality. It is sometimes sad, but often quite funny. Separation offers more insight than can be caught in one viewing. The film’s power grows with repeated viewings. It is a cinematic work of surprises and insights.

Looking deeper into the self than the viewer might anticipate. Jane Arden Separation Jack Bond, 1968 Cinematography| Aubrey Dewar & David Muir

Looking deeper into the self than the viewer might anticipate.
Jane Arden
Separation
Jack Bond, 1968
Cinematography| Aubrey Dewar & David Muir

In many ways, Separation can be viewed as Jane Arden’s first step into understanding the self from both the intimate and cultural perspectives. She has latched on to the ideas and the importance of Feminism, but is still aching to understand how to grab it without breaking into a million tiny pieces. Jane Arden wrote the film and stars. Jack Bond’s hand as a filmmaker pulls all of it together into a cohesive cinematic work. Truly brilliant and way ahead of its time.

The battle of the sexes takes a darkly comical turn... Separation Jack Bond, 1968 Cinematography | Aubrey Dewar & David Muir

The battle of the sexes takes a darkly comical turn…
Separation
Jack Bond, 1968
Cinematography | Aubrey Dewar & David Muir

An artistic and Nihilistic study in Feminist Theory takes a truly cinematic dive into a woman’s subconscious. This film is fascinating, intellectual and surprisingly current. Tragically it was given a rather limited release after it was made. It says a great deal that the reputation of this film survived as the movie itself sat on shelves in the dark corner of The British Film Institute‘s vault.  If you like films that make you think and take you to unexpected places, this is not a film to be missed.

A man's death offers a woman a way out. She put a pretty ribbon on "it" Separation Jack Bond, 1968 Cinematography | Aubrey Dewar & David Muir

A man’s death offers a woman a way out. She put a pretty ribbon on “it”
Separation
Jack Bond, 1968
Cinematography | Aubrey Dewar & David Muir

Whether Jane Arden’s fictionalized Self is falling together or apart is debatable, but one thing is most certainly clear: she is separating herself from the constraints of her society and culture. She is looking outward for equality and refusal of oppression. She is looking inward for understanding her self and why her identity is so fragmented and torn. Another important element which has already taken form in Arden and Bonds’ philosophy is the teachings and theories of Jacques Lucan. Most correctly called Lucan Theory is most often referred to as The Anti-Therapy Ideology. This rejection of typical Freudian and psychoanalytical thought is certainly hinted at within the frames of Separation. Ideas of symbology, the real, the imaginary and the power of the mirror are present thought the film, but Arden-Bond would soon be pulling their audience full-on into these concepts with their next film.

Symbology, projection, imaginary and real mix to form not only a film, but an entire philosophical approach to the art of filmmaking. Iain Quarrier, Jane Arden and home movies... Separation Jack Bond, 1968 Cinematography| Aubrey Dewar & David Muir

Symbology, projection, imaginary and real mix to form not only a film, but an entire philosophical approach to the art of filmmaking.
Iain Quarrier, Jane Arden and home movies…
Separation
Jack Bond, 1968
Cinematography| Aubrey Dewar & David Muir

As I’ve already mentioned, Separation was a critical hit at the time of release. Arden-Bond made a film that captured the Counter-Culture and Swinging London of the day but made something far more than a time capsule piece or celebratory work. It could have pushed both forward into the world of cinema, yet neither chose to go in that direction. Instead both continued their mutual and individual personal journeys. It would be over four years before they re-entered the filmmaking world. Arden focused on theatre. Her focus was the thing of legend. Never afraid or shy of controversy or public self-examination that she felt was important for other women as well as men, she wrote, directed and acted in several notorious experimental theatrical productions.

The most important of these were Vagina Rex and the Gas Oven and, most importantly, Holocaust: A New Communion for Freaks, Prophets and Witches. While these plays were carefully scripted, Arden loved collaboration. She encouraged her actors to follow their instincts. Improvisation and audience participation happened. These experimental pieces were controversial and pushed well past the British Theatre boundaries. Yet they were successful. Constantly on the verge of being banned and/or jeered, these performances are as discussed as the work of Joan Littlewood. Yet whereas Littlewood was concerned with finding ways for lost teens of East London to channel their anger, boredom and frustration into art, Arden was deeply and profoundly concerned with pushing forward Feminist Theory.

What is identity? The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

What is identity?
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Tied up within Lacan Theory as well as her own personal demons she felt and saw reflected back to her from the Self-Mirror, this Feminist work was more focused on shaking off the pain, rage and cruelty of centuries patriarchal oppression. Sexuality was discussed full-on and often turned from sex objectivity to sexual confrontation. Pain and Rage were explored from both the practical and a growing ideology of Arden’s in which she connected the oppression of women directly to colonialism. These two plays would lay the groundwork for a number of important artists and careers. Of the artists, Sheila Allen was become the most prominent. Natasha Morgan would go on to play a crucial role in the British Women’s Liberation Movement and is now a respected and sought-after psychotherapist. Both of these women gave oral histories for BFI at the time that Arden-Bonds’ next film was restored and re-issued. And what a film it is…

The Other Side of the Underneath

Born out of both of her successful experimental theatre pieces, this film was intended to a combination of both plays. Jane Arden wrote the screenplay and insisted that Jack Bond give her full reign as the film’s director. He would go on to participate as cinematographer and “actor.” He would hire David Mingay as the film’s editor. Both Arden and Bond worked closely with Mingay as the film was pulled together. Bond would also take on the responsibility of getting the funding and all the required “items” for filming. These “items” included a brown bear, participation of local Wales coal miners, community members, a band of roaming gypsies, participation of actual mental hospital patients, several mentally/physically challenged individual from government institutions and most famously — Bond would secure a steady supply of LSD. The production of this film is notorious.

Centuries of Cruelty projected on to the face of a bride... The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

Centuries of Cruelty projected on to the face of a bride…
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Most shocking is the fact that there doesn’t seem to be any distortion or untruth in its infamy. The bear would break free and threaten the safety of the tripping cast, the locals would break into fist fights, the mental patient and the mentally retarded would run away. And the actors would trip out. Led by a drunken but self-assured Jane Arden, these trips often took dark turns. She seems to have been able to lead them all through it. The ethics of this film production are most certainly questionable. But this was also what Arden-Bond and friends were after: A deadly pursuit of understanding the pain and rage of the oppressed and repressed.

"Mine! Mine! Mine!" "She has a pretty face!!!" Sheila Allen taunts with her human puppet... The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

“Mine! Mine! Mine!”
“She has a pretty face!!!”
Sheila Allen taunts with her human puppet…
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Armed with an endless supply of wine and cigarettes, Jane Arden secured a number of volunteers to appear with her in front of the cameras. Both Sheila Allen and Natasha Morgan were present. The idea was that the entire cast and their director would live “on set” in a decaying old farm house for the duration of the filming. They also agreed to wear their costumes, Victorian Era type nighties, for the duration. Oh, and they also agreed to drop Acid repeatedly throughout all filming. Sheila Allen refused to live on set or to trip out on LSD. Accommodations were made for her to stay at an inn a few miles away. Natasha Morgan was initially hesitant to participate. She agreed to come along as the casts’ cook. However, she changed her mind and joined in. These two actors would figure prominently in the film. Penny Slinger was another actor and activist of import who participated. The lead role was given to an unknown woman who was new to the whole scene, Susanka Fraey. She would end up playing the leading character of the piece.

Susanna Fraey is the Protagonist... The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

Susanna Fraey is the Protagonist…
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Sally Minford, a Cellist, and her daughter would also participate. Obviously the child did not receive drugs. And as far as I can tell, Ms. Minford declined to take part in the LSD tripping. However, her role was limited to that of Cellist. She would compose and perform the film’s musical score throughout. Clearly skilled, the musical goal here is not beauty or melody but danger and threat.

I do not view it as a bad thing that I have had to watch Jane Arden’s The Other Side of the Underneath three times before I could form a solid opinion. Quite the contrary, I love the fact that this film’s complexities run so deep that it requires a great deal of thought. There is nothing “easy” about this bold work of film art. This profoundly disturbing film goes places to which I’ve never seen filmed before. Reckless, Dangerous and Bad To Know, this movie rattles more than just cages. This film amps its way from frenzy to hysteria and on to a sort of free-form descent into hippie dystopian vagrancy. The film pulls no punches as it is far too busy bluntly plummeting the subject matter and the cast into a submission of unfettered pain and self-examination. This is a particularly collaborative work and everything in the film depends upon the female cast members who agreed to participate.

The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Decidedly not plot-driven, this film does present us with a protagonist. A young woman “played” by Susanka Fraey is “fished” from a lake where she has attempted suicide. She quickly finds herself in a sort of mental asylum where all the women are dressed in Victorian style nightgowns and roam about freely. Both patients and gate keepers, it almost appears as if this insane asylum is self-contained. Only one person seems to be “in charge” within this madhouse and that is a firm psychiatrist played by Jane Arden herself.

While the film is largely concerned with the Anti-Psychiatry Movement evolved from Jacques Lacan, it is actually far more concerned with the seemingly unbearable rage repressed within the women that takes on an epic level. The strong feeling is that this rage and pain has been individually and universal-shared history of oppression and patriarchal cruelty. Our unnamed protagonist is forever roaming the corridors, hidden spaces and grounds of a madhouse that is truly “mad” and in mortal danger from the pain it all seems to inflict. She along with her fellow inmates are searching through the wreckage of self and shared identity / identities. There is a constant and unrelenting energy conveyed which is full of menace and danger. Nothing feels “acted” and everything we see takes on an importance that is hard to grasp and often even more challenging to watch.

LSD Manipulated to project the deepest pain... The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

LSD Manipulated to project the deepest pain…
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Sheila Allen serves is a sort of evil Court Jester who uses patients as a puppets and torments everyone with mind-numbing insanity. She also morphs into a Burlesque Stripper From Hell who uses her sexuality and body as a threat instead of an object. Her voice and performance haunt the entire film. This was a long way from The BBC or Harry Potter. Susanna Fraey is almost ever present and carries a great deal of presence on the screen. Possessed with a haunting face and effortless beauty, she is at once victim and victimizer. Penny Slinger gives a particularly potent and oddly focused performance. It is opposite Slinger that we see our protagonist’s as a source of danger.

A Mirror Identity Game to the Death... Penny Slinger & Susanka Fraey The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

A Mirror Identity Game to the Death…
Penny Slinger & Susanka Fraey
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Utilizing the Lucan Mirror Theory, the two young women sit opposite each other with large splinters of mirror all around them. What begins as a sort of Identity Game to the death, it is clear that Slinger is intending to murder Fraey, but with a sneak of a tender kiss she is able to throw Slinger off course. Intended killing swept away by tenderness, Fraey had trapped her in her own glass web. Just as the kiss ends, her knife slips into Slinger.

The film is built around a long sequence that is a sort of support group / open therapy. Tripping out on acid and under the guidance of the project built from the stage productions — these women have been led to a place while in mind-expansion mode. The melt-downs are intense, horrific and almost unbearable. It is here that Natasha Morgan’s participation would become most valuable. Her emotional break is at once horrific, painful and almost unbearable. At the same time, it is here that the film presents itself at its most human. Mixing with all of the production challenges, these pseudo group therapy sessions add to the movie’s intention of pure hysteria.

A victim of her own game... Penny Slinger The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

A victim of her own game…
Penny Slinger
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

As these women demonstrate their emotional pain and personal rages/horrors — our protagonist is led into a danger game of mirrors, sexuality, psychic death and crucifixion. Sexuality is explored in various ways. At times the female body is shown as an object for men to rape or harm. Other times it is shown as pleasure born from pain and fear. And then it is also shown as something beautiful, pleasing and erotic. According to the record of production, Arden decided late in the filming to have her lover/collaborator make love to actress, Penny Slinger. Pushing them to extremities, this scene is tender, soft and erotic. Jack Bond’s “character” clearly understands female anatomy and brings pleasure — not threat, rape or pain.

Unscripted, Arden has her lover make love to one of the inmates. Jack Bond & Penny Slinger The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

Unscripted, Arden has her lover make love to one of the inmates.
Jack Bond & Penny Slinger
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

As the film amps its way to conclusion, the protagonist’s journey feels more ours than hers. We follow her through a house and landscape of pain, horror and sometimes promise to abject confusion. In the end the question of identity and self-acceptance is tossed onto a dirty cold slab of a floor. Is there to be redemption or healing? More likely it is a struggle that has only just been recognized and has a very long way to go.

As erotic desire is expressed the audience holds its breath only to discover that the male lover understands the woman's body. Jack Bond & Penny Slinger The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

As erotic desire is expressed the audience holds its breath only to discover that the male lover understands the woman’s body.
Jack Bond & Penny Slinger
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

Intentionally unpleasant and contradictory, Jane Arden created a film that demands your attention. This is less a movie and more of a cinematic experience. Not for the faint of heart, this is a grim and repulsive study of female identity that refuses to let you go. Strange, darkly comical, surreal, horrifying, raw and truly unforgettable — Jane Arden’s film floats somewhere between Jean-luc Goddard and Ken Russell, but with an entirely different goal in mind. The horrors she and Jack Bond captured are all the more devastating because we realize that beneath the surface — what we see is real.

Going mad... Sheila Allen The Other Side of the Underneath Jane Arden, 1972 Cinematography | Jack Bond & Aubrey Dewar

Going mad…
Sheila Allen
The Other Side of the Underneath
Jane Arden, 1972
Cinematography | Jack Bond & Aubrey Dewar

The next couple of years found Jane Arden and Jack Bond exploring further into the self with use of Transcendental Meditation, Chanting and the aid of Gurus and other mystics. One gets the sense that Jack Bond followed his love on her quest to grapple with her own depression. The result of these mystical exorcises would be put to use in their short film, VIBRATION. To 21st Century eyes, the videography feels grounded and dated. However when one realizes this film was made in 1975, the artistry must be admired.

Jane Arden had developed her own theory regarding the self and coping against repression and anxiety. I will not go into detail, but she called this idea RAT. Essentially the idea was to reject all rational thought. Arden’s life’s journey begin to slip away from Feminism and toward The New Age ideology of Humanism. The problem was that both she and Bond could see how this ideology was not only threatened by a larger control — plans seemed to already be falling into place to control not only individual actions, but our thoughts as well. What might have seemed paranoia rising above the slams of inflation and PUNK, turned out to be somewhat prophetic.

"This is my Anxiety Survival Broadcast ensuring a past future programing. My brain is recreating a negative repeat pattern." Sebastian Saville Anti-Clock Jane Arden & Jack Bond, 1979 Cinematography | Jack Bond (Uncredited)

“This is my Anxiety Survival Broadcast ensuring a past future programing. My brain is recreating a negative repeat pattern.”
Sebastian Saville
Anti-Clock
Jane Arden & Jack Bond, 1979
Cinematography | Jack Bond (Uncredited)

Keep in mind that the final film made by Arden-Bond was before anyone in England knew about CCTV which would soon be filming almost every human movement in the country.

Anti-Clock

Unlike Separation and The Other Side of the Underneath, Anti-Clock less concerned with Feminist Theory than that of retaining humanity in the face of cultural and societal oppression  as the standpoint for understanding identity. The exploration of Self had culminated toward a Humanist ideology. The central character of this highly experimental “thriller” is a suicidal man played by Arden’s son, Sebastian Saville.

"Life force cannot be controlled by your little brain machine." Anti-Clock Jane Arden & Jack Bond, 1979 Cinematography | Jack Bond (Uncredited)

“Life force cannot be controlled by your little brain machine.”
Anti-Clock
Jane Arden & Jack Bond, 1979
Cinematography | Jack Bond (Uncredited)

Filmed in London during Great Britain’s dark economic dystopia and the rise of Punk Rock, this film is interestingly disengaged from that history. Even more interesting, is the contradiction that it would be hard to imagine a more “Punk” film. Decidedly more punk than anything Alex Cox or Derek Jarman made at the time, Arden and Bond had not let go of their anger and rebellion against societal and cultural repression, but this film crafted a whole new sort of cinematic language. A linguistically intelligent use of carefully filmed and found video/film material forms something altogether new and unique.

As our suicidal protagonist works toward trying to survive, he is “assisted” by an archetypal psychiatrist (also played by Saville) and a group of scientists, mathematicians and others who rely upon constant video surveillance to monitor his every movement. Most fantastically, they are using these transmissions as connection into his cerebral logic. It is fairly clear that these persons are connected to the government. Less assisting and more studying in an attempt to control their subject, Joseph Sapha. Joseph quickly becomes suspect of these who claim to want to help him. It is particularly chilling that this film was made just a few years prior to the creation of CCTV.

"open your eyes." "they are open." "then why can't you see?" Sebastian Saville Anti-Clock Jane Arden & Jack Bond, 1979 Cinematography | Jack Bond (Uncredited)

“open your eyes.”
“they are open.”
“then why can’t you see?”
Sebastian Saville
Anti-Clock
Jane Arden & Jack Bond, 1979
Cinematography | Jack Bond (Uncredited)

The style/styles of the film may not seem as cutting edge as they must have some 30+ years ago, but this film retains a subversive, disturbing and unsettling impact. It is also still very sharp. It is a film experience to be handled with a careful eye and ear. One missed action of sound and the viewer can become lost in Joseph Sapha’s delima. Watching Anti-Clock is not an easy film. But unlike I anticipated, it is NOT a pretentious work of art. It is a clever manipulation of the medium to convey a story that is not only horrifying but alarming relevant to the 21st Century.

"Thoughts hang around for a very long time. To be precise: forever." Sebastian Saville Anti-Clock Jane Arden & Jack Bond, 1979 Cinematography | Jack Bond (Uncredited)

“Thoughts hang around for a very long time. To be precise: forever.”
Sebastian Saville
Anti-Clock
Jane Arden & Jack Bond, 1979
Cinematography | Jack Bond (Uncredited)

A sort of Proto-Punk exploration into humanity and a government that dares to study, manipulate and control those who dwell within its borders. Joseph is a young sort of “Every Man” who, like many of us, has had a troubling childhood and life. As this experimental and innovative film pulls us into the video and sound-looped world, the experience is an intellectual, surreal and disorienting jolt to the senses. Slowly the viewer becomes a part of the film’s strange logic. As Joseph grapples with his sexuality, guilt, loneliness and vexing non-purpose in life — the past, present and future are filmed and played discordantly against the idea of order. In a profoundly confused and desperate state of identity crisis, the “help” being offered is not aiming to provide what he anticipates.

But “they” and “he” are all led to a truth that is chilling and unforgettable.

"The patterns inside me were beginning to disconnect. By patterns, I mean those cycles or spirals of thought or behavior which i have been taught to call 'myself.' This 'I' is simply space. And where the strands of energy costs is a dot. And this dot is the delusion called 'my identity.'" Sebastian Saville aims the gun. Anti-Clock Jane Arden & Jack Bond, 1979 Cinematography | Jack Bond (Uncredited)

“The patterns inside me were beginning to disconnect. By patterns, I mean those cycles or spirals of thought or behavior which i have been taught to call ‘myself.’ This ‘I’ is simply space. And where the strands of energy costs is a dot. And this dot is the delusion called ‘my identity.'”
Sebastian Saville aims the gun.
Anti-Clock
Jane Arden & Jack Bond, 1979
Cinematography | Jack Bond (Uncredited)

NOTE: The BFI disc contains a newly re-edited version of this film by Jack Bond. Bond re-crafted the film in 2005 in an attempt to make the film more clear to modern viewers. Skip this version. Bond does not improve the film or create a more coherent film experience. If anything he saps a great deal of he and Ardens’ exceptional creativity. To be honest, his 2005 re-edit reminds us how crucial Jane Arden was the vision.

This movie may not be everyone’s idea of a thriller, but it is a powerful work of art. Anti-Clock also serves as a fitting end to the Arden-Bond collaboration. These three films form a logic circle of journey to Self. It is a provocative, controversial, difficult, dark and brilliant cinematic journey. It took Jack Bond close to two years to edit the film together. Filmed with various forms of media — largely 1970’s video cameras of different sorts. Very often he applied chemical “treatments” to video footage to gain new and very unique images. These are interlaced with old assembled footage of dictators, monarchs, war, propaganda and a constantly unrelenting manner of sound editing.

"There is a continuum which links all living things together so that the smallest cell does not pulsate without its effect being felt in the furtherest reaches of the solar system. So, everything being one is not some romantic ideal, but an indisputable scientific reality. When this information seeps into our consciousness, it must change the moral structure of society and destroy the value system of the rational world." Anti-Clock Jane Arden & Jack Bond, 1979 Cinematography | Jack Bond (Uncredited)

“There is a continuum which links all living things together so that the smallest cell does not pulsate without its effect being felt in the furtherest reaches of the solar system. So, everything being one is not some romantic ideal, but an indisputable scientific reality. When this information seeps into our consciousness, it must change the moral structure of society and destroy the value system of the rational world.”
Anti-Clock
Jane Arden & Jack Bond, 1979
Cinematography | Jack Bond (Uncredited)

The look of this film remains oddly potent and totally unique in the way it has been assembled. This odd and disturbing film was championed in 1979 as a brilliant psychological thriller. However, it only played in a few cities in the US and a very brief run in London. It also served as a connector to French Film Master, Claude Chabrol, with whom Arden was to work. By the time the film opened Jack Bond and Jane Arden had ended their relationship. It might have seemed that Jack Bond was lost while Jane Arden was on her way to a new artistic vision in France. This was not the case.

Jane Arden would take her own life in December of 1982 at the age of 55. Jack Bond would go on to work as a documentarian for the BBC. He remains an artist of note in Great Britain.

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Anti-Clock Jane Arden & Jack Bond, 1979 Cinematography | Jack Bond (Uncredited)

The film work they co-created remains vital, powerful and very much alive.

Matty Stanfield, 12.30.2015

 

 

 

 

 

 

 

 

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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.

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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.

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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.

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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.

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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

 

One can’t help but wonder what might have happened if John Carpenter had filmed his own script of Eyes of Laura Mars. It is a rather silly question as he did not film his own script. Instead that duty was assigned to the skilled filmmaker, Irvin Kershner. The only director bold enough to stand his ground against the likes of George Lucas while shooting his film for the Star Wars franchise and the director who was able to assist Barbra Streisand tone it all down to play a very believable housewife in a very surreal experimental film of the early 1970’s, Up The Sandbox.

"And your eyes say everything. You wanna keep me here forever I can't escape. One minute's so sincere. Then you completely turn against me. And I'm afraid..." An Iconic Movie Poster Eyes of Laura Mars Irvin Kershner, 1978

“And your eyes say everything. You wanna keep me here forever
I can’t escape. One minute’s so sincere.
Then you completely turn against me. And I’m afraid…”
An Iconic Movie Poster
Eyes of Laura Mars
Irvin Kershner, 1978

Up until 1977 he had never directed a horror film. It is clear that the under-appreciated film artist was less interested in the terror aspects of Carpenter’s script than in using it to focus on the problematic trend of mixing sex with violence as a form of subversion or perverse eroticism. One merely has to glance at only one of Rebecca Blake’s photographs taken for the film to understand that she is carefully constructing slick photographs in the vein of Helmut Newton or Guy Bourdin. Interestingly, these provocative and aggressively misogynistic photographs point toward where Karl Lagerfeld would be headed later on.

Is Laura Mars really only selling shampoo here? Eyes of Laura Mars Irvin Kershner, 1978 Photograph | Rebecca Blake

Is Laura Mars really only selling shampoo here?
Eyes of Laura Mars
Irvin Kershner, 1978
Photograph | Rebecca Blake

John Carpenter’s original screenplay is fairly simple: A Post-Feminist (???) fashion photographer takes controversial photographs which capture not only the erotic elements of the female form in stylish clothing, but acts of brutal violence and murder. Violence and murder usually aimed at women.  Her work is highly profitable and has made her a bit of a celebrity. As a coffee table book collecting some of her most infamous photographs hits the stores, people close to her begin to be murdered in horrible ways that always culminate with their eyes being gouged out.

Even more disturbing, the photographer begins to lose her own vision only to be replaced with the POV of the killer for the duration of each murder. Amping up the horror is the fact that the pop culture princess of fashion photography discovers that all of her photographs mimic a number of brutal and confidential police shots of actual murders. Hence, it would appear that Ms. Mars is somehow psychically linked to a serial killer. It is the psychotic madness of a killer who has been inspiring her art. Art that many are eager to purchase and admire.

Eventually, the killer sets his sites on Laura Mars herself. As the killer tries to kill her she is put in the chilling position of POV limitation — she can only see herself as the killer goes after her. Essentially blind with only disorienting and panicked visions of her own body as target, she is a prisoner of the killer’s eyes ...and her own.

Taking aim... Faye Dunaway Eyes of Laura Mars Irvin Kershner, 1978 Cinematography | Victor J. Kemper

Taking aim…
Faye Dunaway
Eyes of Laura Mars
Irvin Kershner, 1978
Cinematography | Victor J. Kemper

John Carpenter deserves a great deal of credit with coming up with an original and scary concept. It is unlikely he viewed as any sort of cultural or pop art commentary, but the circumstance of the imagined situation opens that door. Enter the decision to hire Irvin Kershner as the director. By securing the respected film director, the already infamous producer of the project was able to seal a deal with Faye Dunaway to play the lead character. In 1977, this was a casting coup. Dunaway was at the height of her cinematic power in the mid to late 1970’s. A beautiful and respected Academy Award winning actress, Ms. Dunaway was sought after.

Initially Jon Peters was rumored to have wanted to talk his then Life Partner, Barbra Streisand, into taking the role. The script was too violent and dark for Streisand’s taste. She did agree to sing a theme song which turned out to be a surprisingly rock-driven song. The esteemed Conrad Hall was rumored to be first choice to serve as the film’s cinematographer, but Kershner wanted Victor J. Kemper. He got him.

Several gorgeous models were hired to serve as models and actors. Tommy Lee Jones was secured for the leading male love interest. And thanks to a large paycheck, several respected actors were cast in supporting roles — most notably Brad Dourif and Raul Julia. This was an A List Production out of the gate.

Armed and ready to take aim at herself. So to speak. Faye Dunaway Eyes of Laura Mars Irvin Kershner, 1978 Cinematography | Victor J. Kemper

Armed and ready to take aim at herself. So to speak.
Faye Dunaway
Eyes of Laura Mars
Irvin Kershner, 1978
Cinematography | Victor J. Kemper

When the results of the finished film screened in 1978, viewers were presented with a cinematic cornucopia of ideas and images. Some of these worked. Others failed. Mixed together — Eyes of Laura Mars became a largely mixed experience for film critics and an often vexing one for the audience. The film was a hit. Though filled with tension, the movie failed to actually be scary.

While Laura Mars‘ photographs are violently and sexually graphic, the film is surprisingly restrained. Most certainly the violence and amount of nudity earned the film an R rating, but there was a loopy sort of immature logic holding the film together.

Some did find the movie disturbing. Some found it to be a fun ride with more than a few unexpected twists. Others were just left a bit confused.

A male's smackdown on a beautiful woman is intended to sell cologne. Eyes of Laura Mars Irvin Kershner, 1978 Photograph by Rebecca Blake

A male’s smackdown on a beautiful woman is intended to sell cologne.
Eyes of Laura Mars
Irvin Kershner, 1978
Photograph by Rebecca Blake

37 years later Eyes of Laura Mars continues to entertain. Sadly, much of the entertainment grows out of unintentional camp.

This is not to say that this odd bit of big-budget 1970’s filmmaking does not hold some merit. But the film’s merits are easily over-powered by the strange plot, Dunaways’s soap-opera like turn and some deeply campy “stupid model” moments. The movie is a fun, pretty and ungrounded mess. And over the past decade it has developed a sizable cult following.

Most view Eyes one of those “So Bad It’s Great” cinematic guilty pleasures. While I can understand ascribing this uncomfortable thriller to that genre, I’ve never been certain that it should be regarded as a bad film.

A glam but deadly car crash in Columbus Circle, but what is being sold here? Eyes of Laura Mars Irvin Kershner, 1978 Cinematography | Victor J. Kemper

A glam but deadly car crash in Columbus Circle, but what is being sold here?
Eyes of Laura Mars
Irvin Kershner, 1978
Cinematography | Victor J. Kemper

I grew up in a fairly small town in Texas. We were not too far from Houston, but we did not always get movies when they “opened.” More often than not, movies arrived to our town several weeks or a month after the movie had already been in circulation. This was the case with Eyes. It opened late into its run at our fairly new mall cineplex.

My father had no understanding of what was or wasn’t appropriate for a child. He took me with him to see this movie. The woman who sold us out tickets already knew me as the kid who she would often pull out of a movie to ask where my parents were. I’m not sure if it was before or after the time my father took me to see Eyes of Laura Mars, but this theater manager pitched a fit when my father took me to see Looking for Mr. Goodbar.

Hurry! I Need more film! I'll push my skirt up further while you take care of that! Faye Dunaway Eyes of Laura Mars Irvin Kershner, 1978 Cinematography | Victor J. Kemper

Hurry! I Need more film! I’ll push my skirt up further while you take care of that!
Faye Dunaway
Eyes of Laura Mars
Irvin Kershner, 1978
Cinematography | Victor J. Kemper

Her attempts to prevent my father from taking his little boy to see adult movies always failed. Mr. Goodbar was a traumatic experience. But Eyes was not one. In fact nothing I saw made my jaw drop or caused me any real confusion.

The thing I most remember about seeing this movie was that my father was forced to really get his shit together because no one was admitted after the first ten minutes of the movie’s start. My father had the annoying habit of arriving at the middle of a movie and then staying to see the first half at the next screening. But he had to arrive on time for Eyes of Laura Mars. I also remember noting that he was truly glued to the screen. It seemed like the casually naked models and the violent photographs interested him.

I was not scared by the movie. While I had not yet become educated in filmmaking, I did know who John Carpenter was — and I was frustrated that the Halloween dude wasn’t making a movie he wrote.

"This is Lulu & Michele! We're not home so go to Hell! But if you're not a horny creep, leave a message at the beep!" Eyes of Laura Mars Irvin Kershner, 1978 Cinematography | Victor J. Kemper

“This is Lulu & Michele! We’re not home so go to Hell! But if you’re not a horny creep, leave a message at the beep!”
Eyes of Laura Mars
Irvin Kershner, 1978
Cinematography | Victor J. Kemper

Eyes of Laura Mars is not a truly bad movie. It may not be scary, but it has its share of intense moments. It also offers a rather lucid capture of 1970’s NYC and its fashion scene.

Sony did issue the film to DVD, but the HD download currently available via iTunes is far superior to the non-remastered print that the ever-cheap Sony put on DVD. One major thing about the Sony DVD is that it features a film-length commentary from the late Irvin Kershner. In that commentary he speaks of not having had much knowledge of the fashion world at that time. He was surprised when he heard female models talking, disrobing, doing drugs and giggling like school girls.

A staunch liberal, Kershner was also more than a little repulsed by discovering that there seemed to be a misogynistic attitude toward women by an industry devoted to women as their focal demographic. This concerning misogyny would change the film’s tone. No new comer to the Sexual Revolution, he was very much surprised by the attitude of the female models he encountered as well as what he saw as The Studio 54 Culture. Clearly this is what motivated Kershner.

Oh, the model's life and selling cars while being abused and killed... Eyes of Laura Mars Irvin Kershner, 1978 Photography by Rebecca Blake

Oh, the model’s life and selling fashion! No prob with nudity or killing or being killed. But they do have problems with the color of the dresses… Sex, violence and Misogyny Sells Clothing!
Eyes of Laura Mars
Irvin Kershner, 1978
Photography by Rebecca Blake

At the time of the film’s release more than a few critics were annoyed by the ample use of casual nudity and the constant stream of violence against women. Kershner explains that he didn’t need to include all the nudity and explicitness of the faked photographs, but these aspects of the plot tied to the world of fashion greatly disturbed and interested him. These aspects seemed to signal that this once simple slasher movie could serve as something a bit deeper in the form of societal and cultural commentary. Or so it seemed.

It wasn’t so much the clothes that the photographers were wanting to capture as the sexuality of the models. And the models were more than happy to comply. Sex was their commodity and it was taking on a sinister tone from Kershner’s perspective. The non-actor models didn’t need to be asked or walked-thru to be nude for the film. They treated their scenes as they would a provocative fashion spread. Off came the clothing and on went the vapid conversing and drug-taking.

Kershner saw and attempted to capture a world in which the female model had no issue with being nude or posing as a victim, but their psyches were challenged when they had to wear “pink” or any color that they didn’t like. Carpenter’s original screenplay was re-crafted to “realistically” capture this world. A intriguing idea in theory does not always manage to fully morph onto the screen.

A lovely book for the late 1970's coffee table? Eyes of Laura Mars Irvin Kershner, 1978 Cinematography | Victor J. Kemper

A lovely book for the late 1970’s coffee table?
Eyes of Laura Mars
Irvin Kershner, 1978
Cinematography | Victor J. Kemper

Kershner was very careful not to discuss too much about Faye Dunaway. It is no secret that she became frustrated with the making of the film but also the way in which it was promoted. This was really the first film in which Dunaway failed to connect to the production.

A deeply stylized and theatrical actor, Faye Dunaway always had a 1940’s sensibility about her — hence her success in films like Bonnie and Clyde, The Thomas Crown Affair, Towering Inferno and Roman Polanski’s classic film, Chinatown. She had managed to take her style of acting to a whole new level for Sidney Lumet’s brilliant Network and won the Oscar.

As Laura Mars Faye Dunaway appears to be a bit lost. It often feels as if she is fighting against what Kershner wanted. Continually dressed in flowing robes or gowns, Laura Mars seems to edge toward Gothica. She is power-dressed with purpose and that purpose is not to be sexy.

Glam Gothica with a pretty flower hat, how is Laura Mars to compete with her abused models? Tommy Lee Jones has to decide where to look as Faye Dunaway emotes for her life... Eyes of Laura Mars Irvin Kershner, 1978 Cinematography | Victor J. Kemper

Glam Gothica with a pretty flower hat, how is Laura Mars to compete with her abused models?
Tommy Lee Jones has to decide where to look as Faye Dunaway emotes for her life…
Eyes of Laura Mars
Irvin Kershner, 1978
Cinematography | Victor J. Kemper

Surrounded by The Beautiful Elite of the modeling world, Dunaway is constantly subverting her assigned wardrobe to a new purposes. It seems almost comical to watch her photographing a fake car crash tragedy with her models either playing dead or cat-fighting in undies and minks. Kershner’s commentary avoids much discussion, but it seems an odd choice that Dunaway’s Laura Mars opts to hike up her skirt and do a Old-School Hollywood leg reveal as she shoots her pictures.

Decidedly not sexy, it just seems uncomfortable. Dunaway strictly refused any nudity in her love scenes with Tommy Lee Jones. But one suspects she desperately wanted in on some of the semi-nude cat fights she was left to “photograph.” The audience is less interested in Dunaway’s Laura as they are in the barely clothed fighting beauties amidst the wreckage.

The killer probes the ice pick into Laura's eye on the cover of her slick new book of KINK. Eyes of Laura Mars Irvin Kershner, 1978 Cinematography | Victor J. Kemper

The killer probes the ice pick into Laura’s eye on the cover of her slick new book of KINK.
Eyes of Laura Mars
Irvin Kershner, 1978
Cinematography | Victor J. Kemper

Eyes of Laura Mars gets the late 1970’s NYC Fashion World down correctly. The clothes feel and look very much from the 1977 era. The fashions being photographed look legit. And the wealthy photographer may edge toward the dramatic, but her clothing is clearly upscale and in style.

Kershner also captures the feel and look of the true 1977 NYC. Hell’s Kitchen, Columbus Circle and the Fashion District look like they are from another reality compared to now. This is most assuredly an on location shoot. The grime and grit plays a key role to the film. And although he did not shoot there, one of the movie’s early moments features a PR party given in honor of Laura Mars‘ work and new book that could easily be mistaken for a Studio 54 event.

At this event, Kershner makes no excuses for the vapidity of models like Lulu and Michelle, but both Darlanne Fluegel and Lisa Taylor are comically believable in their roles. It is in this early scene we are given a glimpse into their characters’ personalities.

Disco music blaring, the models pose in preparation for Laura's killing portrait... Eyes of Laura Mars Irvin Kershner, 1978 Cinematography | Victor J. Kemper

Disco music blaring, the models pose in preparation for Laura’s killing portrait…
Eyes of Laura Mars
Irvin Kershner, 1978
Cinematography | Victor J. Kemper

The director is also to be credited for showing the importance of gay male culture within the world of Laura Mars without falling into homophobia. Little is actually articulated, but we know these men are gay. Rene Auberjonois delivers a solid performance as Laura’s close friend and business manager. We not meant to make fun of him.

And while both Raul Julia and Brad Dourif are wasted, they put forward great work here. Tommy Lee Jones is also strong except when pitted against Dunaway’s convulsively confusing turns. Jones is playing the role as realistically as possible, but he often finds himself in bad soap opera territory when kissing or making love to his leading lady. This is not his fault. Dunaway’s work here often feels like that of an insecure fading movie star who is afraid of losing her place at the table. Sadly Kershner didn’t seem to be strong enough to talk her down. This is of particular surprise given his track record for getting the best out of his actors. It is safe to say that Dunaway’s finest work has been given under infamous duress with tempermental directors.

Roman Polanski or Barbet Schroeder anyone?

Art crime? Faye Dunaway is probably more covered than comfortable amidst all this beautiful flesh. And murder. Eyes of Laura Mars Irvin Kershner, 1978 Photograph by Rebecca Blake

Art crime?
Faye Dunaway is probably more covered than comfortable amidst all this beautiful flesh. And murder.
Eyes of Laura Mars
Irvin Kershner, 1978
Photograph by Rebecca Blake

While it was most definitely a fail on the part of Kershner to not better execute the horror of a film that was obviously intended to be a slasher flick, I doubt we would really remember this film if it had followed that path.

It should be noted that one of the few genuinely creepy moments in the movie is when we are limited to Laura Mars‘ POV which is trapped in the POV of the serial killer who is chasing her at full speed with intent to kill. Arte Kane’s musical score is manically-pitched and when edited into this threatening but non-violent scene, it does illicit a good deal of tension.

Even still, there is a major bit of let down when acts of actual real-time murders happen. Thanks to the musical score and the trippy use of POV there is some suspense, but the cinematic pay-off in these slasher scenes feel like something you might have seen on Charlie’s Angels.

Well, minus the nudity.

Learning how to shoot a handgun and ready for romance! Faye Dunaway and Tommy Lee Jones Eyes of Laura Mars Irvin Kershner, 1978 Cinematography | Victor J. Kemper

Learning how to shoot a handgun and ready for romance!
Faye Dunaway and Tommy Lee Jones
Eyes of Laura Mars
Irvin Kershner, 1978
Cinematography | Victor J. Kemper

This is very little gore in this film’s violence. Of course the film’s Big Reveal which Columbia Studios built up by closing ticket sales after the first ten minutes of the movie, has never seemed at all shocking to me. Even as a child I had figured out the identity of the killer before the film decides to reveal it.

Even still, it is a nightmarish situation that is interesting when compared to the “fashion art” our heroine has been crafting with her stylishly perched skinny leg and handy Nikon camera. This is perhaps the film’s most winning turn of horror — it is the film’s use of murder as fashion and violent death as eroticism that leaves a queasy sort of taste on the cinematic palate.

Killing to sell a car... Eyes of Laura Mars Irvin Kershner, 1978 Photograph by Rebecca Blake

Killing to sell a car…
Eyes of Laura Mars
Irvin Kershner, 1978
Photograph by Rebecca Blake

Irvin Kershner’s take on Carpenter’s script may not have gone to the logical horror route of the Slasher Film, but it’s twisted turns guide the audience to a surprisingly gruesome walk toward the pop culture of the future.

And Faye Dunaway’s odd performance does leave an impression.

It should be noted that this performance does not straddle an artistic line as her work in the ill-advised Mommie Dearest. Instead her work as Laura Mars is consistently up-ending itself. The manic and insecure diva-ish turn has, over the years, added a level of paranoia.

This paranoia plays well into both schisms of the infamous movie: The Uncomfortable and The Cult of Camp.

Putting her best leg and high heeled foot forward. A promo shot of Faye Dunaway which she would later claim she disliked. Eyes of Laura Mars Irvin Kershner, 1978 Photograph by Rebecca Blake

Putting her best leg and high heeled foot forward. A promo shot of Faye Dunaway which she would later claim she disliked.
Eyes of Laura Mars
Irvin Kershner, 1978
Photograph by Rebecca Blake

Perhaps it is unfair to lay Dunaway’s failure all on her. She is given some very strange dialog:

While in a post orgasmic embrace she murmurs:

“I can’t understand. [slight pause] how it’s possible. [slightly longer pause] to live your whole life. [pause ] without someone. [slight pause] and be doing more or less OK. And then suddenly you find them. You recognize them.”

cue lush love theme as Tommy Lee Jones plants a big smooch on her face.

What do those words even mean?

Faye Dunaway gets and gives more than an eyeful Eyes of Laura Mars Irvin Kershner, 1978 Cinematography | Victor J. Kemper

Faye Dunaway gets and gives more than an eyeful
Eyes of Laura Mars
Irvin Kershner, 1978
Cinematography | Victor J. Kemper

Perhaps Eyes of Laura Mars is a bad movie. Or maybe it is simply flawed. It doesn’t matter. Once you see it you will never forget it.

Matty Stanfield, 12.4.15

 

When David Lynch and Mark Frost initially pitched the concept that would become the TV series, Twin Peaks, the idea was really about creating a satire on American small town culture. The show’s mystery of “Who Killed Laura Palmer?” was intended to take a backseat to the show’s plot once the quirky characters identities and respective double lives gained the audiences’ interest. Starting off with a two hour special pilot that truly brought a whole new level of quality and subversion to the firmly entrenched ideology of small town American life. It was during the run of Twin Peak‘s first season that the idea of “Lynchian” would truly take form. This series was less a satire of soap opera and television mysteries as it was a subversive and highly experimental experience.

"In a town like Twin Peaks, no one is innocent." Twin Peaks: Fire Walk With Me David Lynch, 1992

“In a town like Twin Peaks, no one is innocent.”
Twin Peaks: Fire Walk With Me
David Lynch, 1992

To the eyes of 21st Century eyes, this series might seem tame. But in 1990, this was shocking and pushed the boundaries of what was being shown on television. It was also far more “cinematic” than standard television. The pilot was a slam-dunk hit. The ratings took a significant drop after the two hour pilot.  The ratings for the rest of season one were not consistent, but never truly low.

This show was being, watched, discussed, analyzed and studied. Twin Peaks gained an almost instant cult following. Contrary to Lynch and Frosts’ idea, the mystery of Laura Palmer’s death never moved to the background. Despite already being dead and presented only in the now iconic photograph and limited POV screen captures, Laura Palmer was the driving force of the show. There a number of logical reasons that the idea of each character’s dual personas never became the vital interest(s) of the viewers. For those of us old enough to remember when this ground-breaking television show premiered, there was something alluring about that image of the seemingly perfect All-American Prom Queen captured in a High School year book photograph. There something intriguing about the beautiful yet somehow ethereally strange look of Sheryl Lee’s photograph as Laura Palmer. Like every other character roaming the streets and dirt roads of Twin Peaks, Laura Palmer had a double life. And both sides of Laura’s identity seemed to serve as a trigger for every other character on the show. The fact that we slowly gained information that she may not have been the sweet Girl-Next-Door or the earnest Meal-On-Wheels volunteer was far more curious than any of the living characters on the show.

The public wanted to know more about her and most of all wanted to know who killed her.

This, of course, would be the show’s undoing. Lynch and Frost had never really solved this mystery. Resolution of Laura Palmer’s killer was filmed in several different ways. It quickly became a an odd Pop-Culture Moment. A moment in which much of the audience was watching closely to see where all of the many clues being offered between, above, under and around all of the disturbing, comical, supernatural and off-kilter perspectives were pointing.

The final episode of season one had a huge rating. I can remember sitting in a room full of fellow college students to see who “iced” Laura. But Lynch and Frost did not reveal the killer. Simply more intense clues. It would not be until season two that Laura’s killer was finally revealed to be her father.  The mystery’s ultimate resolution made perfect sense for David Lynch’s continuing artistic examination beneath the tainted soil upon which Middle America stood, but was also somehow unsatisfying. It also made all the hints toward the paranormal suspect.

The Good Witch descends to offer some advice for Sailor... Sheryl Lee Wild At Heart David Lynch, 1990 Cinematography | Frederick Elmes

The Good Witch descends to offer some advice for Sailor…
Sheryl Lee
Wild At Heart
David Lynch, 1990
Cinematography | Frederick Elmes

Lynch remained involved with the TV series, but in many ways he might as well have left.

Twin Peaks was really a stunningly brilliant artistic experiment, but David Lynch’s true interest was/is grounded in cinema. While it may not be his finest hour as a filmmaker, 1990’s Wild At Heart, remains my personal favorite David Lynch film. A road movie from Hell, the adventures of Sailor & Lula almost felt like Lynch had been given free reign to create this gleefully surreal and perverse exploration. And wait. Isn’t that Laura Palmer giving Sailor advice?  Advise which led his character to deliver a perversely politically-incorrect apology to those thugs?!?!  When we saw Laura Palmer (Sheryl Lee) come down from the heaven’s to help Sailor get back on track, it seemed like possibly another clue.

As die-hard Twin Peaks fans were now sorting through Jennifer Lynch’s clever The Secret Diary of Laura Palmer to sort out the show’s red herrings from true relations, the iconic television series took a quick downward spiral.  Twin Peaks‘ first season directors were hand-picked by both Lynch and Frost. But the with the doomed second season the show’s director choices were disjointed and ill-fitting to the original concept. Everyone from Uli Edel to Diane Keaton took the director’s chair. It was canceled and ended in June of 1991. I had just graduated from University and relocated across the country as the second series started. I had no TV, but my interest in the show had faded to disappointment.

Wild At Heart was an Art House film. It was far from a box office blockbuster, but it added value to the director’s reputation. It was also the hit of that years Cannes Film Festival. And even though the industry may have viewed Twin Peaks as a sort of Cult TV Oddity that had ultimately failed, Lynch was in a fairly good position professionally.

Where would he go next?

What new strange world would he create for the cinema?

As it turns out Twin Peaks was still strong on his mind. Many of the ideas he had originally had for Twin Peaks had to be pushed aside to sort of conform to the standards and regulations of Network Television. He had the funding both from America and France to do what he wanted. And he could do it the way he wanted. David Lynch decided to return to the world of Twin Peaks, but this “re-visit” would be a prequel.

How does a cinematic genius top a TV Series that changed the face of network television? He breaks it... David Lynch as FBI Agent Gordon Cole Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

How does a cinematic genius top a TV Series that changed the face of network television? He breaks it…
David Lynch as FBI Agent Gordon Cole
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

This would be the opportunity for the show’s legion of fans to actually meet that beautiful High School Prom Queen gone wrong. It would also offer David Lynch the opportunity to actually work with the actress who had set so many hearts and minds a-flutter. Sheryl Lee was more than a simple, engagingly beautiful face — She possessed charisma and an interesting on-screen energy. She was and is an extremely talented actor. Lynch was to make a motion picture focused on the final week in the life of Twin Peak‘s most alluring citizen, Laura Palmer. To the film’s backers, this seemed the perfect idea. To the legion of Twin Peaks fans news of the film set hearts aflame.

What no one seemed to think about was that this was not going to be a normal sort of prequel. And for those of us who thought Wild At Heart presented David Lynch at his most unfiltered and unrestrained, we were about to discover we were wrong.

Twin Peaks: Fire Walk With Me was not so concerned with much from the original series and this film presented David Lynch’s cinematic vision completely unbridled.  He had no plans of returning the audience to the same beautiful but provocatively seedy small town. Without censor, without a Major Television Network breathing down his neck, Mr. Lynch took us back to the same town. But now we saw it from a completely different vantage point.

"If I had a nickel for every cigarette your mom smoked, I'd be dead." Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

“If I had a nickel for every cigarette your mom smoked, I’d be dead.”
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Now working my way up the corporate ladder in Boston, I stood in line with two new friends to catch a 1992 midnight premier screening of the film. We had all heard it had been met with jeers and booing at The Cannes Film Festival, but it just didn’t seem possible that the movie could be bad. Fire Walk With Me may not have been the movie the television show’s cult following wanted to see, but it was one hell of a cinematic ride. A sort of hot-dripping Freudian fever dream. Or perhaps more accurately, seeing this experimental film on a big screen was like being dropped into an Edvard Munch painting gone very wrong.

Twin Peaks: Fire Walk With Me didn’t just take the iconic TV Series to a new level, it jolted that quirky universe into a whole new cinematic galaxy.

The opening moments of the film feature a television screen on scramble. A vision we no longer see in the 21st Century. The opening scene of this television’s screening scrambled mess indicates that we are on a dead channel or that the National Anthem has already played and the channel has closed for the viewing day.  But then, just as Angelo Badalamenti’s potent score finally seems to reach a clear volume and credits have screened — this television is literally destroyed. A sharp and horrifying woman’s scream and the TV is obliterated.

David Lynch has just destroyed the restrictions and limitations of not only his TV series, he has broken out of the very concept of television itself.

As the film starts we realize that the murder of Teresa Banks has just taken place. Her body wrapped exactly like that of Laura Palmer floats on the water. The film’s first iconic image or scene is one that is never explained, but it carries an odd and comical impact. We first see Special Agent Chester Desmond arresting two grown women at the side of a school bus filled with screaming and crying children. The bus seems to be parked in an open field. Nothing about this scene is treated by the adult characters as odd or strange. Yet it is an unforgettable little scene that sets the film’s space.

Unexplained situation: An FBI drug bust and a school bus full of terrified children... Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

Unexplained situation: An FBI drug bust and a school bus full of terrified children…
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

While nothing was as it appeared on Twin Peaks the TV show — in the movie’s Twin Peaks the same holds true with a major difference: Nothing even appears “right” or “normal.”

There is a constant auditory and visual discord at work. Surrealism and Absurdism is closely tied to whatever “reality” we may be shown. In the television series, actors played their characters with an edge of hamminess and often camp. In the Twin Peaks film, the actors are performing as if stuck in some vacuum that is constantly threatening to suck them up into oblivion. The acting here is not so much about “camp” as much as it is about keeping in step with the energy of David Lynch’s subversive, perverse and often hysterical vision.

David Lynch re-creates his own character from the TV series. The hearing-impaired Agent Gordon Cole summons Chris Isaak’s Special Agent Desmond to meet him. In typical Twin Peaks‘ logic, this meeting is simple and yet complicated.

"Her name is 'Lil'" Kimberly Ann Cole Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

“Her name is ‘Lil'”
Kimberly Ann Cole
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Gordon Cole leads Agent Desmond over to meet an odd woman who seems to be hiding inside a small airplane hanger. As she emerges, Gordon explains that this is his “mother’s sister’s girl, Lil“. Lil proceeds to make a sour face.

What’s a sour face? Well, that is a face that has a sour look on it.

Lil keeps one hand in a pocket of her ill-fitting dress. Opens and clenches her other hand into a fist and stomps in place. Later Special Agent Chester Desmond explains to the confused Forensic Pathologists what this meeting of Lil actually meant:

Sour Face = problems with local authority awaits

Both Eyes Blinking = trouble with the higher-ups

One Hand in Pocket = something is being hidden from the FBI

Fist = there is a whole lotta beligerence

Walking In Place = there’s going to be a lot of legwork

Dress Tailored To Fit = this is code for drugs

Blue Rose Pinned To Lil’s Dress = “I can’t tell you about that…Meaning that the agent is not comfortable revealing this meaning to Kiefer Sutherland’s befuddled pathologist.

"Her name is 'Lil'" Kimberly Ann Cole Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

What was missing in Agent Cole’s introduction for Lil? …No uncle is mentioned.
Kimberly Ann Cole
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Already well over ten minutes into the film and David Lynch has yet to bring us back to Twin Peaks. It is not far away, but as we watch the Special Agent and Forensic Pathologist navigate the odd waters of their location it feels more like the familiar world we knew in the television series. After a particularly grueling autopsy of Ms. Banks, the intrepid men go to a local all-night cafe. The same cafe that had employed Teresa Banks. A comical question and answer with Teresa’s former co-worker reveals that Teresa was involved in drugs.

"Who's the towhead?" Sandra Kinder as "Irene" That is her name and it is night. Don't go any further with it. There's nothing good about it." Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

“Who’s the towhead?”
Sandra Kinder as “Irene” That is her name and it is night. Don’t go any further with it. There’s nothing good about it.”
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Then we follow them to the Big Trout Trailer Park where we are led by a hilarious Harry Dean Stanton as the park’s manager to Teresa Banks’ home trailer. It is here that Surrealism and an ever-menacing level of horror creeps onto the screen.

Loose ends from the series continue to pop up. The hanging electric lines seem to emit a sort of horrific transmission or energy. This is new.

Poor Special Agent Chester Desmond vanishes into an unexplained sort of paranormal vortex.  As Kyle MacLachlan enters the film as Special Agent Dale Cooper we finally are treated to feeling like we may be back in the familiar territory.

Special Agent Chester Desmond's abandoned car. "Let's Rock" Kyle MacLachlan and Harry Dean Stanton Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

Special Agent Chester Desmond’s abandoned car.
“Let’s Rock”
Kyle MacLachlan and Harry Dean Stanton
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Special Agent Dale Cooper also pays a visit to The Big Trout Trailer Park, but his reasoning doesn’t seem to match-up.

It is not too long after he and Harry Dean Stanton look at Agent Desmond’s forgotten car and study a lip-stick written message on the windshield that we will soon hear Badalamenti’s familiar theme song and see the famous opening to the TV series.

Pulses raced as the film came to this point. At long last we would finally actually meet Sheryl Lee’s Laura Palmer. Since the TV series began she had been seen only as photographs or brief glimpses. Or most annoyingly, as a doppelganger brunette cousin.

But now we will see, hear and get to know Laura Palmer.

And now, Ladies & Gentlemen, meet your all-American Prom Queen: Laura Palmer. Beautiful, dazed, confused and abused. Sheryl Lee Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

And now, Ladies & Gentlemen, meet your all-American Prom Queen: Laura Palmer. Beautiful, dazed, confused and abused.
Sheryl Lee
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

The actual return to Twin Peaks and meeting Laura Palmer was not what anyone quite expected.

Just like the high school Prom Queen photograph, that charismatic look does transform into an even stranger mix of beauty and somehow perverse energy all channeled brilliantly by Sheryl Lee.

Within what we now call Lynchian Cinema, his female actors are essential keys. Both Laura Dern and Naomi Watts are pitch-perfect actors for David Lynch. Both are deeply skilled actors, have on-screen presence / charisma and have the ability to at once convey an All-American kind of blond beauty and ambition. They also are fairly fearless performers who are unafraid to tap into the darker and obscure aspects of humanity without crossing the line into “camp.” Isabella Rossellini was also a key actor for David Lynch. She may not be the greatest in level of skill, but she carries a bizarre mix of beauty, innocence and with a strange lean toward the perverse. Rossellini fit into Lynchian Cinema with ease. Sadly, due to complication of a romantic relationship we were only able to enjoy her within this world twice.

However, Grace Zabriskie is without question the ultimate David Lynch actor. In Fire Walk With Me, we see Mrs. Palmer before one of life’s truest devastating losses has caused her to become unhinged in her despair, sorrow, guild and grief. Here Zabriskie is given a surprisingly small but difficult challenge: establishing Mrs. Palmer as a damaged person. Of course, this fine actor was more than up for the challenge.

Mom knows something is very wrong, but she is Dad's victim too. Grace Zabriskie is Mrs. Palmer Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

Mom knows something is very wrong, but she is Dad’s victim too.
Grace Zabriskie is Mrs. Palmer
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Already a solidly employed and respected actress, when David Lynch first cast her, she found the perfect film artist to assist her in channeling her unforgettable energy and presence. A highly skilled actor, Zabriskie is able to easily convey human emotion realistically — but most importantly, she can access them in the most inappropriate, perverse and hysterical of ways.

She walks the tight rope with ease: Camp and B-Movie Exploitation Horror await her slip and fall, but she never loses her balance. She straddles the lines between Realism, Surrealism and Absurdism without any sputtering or error. Like the other three actors, she is beautiful. Also like the other three, her beauty is somewhat convulsive. Unafraid of aging, this actress can summon a great degree of sexual allure in the strangest and most menacing of ways. Another shared gift all four of these actresses: they are likable. It is almost impossible not to root for Ms. Zabriskie even in the darkest and evil of roles.

While those four actors have experienced amazing success working for David Lynch, the same luck did not hold true for Sheryl Lee. It is perhaps the greatest fail of Twin Peaks: Fire Walk With Me that Sheryl Lee’s career was that it almost completely de-railed it.

It is impossible to watch this film and not note the incredible Movie Star Presence she exudes. Sheryl Lee also presents a chillingly accurate performance. This is an actor with a great deal of skill. And, like Zabriskie, she is able to easily walk that line between Realism and The Surreal. Like all of the above mentioned actresses, she is very likable on screen. And, in reality, there is probably only one of the four who could rival her beauty and that would be Rossellini.

However Sheryl Lee possesses an easy access to eroticism that is not quite as easy for the other actors mentioned. Sheryl Lee was and remains a hot-looking actress. Never extreme, convulsive or too thin — her shape is always right on form with erotic ideal. And even when she flaunts it and teases, there is something fragile at play that makes the viewer want to protect her.

High school journal keeping has never been this erotic or perverse... Sheryl Lee Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

High school journal keeping has never been this erotic or perverse…
Sheryl Lee
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Another key trait for a David Lynch actress, Sheryl Lee has no fear. In Fire Walk With Me she goes for broke in some of the most uncomfortable scenes. Most if not all of her scenes in this film act almost as individual Cinematic Abstract Art Pieces. She is given some of the oddest and most difficult lines of any Lynchian character. In an early scene we see an in-between classes sexual encounter between Laura and her love-sick suitor, James. James attempts to make her understand how much he loves her and that he can protect her from anything. The lines in this scene are intentionally comical, but at the same time carry an skewed sense of tragic truth within this warped film:

Laura refuses James’ love.

I’m gone. Long gone. Like a turkey in the corn.”
You’re not a turkey. A turkey is one of the dumbest birds on earth.
Gobble-gobble. Gobble-gobble.”

Even though you will find yourself chuckling or laughing, Sheryl Lee manages to evoke a damaged sort of “gobble” that haunts.

While the actor playing James handles the scene like a bad soap opera, Lee takes the wording and invests them with meaning. Yet, she never allows her skill to get in Lynch’s way. Sheryl Lee “gets it” and she takes that understanding and runs with it throughout Lynch’s experimental exploration of human cruelty, horror and abuse via means of the human psyche.

Having just had the rare opportunity to rematch the film via a pristine and new 4K transfer that will hopefully find it’s way to US distribution. It is miles ahead of the Region-Free German Blu-Ray and certainly far better than the treatment it received by Paramount in last year’s Twin Peaks box set. Criterion, are you there?

Prom Queen, a diary, some booze, a bit of coke and a lot of eroticism. Sheryl Lee Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

Prom Queen, a diary, some booze, a bit of coke and a lot of eroticism.
Sheryl Lee
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Sheryl Lee should have become a major player in the world of filmmaking. Yet the film’s failure and her achingly-inter-connected performance was misjudged. Sheryl Lee’s work in this film is an exact match to Lynchian negative energy and dire need of redemption. Like the film itself, Sheryl Lee never falters as both she and the film go exactly where David Lynch wanted it to go.

Grace Zabriskie has stated that she felt that Lee gave so much to David Lynch and the character while filming the movie that it took her several years to find her way back to herself. This might seem like an “over-the-top” statement, but when discussing the art of Method Acting and The Method Actor, it is painfully accurate. As hard as Sheryl Lee worked to give Lynch what he needed, he would push her even harder. The film obviously left the young actor exhausted, but the film’s critical and commercial failure were most likely like receiving a universal gut punch.

The Log Lady offers a bit of comfort and a warning that serves as key to the strange world in which we roam... Sheryl Lee & Catherine E. Coulson Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

The Log Lady offers a bit of comfort and a warning that serves as key to the strange world in which we roam…
Sheryl Lee & Catherine E. Coulson
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

When the midnight screening I attended in 1992 reached the closing credits, I felt as if I had been on some strange metaphysical trip of a cinematic ride. I had been entertained, horrified, engaged and left in awe. However, my two friends and what felt like the entire sold-out audience had hated it.

People in the cinema literally Boo’d at the screen. A couple of folks even threw their popcorn containers at the screen. I was confused. As I stumbled back into the reality of a hot New England evening, I was equally disoriented and excited.

The Boston bars had closed, so the three of us retreated to a now long-gone sort of coffee-house that served the homeless, the collegiate and hipsters in equal fashion. It was a favorite hang-out. We had some cookies and coffee and discussed the movie.

Is Laura Palmer living in a very bad dream? Here she walks into a room that is more than a little too familiar. Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

Is Laura Palmer living in a very bad dream? Here she walks into a room that is more than a little too familiar.
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

All three of us holding degrees in English, we all shared a love for deconstructing art. Each of us had a different read on what we had seen:

One of my friend’s felt it was an “Anti-Movie” through which David Lynch was laughing and giving the finger to his audience.

My other friend felt it was a sort of cinematic mistake. She pointed out that the use of Surrealism and Absurdism was pointless if neither had meaning. Unlike my first friend, she saw some merit to the movie. But I can remember her drawing her long orange finger nail between herself and me stating that the film’s flaws out-weighed the few points Lynch had made correctly.

I disagreed with both opinion. I felt they were being too superficial and lazy.

I sipped my coffee and told them that I felt the film was a spectacular experiment in exploring the psyche of a pedophile incest rapist and most alarmingly the psyche of his victim. I explained that the entire theme of the film had been quite poetically summed up by Catherine E. Coulson’s Log Lady. This film had pulled us into a confusing vortex of insane human cruelty,  confusion caused by child abuse, the impact resulting in a family / friends all living in a faked level of love, conformity and insincere sincerity. The despair, the pain, the guilt and the sorrow of both the victim and the victimizer are identities constantly walking with a fire that threatens to consume them at any moment.

My two friends sat with this for a few minutes. One started to laugh. The other’s head seemed tilted all the way on our respective walks to Muni, dorm and home.

A dream captured in a frame... Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

A dream captured in a frame…
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

If you’re wondering why I recall so well what we discussed and how we discussed it — it is because I have been a chronicle journal keeper since I was 18. Upon arriving back to my tiny basement apartment at 4am, I opted to write the experience down instead of sleeping. As I had to be at work for 7am it seemed a more rational use of my time. It staggers my mind to think that I could function at work without any sleep. Ah, youth.

But I digress.

Many view the movie as a complicated mess of a prequel with no other aim than to inform the Twin Peaks fans of Laura Palmer’s last week of life. This seems far too simplistic. David Lynch is far too intelligent a filmmaker to have discarded almost all of the television series atmosphere and style had this been his intent. If this were all he wanted to do the film would have been shorter and no TV set would have required breaking.

Others view it as an admirable cinematic error. One can’t really argue with this view-point. This film is so untethered, it is impossible to anticipate that everyone will like or even passively accept it. But I still stand by my opinion formed in 1992.

The angels never really went away. Laura's salvation descends... Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

The angels never really went away. Laura’s salvation descends…
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Essentially this film is examining the ways in which “we” absorb the horrors of our lives into our psyches so that we can simply continue moving forward. Full acceptance of truth is far easier said than done. Anyone who has fallen victim to someone we should have been able to trust — or, more simply put, anyone who has been sexually abused by a family member or a trusted family friend will understand that “owning” the reality of pain/sorrow caused by sexual violation/abuse is actually more difficult than the violation itself. And PTSD is not just limited to survivors of war. PTSD can kick your ass. And it kicks it in really strange and often metaphorical ways that can cause a person to mask their own personal truth as well as take on the guilt that they have no business absorbing. The victim has done nothing wrong, but under the reality of life’s light — it can feel quite the opposite for the victim who survives.

Most of the time that monster in the closet or under the bed is just normal childhood fears, but other times there really has been a monster there.

When The Log Lady runs into Laura Palmer about to enter the Twin Peaks Townie Bar, she gently touches Laura’s face and offers a parable that applies to the entire film:

When this kind of fire starts, it is very hard to put out. The tender boughs of innocence burn first, and the wind rises, and then all goodness is in jeopardy.

Is "Bob" Dad's creation or one of his daughter? Worse yet, is Bob a demon? The American Family gets a horrifying surreal deconstruction. Ray Wise as Mr. Palmer Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

Is “Bob” Dad’s creation or one of his daughter? Worse yet, is Bob a demon? The American Family gets a horrifying surreal deconstruction.
Ray Wise as Mr. Palmer
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

There is an-ongoing “discussion” of pain and sorrow, fire and angels throughout the film. It begins when Laura and her best friend contemplate life. Laying in the living room, Donna shares a dream-thought and then an odd question:

Do you think that if you were falling in space that you would slow down after a while, or go faster and faster?

Laura suddenly seems to be miles away from Donna as she stares off into some doomed distance, yet she has heard her friend and answers, “Faster and faster. And for a long time you wouldn’t feel anything. And then you’d burst into fire. Forever. And the angel’s wouldn’t help you. Because they’ve all gone away.

The Angel feeds and watches over the children.  Twin Peaks: Fire Walk With Me David Lynch, 1992

The Angel feeds and watches over the children.
Twin Peaks: Fire Walk With Me
David Lynch, 1992

Later, Laura will see an angel represented in a childhood framed image in her bedroom vanish before her eyes. The three children in the painting are no longer fed or protected by the watchful angel.

The Angel has gone away  Twin Peaks: Fire Walk With Me David Lynch, 1992

The Angel has gone away
Twin Peaks: Fire Walk With Me
David Lynch, 1992

And of course there is that strange room that appears in Laura’s dreams and is presented to her by an old woman in a framed photograph. And The Other Place where The Man gives information with backward masked commentary. These visions are shared. The Lynchian concept of creamed corn comes into play. Referred to as “garmonbozia.”

The meaning of this term has been much analyzed by the legions of Twin Peaks fans as well as Lynch Heads. Creamed corn is mentioned in relation to Laura’s role as Meals-On-Wheels volunteer, Mr. Palmer is accused of stealing a can of it and it appears in visions. Garmonbozia is a demented symbol of pain and sorrow. A pain and sorrow both inflicted and inflicting. The normal thought is that there are two things that all inhabitants of Twin Peaks share:

  1. A darker / hidden aspect of their individual identities
  2. They each feed and give off pain and sorrow

Fire Walk With Me consumes itself with symbology and metaphors of fire, angels, masks, identity, a seemingly extra-dimensional red-curtained room, an owl ring, a one-armed man and most importantly the character of BoB.

The danger of the owl ring may be the only way out... Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

The danger of the owl ring may be the only way out…
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Bob is Laura’s monster hiding just outside her bedroom. As she confesses to her Meals-On-Wheels home-bound client, Bob has been having her since she was twelve. As the film progresses Laura becomes aware that Bob might be “real” but he might not be who or what he appears to be. In Laura’s self-deception, Bob is tearing out pages from her diary to exert his power. He knows everything about her — Bob knows all. Most repulsive for Laura is that as afraid as she is of Bob and the rapes, she has reached a point where the attacks are expected and she now seems to be finding some sort of sadistic sexual pleasure from these unwanted attacks. In a particularly disturbing scene as Bob takes her body, she begins to reach orgasm.

She moans, “Who are you? Who are you?!?!”  Just as she slips into orgasm Bob turns into her father.

Her father’s behavior has become highly suspect for Laura and her her mother. Mr. Palmer seems to be forcing Laura into uncomfortable confrontations.

In one of the films more Extreme/Absurdist moments, Laura and her father are in his car. Suddenly the One-Armed Man is tailing them. Mr. Palmer begins to panic. The One-Armed Man is furiously attempting to communicate with Laura. Her father keeps the car racing even at a dead stop to drown out the man’s voice. A dog’s barking becomes as loud as the car, the One-Armed Man and the frenzied musical score. The impact of this scene is equally disturbing, annoying and almost funny.

During the strangely hysterical and frenzied scene, Laura thinks she smells fire.

Screaming above it all with increasing panic, “Dad! Something’s burning! Are we on fire??!?!?

In a world of horror, it is easier to face Bob than Dad. This is the All-American Girl Next Door's only way out. Bob Silva & Sheryl Lee Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

In a world of horror, it is easier to face Bob than Dad. This is the All-American Girl Next Door’s only way out.
Bob Silva & Sheryl Lee
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Just before Mr. Palmer is able to shake the One Armed Man, he is able to reach Laura’s ear with information she does not want to have:

Holding out his one arm and a finger wearing the familiar owl ring, “It’s him! It’s your father!”

When we see Mr. Palmer drug his wife in their bedroom, Laura is jumping off James’ motorcycle off to her fate deep in the woods. We have reached the final night of Laura Palmer’s life.

Beaten, tied and dragged into an empty train freight car — Laura at first thinks she is facing Bob, the man who has abused her since she was twelve. But she quickly sees through her psyche’s self-deception: This is not Bob screaming at her. This is her father.

Brutally raped and threatened, is that Angel pointing toward an owl ring? Sheryl Lee Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

Brutally raped and threatened, is that Angel pointing toward an owl ring?
Sheryl Lee
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

And there lies the owl ring.

Most importantly, for the first time since the film has begun to unspool — Laura receives a sign of hope: An angel seems to be descending into the train car.

In what appears to be an act of ultimate rebellion, Laura scrambles for the owl ring. As her father pleads with her not to make him do “it,” Laura slips the ring onto her finger. It is as if this ring allows both the victim and the victimizer to gain full awareness. As the angel hoovers somewhere above them, Mr. Palmer kills his daughter.

Metaphorically, she has won. She has escaped and left him with his guilt, pain and sorrow. The creamed corn is now his and his alone. He must live with what he has done. As he wraps Laura’s body in plastic to set her into the lake, we see his face from Laura’s body’s POV and it switches back and forth between Bob and himself.

Mr. Palmer must accept what is to come. The dream or vision becomes a sort of reality as his entry to The Other Places emerges in the woods.

A pedophile, rapist and murderer: Dad prepares to have his torment, pain, sorrow and human cruelty. Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

A pedophile, rapist and murderer: Dad prepares to have his torment, pain, sorrow and human cruelty.
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

He steps through an opening in the red curtains and enters that extra-deminsional room. The Man From The Other Place and the One-Armed Man are waiting for him. Soon Bob is standing next to Mr. Plamer. As Mr. Palmer begins to levitate, Bob is instructed to take away Mr. Palmer’s Garmonbozia.

Like some internal cancer, Bob removes the blood soaked pain and sorrow from Mr. Plamer’s gut and tosses it on the floor.

Faced with The One Armed Man and The Man From Another Place, is Dad releasing his own pain and sorrow? Or is Bob about to take care of that for him? Subconscious metaphor... Frank Silva & Ray Wise Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

Faced with The One Armed Man and The Man From Another Place, is Dad releasing his own pain and sorrow? Or is Bob about to take care of that for him? Subconscious metaphor…
Frank Silva & Ray Wise
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Of course the meaning of this scene has always been debated among Twin Peaks followers.

Is this an imaginary way for Mr. Palmer to once again to slip into his self-deception?

Is this a sort of heaven in which Mr. Palmer is freed of demonic power, Bob?

Or is this something loaded with a more universal way of dealing with guilt and the unforgivable?

In a strange and hyper-intensive scene early in the film we have seen David Bowie appear at Gordon’s FBI office. He is a long missing special agent and has come to give David Lynch’s Gordon a message. A series of jump cuts and audio editing led us to The Man From Another Place, the One-Armed Man, Bob and The Chalfonts. (you will need to see the film to know these two characters) — This is of particular note as it hints to where we might be going in the upcoming Showtime Twin Peaks re-boot.

Together in a dream or some alternate universe. Laura Palmer has a worrying connection to Special Agent Cooper. "I'll see you again in 25 years. Meanwhile..." Sheryl Lee & Kyle MacLachlan Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

Together in a dream or some alternate universe. Laura Palmer has a worrying connection to Special Agent Cooper.
“I’ll see you again in 25 years. Meanwhile…”
Sheryl Lee & Kyle MacLachlan
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Going back to 1991’s final episode of Twin Peaks, Special Agent Cooper finds himself in the extra-deminsional red-curtained room with a lovely and calm Laura. She informs him that she will see him again in 25 years.

While David Bowie’s long-missing special agent attempts to give a message to his near-deaf boss in Fire Walk With Me — we only catch bits and pieces of what he says. But we do see him point to Special Agent Cooper and bellow to Gordon,

Who do you think this is here?!?!?

This message almost insinuates that Agent Cooper is some sort of Evil Being. Toward the end of the original series we know that Agent Cooper had begun to see Bob’s reflection when he looked into mirrors. Hmmm…

It will be more than a little interesting to see what David Lynch and Mark Frost come up with for their limited Twin Peaks run on Showtime.

Written in blood. Never before in television history has the grammar and meaning of a phrase been so analyzed and debated.  Twin Peaks: Fire Walk With Me David Lynch, 1992 Cinematography | Ronald Victor Garcia

Written in blood. Never before in television history has the grammar and meaning of a phrase been so analyzed and debated.
Twin Peaks: Fire Walk With Me
David Lynch, 1992
Cinematography | Ronald Victor Garcia

Whatever we do learn in this mini-series will have little to do with what David Lynch explored in Fire Walk With Me. This strange and much maligned Cult Film will most likely remain where it has always been. Sort of endlessly playing into subconscious in circular logic.

Take your creamed corn for what it is or what it isn’t. Fire Walk With Me is a message that lays on a mound of bloody soil. It might be confusing or even cryptic in meaning, but David Lynch wrote it in blood.

Matty Stanfield, 10.9.2015

 

 

 

 

 

As Dennis Hopper’s gritty and nihilistic film, Out of the Blue, we see and hear two things:

Out of the Blue Dennis Hopper, 1980

Out of the Blue
Dennis Hopper, 1980

the first is an 18-wheeler speeding along a stretch of road. In it sit a Halloween-costumed little girl and her beer-drinking dad. The drunk father teases his eleven year old clown of a daughter. She gleefully revels in his attention. Not too far ahead is a school bus full of elementary school age children. These are the trucker’s classmates. Their bus has stalled in the middle of an intersection.

A child and her addicted father on a Halloween joy ride to school quickly switches to a tragic crash into a school bus... Out of the Blue Dennis Hopper, 1980 Cinematography | Marc Champion

A child and her addicted father on a Halloween joy ride to school quickly switches to a tragic crash into a school bus…
Out of the Blue
Dennis Hopper, 1980
Cinematography | Marc Champion

The little clown too lost in the bliss of her father’s attention and her father too drunk to allow for appropriate reflexes, the 18 wheeler crashes directly into the school bus. Suddenly this shocking action is ended as that same little girl some four years later bolts up in her bed. She has been dreaming. Linda Manz plays “Cebe” and we at once see the magic that this young actor was able to bring to the screen. She has no dialogue. She doesn’t need any. Her face shows it all. Confused, frightened and bemused. Cebe (clearly named after the Trucker mode of communication, the CB radio) appears to be uncertain if she has fully woken from the nightmare. But it only takes a few seconds for the audience to notice two visible scars on her face. This scene and whatever hope that what we have just witnessed by simply be a nightmare is killed with an instant cut to the cab of that 18 wheeler. Sitting in a ramble overgrowth of weeds, the cab is basically demolished. It is the dead of night, Cebe sits in the driver seat wearing her father’s Post-Hippie leather cap. She is talking into the CB radio transmitting a rant that we soon will realize fuels her ability to analyze and move forward in her life:

“Subvert normality. Punk is not sexual, it’s just aggression. Destroy. Kill All Hippies. I’m not talking at you, I’m talking to you. Anarchy. Disco sucks. I don’t wanna hear about you, I wanna hear from you. This is Gorgeous. Does anybody outthere read me? Disco sucks, kill all hippies. Pretty vacant, eh? Subvert normality. Signing off. This is Gorgeous. Signing off.” 

The listening truck drivers do not understand. Cebe doesn’t care. She simply needs to be heard.

Linda Manz as Cebe Out of the Blue Dennis Hopper, 1980 Cinematography | Marc Champion

Linda Manz as Cebe
Out of the Blue
Dennis Hopper, 1980
Cinematography | Marc Champion

Originally intended to be a Canadian film about a child psychologist who saves and offers redemption for a fifteen year old girl who has murdered her own father. If what one is to believe what has been reported, stated and written, this entire film was intended to be a star vehicle for Raymond Burr. The producers had been lucky to cast American actor, Linda Manz, as the teenager in trouble. The film’s original director was in over his head and working with a script that seemed more aimed at some sort of “white-wash” of cultural tragedy more appropriate for ABC’s After School Special than cinemas. Dennis Hopper had taken the job to play the murdered father. After the original director walked-off, the iconic actor was asked to make his first directorial turn since his infamous The Last Movie failure.

Dennis Hopper immediately set out to re-write the perversely tidy teenage murderer saved script into something attached to humanity and reality. Raymond Burr was a tax credit for the film’s producers. Hopper manipulated Burr into thinking that he was still the lead actor. He apparently filmed a great deal more than the two brief scenes in which we see him in Hopper’s film. The Child Psychologist is reduced to a half-heartedly sincere bureaucrat. Hopper switched the perspective from a Canadian Social Worker to that of the tormented teenage girl. He also rejected the general premise of “Cebe.” She was no longer just a one-dimensional child victim turned murderer. Hopper’s Cebe was a damaged teenage girl trying to make sense out of her situation, her life and her own identity. Hopper, a former Hippie and addict, quickly decided to have Cebe obsessed with two cultural touchstones: Elvis and the PUNK Movement.

Only her father's old leather cap and a safety pin for her check remains to complete her warrior armor... Linda Manz Out of the Blue Dennis Hopper, 1980 Cinematography | Marc Champion

Only her father’s old leather cap and a safety pin for her check remains to complete her warrior armor…
Linda Manz
Out of the Blue
Dennis Hopper, 1980
Cinematography | Marc Champion

Suddenly, Linda Manz was given more to do than simply supply screen presence and predictable emotions cued by violins. She was given the lead role of an abused child hellbent on rebellion and pushed to the emotional edge of sanity.

Cebe seeks more than to subvert normalcy, she seeks to subvert life itself because it is the only way she can figure a way to motivate through the pain, grief, humiliation and confusion of her life. Born to two rebels, Linda Manz’s Cebe is essentially the manifestation of free love, hippie ideology, mind-expanding drug use and confusion. Her mother appears to be a kind, but painfully emotionally-stunted ex-Flower Child. Here, Mom is only physically grown up. She married her true love, a tough Hippie Biker type who quickly grasped onto the life of a heavy hitting trucker.

Despite it all, a child needs to love her parents. Linda Manz & Dennis Hopper Out of the Blue Dennis Hopper, 1980 Cinematography | Marc Champion

Despite it all, a child needs to love her parents.
Linda Manz & Dennis Hopper
Out of the Blue
Dennis Hopper, 1980
Cinematography | Marc Champion

Cebe’s mother has forever give her heart to her husband, but she gladly hands over her body for some stability and a fix. We slowly figure out that Sharon Farrell’s Kathy is a closet heroin addict. She loves her daughter the best she knows how. Kathy doesn’t view her daughter’s rebellious nature as odd or worrying. Within Kathy’s limited understanding, Cebe is her father’s daughter. A natural born rebel. While Kathy has already hooked up with Dad’s best friend and former local nemesis, she is still married to Dad.

Kathy can’t wait for Daddy to get out of prison so that they can be a Happy Family again.

Burning what little ideal she covets of her parents, a child on the verge... Out of the Blue Dennis Hopper, 1980 Cinematography | Marc Champion

Burning what little ideal she covets of her parents, a child on the verge…
Out of the Blue
Dennis Hopper, 1980
Cinematography | Marc Champion

This was never a happy family. Cebe seems to be the only one fully aware of this.

She, too, is excited about her father’s release from prison and return to home. However, Linda Manz’s skill as a naturalistic actor allows her to show us that she is not so certain things will be getting better. She hopes that they will, but Manz’s forever perplexing ability to convey mixtures of emotions that often run against the very grain of her character’s dialogue and actions, we know she really expects that things for her are about to get a whole lot more difficult.

Her bedroom offers a great deal about the complexity of our lead character. Innocent childhood toys and 1970’s era children’s art remain in tact, but are almost buried beneath the impact of shrines to Elvis. Cebe has crafted old Elvis album art and magazine photographs into collages better suited to religious iconography. A huge amplifier, drum kit and an electric guitar take the front and center of her room.

While the Elvis art seems old and fading, newer posters, pictures and magazine cut-outs weigh down the walls. These are all related to PUNK rock. The Subhumans, Sex Pistols, Teenage Head & Public Enemy are among the iconic bands name-checked on Cebe’s walls. Linda Manz’s Cebe was something altogether new to cinema.

OUT OF THE BLUE, Linda Manz, Sharon Farrell, 1980

OUT OF THE BLUE, Linda Manz, Sharon Farrell, 1980

This is the child of an addicted murderous father and an Up With People hippie gone to seed. Born into a life of instability, threat and fear — Cebe is constantly seeking new totems and sounds to bolster herself. She must reinforce her strength and appearance of knowledge and power to stay ahead of the game.

She clearly does not possess a clear understanding of either Elvis or PUNK rock. But she painfully understands the messages conveyed.

She may not understand the joke that Elvis had become by the time she was old enough to know his music. She also may not understand the corporate ownership of “Johnny Rotten” / “Sid Vicious” or the tragedy of their lives, but she gets the over-all jest of what they and their music stood/stand for.

She can’t articulate what “pretty vacant” actually means, but she somehow understands it applies to her life and the lack of hope it provides.

Rebellion is all she has.

A startling glimpse into the psyche of a 15 year old girl born of free love, addiction and rebellion. She hides it, but the numbing reality of her life is constantly revealed by the all-too-realistic nuance of Linda Manz's performance. Out of the Blue Dennis Hopper, 1980 Cinematography | Marc Champion

A startling glimpse into the psyche of a 15 year old girl born of free love, addiction and rebellion. She hides it, but the numbing reality of her life is constantly revealed by the all-too-realistic nuance of Linda Manz’s performance.
Out of the Blue
Dennis Hopper, 1980
Cinematography | Marc Champion

Upon her father’s return things around Cebe seem to take on darker aspects.

Her mother’s drug use is now done in the living room. Even though Dad is home, Mom is all the more open about pursuing her sexual needs.

Dad has taken his drinking to a new level.

Classmates and some parents view her father’s return as an injustice to the children who were killed by the drunken crash four years earlier.

Worse yet, mother loses her worries in H while Dad and his pal take matters into their own hands and murder the father of one of the children killed in the tragic accident.  The angry father feels the need for vengeance. Even a hint of his anger is enough to stir Dad to go into full attack mode.

Cebe runs away. She sleeps on the streets and ends up in a sexualized world of predators. Smart enough to run from this world, she still returns home.

Sleeping on the streets seems a safer alternative to home. This is no late 70's After School Special. This is dire and real. Linda Manz Out of the Blue Dennis Hopper, 1980 Cinematography | Marc Champion

Sleeping on the streets seems a safer alternative to home. This is no late 70’s After School Special. This is dire and real.
Linda Manz
Out of the Blue
Dennis Hopper, 1980
Cinematography | Marc Champion

When she gets back, she has hardly been missed.

The final straw arrives when a drunken argument between Mom, Dad and dad’s best friend, played by Don Gordon, lead to a non-sensical idea that Cebe has become too butch (or “a dyke“) to use Mom’s words. In drunken/stoned stupor it is decided that Don must have sex with Cebe to set her “straight.” Hearing it all from her room, Cebe begins to transform into a sort of asexual PUNK God.

Fighting off her father as if where a lion, her bedroom chair legs aimed at him like spears — the father retreats. After slapping the stoned out mom a bit, mom returns to Cebe’s side to help her into her nightgown.

So angry. So alone. So desperate. Cebe’s rebellion takes a very dark turn.

She opts to patricide and suicide as her ultimate “PUNK” revenge. Just as you would expect from Dennis Hopper, the nihilistic ending feels almost surreal. But it isn’t. This is a reality born of rage. No child psychologist can apply some words and therapy to take away the crime of her murders. If Cebe knows two things it is that she wants to kill her parents. It is hard not to relate to her conclusion. It is her suicide that is the tragedy.

Hopper’s film offers a grim view of a societal issue.

Embracing the ideology of PUNK rebellion and the reality of her life, Cebe teases her drunk, brutish and leering father's sexual advances. Linda Manz and Dennis Hopper Out of the Blue Dennis Hopper, 1980 Cinematography | Marc Champion

Embracing the ideology of PUNK rebellion and the reality of her life, Cebe teases her drunk, brutish and leering father’s sexual advances.
Linda Manz and Dennis Hopper
Out of the Blue
Dennis Hopper, 1980
Cinematography | Marc Champion

By the time the film was ready for release, several minutes involving the disturbing scene in which the daughter sexually taunts her father prior to brutally killing him had to be edited to secure an “R Rating.” Originally conceived as a Canadian film, the Canadian Film Board quickly demanded funds returned and denied Canadian approval. The film was not released to Japan until the 1990’s over concerns related to rebellion, patricide and suicide. In the US the film barely managed a limited release. While it was largely supported by film critics — even Jack Nicholson stepped out of the celebrity bubble to promote the film which he felt had something very important to say.

The film quickly became a source of infamy.

Bebe applies her make-up to bolster strength. Linda Manz Out of the Blue Dennis Hopper, 1980 Cinematography | Marc Champion

Bebe applies her make-up to bolster strength.
Linda Manz
Out of the Blue
Dennis Hopper, 1980
Cinematography | Marc Champion

Interestingly, it began to develop a misleading reputation as a PUNK Rock Movie. It is not.

Costumed for fun a school bus full of children are trapped Out of the Blue Dennis Hopper, 1980 Cinematography | Marc Champion

Costumed for fun a school bus full of children are trapped
Out of the Blue
Dennis Hopper, 1980
Cinematography | Marc Champion

When AnchorBay was able to release the theatrical cut on DVD in 1999, the sales started off high. Driven by the rumors surrounding the film as PUNK Statement. Those sales quickly dwindled. Out of the Blue is not a fun movie. It is grim, gritty, realistic and offers the audience no easy way out. While the film does suffer from budget restraints. The crash into the school bus is not as potent when the film returns to the incident the second time and “goofs” can be seen. But mostly, this angry film remains a valid glimpse into human darkness.

A disturbingly logical but incorrect application of Elvis and PUNK mythology into identity. Linda Manz transforms... Out of the Blue Dennis Hopper, 1980 Cinematography | Marc Champion

A disturbingly logical but incorrect application of Elvis and PUNK mythology into identity.
Linda Manz transforms…
Out of the Blue
Dennis Hopper, 1980
Cinematography | Marc Champion

Although I am unsure if he has ever publicly discussed this film, it clearly had impact on Harmony Korine. Any Knowledgeable film-buff will see this film’s influences on Korine’s work.

It also captures teenage rebellion with a cause.  

Technically, AnchorBay no longer has this film in print, but copies can still be found on Amazon. Sadly, many other versions of this film are out there on DVD. Be warned: most are of very poor quality. Most look as if second-hand dubbed from old VHS tapes.  And most of the non-AnchorBay prints are heavily censored. It remains to be seen if this film will ever find it’s way to restoration.

1969’s Coming Apart offers an equally realistic and dark journey to the heart of human self-destruction, but with a different sort of reason in mind.  Milton Moses Ginsberg’s much discussed film is one of style, human pain and classic NYC Method Acting. Often compared to  Jim McBride’s David Holzman’s Diary. In truth Ginsberg’s film has very little to do with McBride’s groundbreaking film beyond the use of “documentary” style and mirror metaphor. The idea of exploring identity and/or sexual identity is not really traceable to one work of art. What makes Ginsberg’s experimental 1969 film so important is that it captures more than just a time capsule moment within the 1960’s Counterculture Movement as it brings focus to the resulting identity problems that movement helped to acerbate. It also serves as a great example of the power to be found within filmmaking.

Setting up a hidden movie camera in a mirrored box designed to look like an object of art. Welcome to the world of "Joe Glassman" Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

Setting up a hidden movie camera in a mirrored box designed to look like an object of art. Welcome to the world of “Joe Glassman”
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

Having just survived a devastating end to a relationship which led him to securing an apartment in the same building as the woman who had rejected him, Milton Moses Ginsberg essentially found himself in an existential downward spiral. This experience drove him to create the script for Coming Apart. An almost shockingly detailed script, he also sought to utilize some of the most respected young actors trained directly under the mythic teachings of Lee Strasberg. Very few of the actors seen in this film were not members of the original Actor’s Studio. It’s three leading actors were among Strasberg’s most prized pupils. They were also known as his most fearless actors who fully embraced every philosophy of Strasberg’s ideology. Rip Torn, Viveca Lindfors and Sally Kirkland may not have been the most famous, but they commanded a great deal of respect within the realm of NYC Actors and Method Acting. The easiest way to sum up Strasberg’s Method Acting was to understand and pursue acting as truth. Truth without filter. Truth without censor. Truth pursued at all costs and concentration. Essentially, Method Acting seeks to pursue the truth of the human soul to it’s deepest and often darkest depths. This was and remained the essential elements of all three actors.

Checking his hidden camera's perspective... Rip Torn Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

Checking his hidden camera’s perspective…
Rip Torn
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

Milton Moses Ginsberg once stated that the Coming Apart script served as a “vehicle for actors to reach into their souls and I found two actors who could reach deeper and better than any others at that time.” He was referring to both Rip Torn and Sally Kirkland. But the entire film is filled with Method Actors. This is particularly interesting to note as most who have seen Coming Apart walk away from the experience thinking that they have seen improvisation and even partial biographical film. This is not at all true. Almost everything in the film is scripted. While Ginsberg was not afraid of improvisation, he expected that each actor honor his script. They did. Each was fully invested in the three week project.

It is interesting to note that every single film snag, break, audio interference, audio loss and distortion is clearly listed and often even drawn into the script. When we are unable to hear or see something it is because Joe can’t deal with hearing or seeing it himself. The only post-production decision to deviate from the script was Rip Torn’s long rant into the camera. It was originally to be an articulated four minute rant during which Torn’s Joe experiences an emotional break. Ginsberg felt at looking at Rip Torn’s face was far more insightful than his own words. So he added unplanned chops and drops of sound during this one scene.

The idea of the film stems from the writer/director’s own self-destructive act of almost stalking a former lover, the premise is quite simple. A burned-out and emotionally ravaged psychiatrist rents an apartment in the same building as that of a woman with whom he had what he feels was a meaningful affair. However, this does not stop the doctor from pursuing an experiment in which he hides a movie camera within a mirrored box. Intended to look like a piece of modern art, he places this hidden camera so that it captures the goings on in the living room from one perspective. Trained on a sofa, “Joe” has placed the sofa in front of a huge mirror. In this way, the camera picks up all activity from two perspectives.

"What's this?" "Kinetic art object." "What?" "Modern sculptory." Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

“What’s this?”
“Kinetic art object.”
“What?”
“Modern sculptory.”
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

While he has set up the apartment as a sort of trap which will require his former lover to interact with him, he is also intent on filming his interactions with women. What at first seems like an extended and sick “bachelor’s weekend” soon devolves into an examination of sexuality and identity at it’s core root. Almost immediately the audience is placed in the role of Voyeur. It is an uncomfortable place to be. There is very little erotic about the goings-on, but it is quite sexual. It is also intense, provocative and disturbing.

When Joe’s former love confronts him for having crossed a line by moving into her building, Joe’s idea backfires. Viveca Lindfors’ Monica is not interested in Joe. If anything she pities him. But is Joe even worth pitying?

"Did I do this to you, Joe?" Viveca Lindfors & Rip Torn Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

“Did I do this to you, Joe?”
Viveca Lindfors & Rip Torn
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

Joe’s first visitors are there strictly for sex. The first encounter comes the closest to being erotic. The second encounter with Elaine played by Lois Markle in one of the film’s few comical moments, presents Joe with a type of sexuality he has perhaps only studied or discussed with patients. When presented with a true sadist, Joe isn’t sure about what he should do. In both comical and realistic ways, Markle’s characters tries to turn Joe on by exposing the permanent scars caused by cigarettes. It would seem that Elaine enjoys being a human ashtray.

This does nothing for Joe. She quickly suggests putting on provocative clothing. She even quickly runs back to her home to return in full-on BSDM gear designed to entice. Joe seems more curious than turned on. As she shows off her spike heel shoes, Joe asks her if it is hard to walk in them? She advises that these shoes are not for walking. Just when it seems she is about to give up all hope of getting laid, Joe decides to feign interest. As he pursues her on the floor, we see her legs up in the hair and she returns to her cooing and moaning while yelling, “You’re raping me! You’re raping me!” We see Joe hesitate and Elaine reach up and pull him back to her. She then returns to pretending that Joe is raping her. This is the only “light” moment to be found in Coming Apart.

Are you sure you don't want to put a cigarette out on me? Rip Torn & Lois Markle Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

Are you sure you don’t want to put a cigarette out on me?
Rip Torn & Lois Markle
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

The entire film runs like a document of what we would now call “found footage.” The scenes cut off. The film appears to run out or break. The audio goes off and on. The light has impact on the quality of the film and the way in which we can see. This approach has an interesting sort of effect for the viewer. Even when we don’t want to see everything, we often strain to keep up with what is going on in front of us. It is inappropriate. It is far too private. Welcome to being the target of the film. We are somewhat seduced into an act of voyeurism. The problem is that the eroticism of this film is short-lived. The erotic quickly becomes heart breakingly neurotic. Coming Apart is just that. We end up watching two people falling apart — or as their connection is grounded in the sexual, they are both cuming apart.

When we first see Sally Kirkland’s Joann, she sits on the sofa slacked and bored. Far too young for Joe and not the sort of woman we have been seeing. She is beautiful, but clearly not sitting there waiting for sex. However, Joann comes to animated life when we see Joe actually take an interest in her. In what is extremely naturalist and real dialogue we discover that Joe and Joann have run into each other just outside the building. She is also a former therapy patient who had quit therapy. She claims to have no interest in therapy, but Joe insists that it would be inappropriate for him to see her. He explains that he has cut back on therapy sessions and has taken this apartment to work on a paper for which he has been given a grant to write.

A drunken/stoned gathering quickly devolves into an uncomfortable challenge of group sex and sexual identity... Sally Kirkland is disengaged as "Sarabelle" The Clown hits on Joe... Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

A drunken/stoned gathering quickly devolves into an uncomfortable challenge of group sex and sexual identity…
Sally Kirkland is disengaged as “Sarabelle” The Clown hits on Joe…
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

This only seems to serve to excite Joann. Sally Kirkland’s character seems to be literally morph into a sexual being. She begins to shamelessly flirt with Joe. She mentions that she is involved with a man who likes to experiment. He likes to watch her get it on with other men. As she is clearly exciting Joe, she begins to tell him about an orgy she recently attended.

When he asks her more about orgies she responds, “It’s wilder than you can imagine.” And, it is here that we start to understand that Joann is every bit as broken as Joe. As she continues to try and excite him, she stumbles onto her own issues and woes. They slip out more clearly defined than a tale of her orgasm. “Why am I telling you all this for? You’re not my doctor!” Yet, she can’t help but keep speaking. Her rambling becomes less erotic than tragic and filled with self-loathing. Her energy drained, Sally Kirkland’s Joann is heart-broken and filled with a confused anger. Her body has started to fold in on itself but she continues to attempt some idea of body flirtation.

She tells him that her lover likes to call her “Whore.” It is apparent that Joann herself is confused why she has shared with Joe. It is a source of pain for her.

An awkward lapse of silence follows. Without any sort of reasoning, Joe offers “I’m lonely, too.”

This of course is as if he has given invitation. Joann has now placed herself across the room, hand close to Joe’s crotch — soon her head rests there as well. After allowing her to sublimate her entire body poised to give him oral pleasure, Joe cruelly dismisses her, “You’ve got to go to work and I’ve got to go home to my wife.”

"Let's make the most of a bad thing, shall we?" Rip Torn & Sally Kirkland  Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

“Let’s make the most of a bad thing, shall we?”
Rip Torn & Sally Kirkland
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

But Joe may have met his match. Joann quickly turns the tables on him by pointing out that she’s relieved he has a wife. A slight pause as she glances toward his crotch, “I thought you were a fag.”  This comment seems to have a far greater impact than we expect. Before long Joann is back an affair begins. Or at least, a sexual relationship begins. We see her consistently working hard to bring him sexual pleasure, but Joe seems to have lost the ability to achieve a hard-on. Drunk and nude, both Joann and Joe seem miserable. The camera unknown to Joann, Joe appear to start mugging at his camera — at us. It quickly becomes clear he is trying not to cry.

Later Joann returns, after a bit of an argument they end up attempting to have sex. She ends up masturbating against Joe’s leg. Sexuality between Joann and Joe seems to illicit impotence for Joe and rage for Joann. Just before his camera’s film runs out, he commands that Joann face away from him on all floors. The implication being that he can’t look at her to fuck her. Yet, Joann agrees. Four on the floor, Joanne waits. As Joe stands and removes his underwear, the film runs out.

A bit further into the film Joann returns with a whole group of people. All of whom seem to be in various degrees of intoxication. Group sex takes place, but it seems to present Joe and Joann with frustration. Joann seems angry. Joe seems afraid. When he mistakes a transgender female for a biological woman — this is 1969, but this person looks far more female than male. Later Joe is presented with a nude gay man who clearly wants to pleasure Joe. This is a returning theme in the film. Joe’s heterosexuality is consistently under scrutiny. It is never clear how much Joe’s developing sexual issue is related to the fact that perhaps he is sexually conflicted or merely depressed.

Sally Kirkland looks into the abyss... Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

Sally Kirkland looks into the abyss…
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

The downward spiral for Joe and Joann continues. Joe is clearly experiencing a nervous breakdown. Joann has been kicked out of her home — she claims this is because she has become Joe’s sex toy. Yet he refuses her a place to sleep. Telling her she stinks. We know that they have just had another unsuccessful attempt at sex. Beyond abusive, we have entered the realm of human cruelty.

At one point, Sally Kirkland’s Joann tells Joe: “You’re not as strong as I thought. You’re frightened. You’re weak-willed. There’s no mystery about you. None!”

She aims this as a threat, but she doesn’t give up. She continues to pursue Joe despite repeated failures, insults and even physical threat. It is illogical, but feels believable real.

It is crucial to note that there is nothing amateur or limited within Coming Apart. Each and every performance is so authentic in emotion, sexual need, desperation and rage that the viewer feels uncomfortable watching the interactions especially given that Ginsberg films it all from a secret camera perspective. Filled with mirror reflections that capture information from all perspectives with limitation of being stuck in the position of a perverse voyeur. A limited budget does not matter. Nothing is boring. The opposite. However, very little if any of it is “enjoyable.”

Half nude, loaded gun and on the attack: Sally Kirkland's break results in unhinged destructive blood-lust Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

Half nude, loaded gun and on the attack: Sally Kirkland’s break results in unhinged destructive blood-lust
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

Everything we see feels real. In fact, at the time the film was released many labeled it as pornographic. It carried an “X-Rating” and is still rated “NC-17” despite being tame in comparison to many films other than the entire movie just feels so real. And an even larger number of people refused to believe it was fictional. Even some of Rip Torn’s friends were convinced he had left his wife, Geraldine Page, for several weeks. Hired Ginsberg to take credit for shooting a film which was simply a drunken Torn having his way with women. This was something that was a source of both comedy and annoyance for both Rip and his wife. As for Sally Kirkland, she soon found herself being questioned about the idea of “Art vs. Pornography.”

Raging and murderous, Sally Kirkland tosses a piece of art directly at us, or, uh, Joe's hidden camera... Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

Raging and murderous, Sally Kirkland tosses a piece of art directly at us, or, uh, Joe’s hidden camera…
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

Perception is attacked... Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

Perception is attacked…
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

The film was made at the darkest moment of the counterculture revolution. 1968 was indeed a tipping point for the United States.

Erotica was very much a part of the Counter-Culture Revolution in the New York City art world!” Kirkland explained during a Q&A of the film in the late 1990’s.

Coming Apart for many of the actors was a natural extension of the revolution that they were so deeply vested. The was a revolution against war, oppression, inequality and perhaps most importantly — the Counter Culture was acting out against the regimented cultural and societal perceptions of what normalcy was supposed to be.

Like Dennis Hopper’s gritty little strange 1980 movie, 1969’s Coming Apart was also a subverting normality. It is of particular interest that this was all captured in what most would consider the final year of the 1960’s.

Reality shatters Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

Reality shatters
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

Despair, contempt, loneliness, heart break and rage destroy realistic perception once and for all... Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

Despair, contempt, loneliness, heart break and rage destroy realistic perception once and for all…
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

 

In the late 1990’s Sally Kirkland bluntly asserted to the audience for whom Coming Apart had just been screened, “People are still dealing with this revolution!

 

Nothing left to see or say. Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

Nothing left to see or say.
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

 

While more than a few of her fellow artists would consider Sally Kirkland an eccentric, none would ever argue her intelligence. An esteemed, highly intelligent and articulate individual, Sally Kirkland really hit the nail on the heard. 46 years on and Ginsberg’s Coming Apart is still shocking and confusing viewers. In many ways, this film’s examination of sexuality, loneliness, desperation and human rage goes beyond authenticity. It pursues and touches the rawest of human nerves. For many, it might be easier to watch the extreme torture porn of Srdjan Spasojevic’s A Serbian Film.

The film continues to polarize audiences. However most cinephiles, critics and actors now see this film as a masterpiece.

Kino had issued a great DVD of the film in 2000. I get contradictory reports about whether or not Kino still has the rights to continue to print their DVD of the film. However, while it has sold well a second reprint was never required. Or, it was never done. It can still be found on Amazon. There are no plans in place to give this historic and highly personal film a restoration it deserves. It would be a good time to more forward as all three of the key players for this film are in their 70’s and early 80’s. One of the challenges seems to be regarding the use of Jefferson Airplane music.

One thing is for sure — neither of this films should be forgotten.

Actually, I don’t think either will. Both Out of the Blue and Coming Apart carry a certain cred that is undeniable. They also both retain a level of curiosity. Neither fit into mainstream cinematic ideas. Both push the envelope without sacrificing artistic merit. These two films have respective followings.

Naked despair, rage and sexuality come to limited cinemas in 1969. Coming Apart Milton Moses Ginsberg, 1969 Cinematography | Jack Yager

Naked despair, rage and sexuality come to limited cinemas in 1969.
Coming Apart
Milton Moses Ginsberg, 1969
Cinematography | Jack Yager

Matty Stanfield, 10.4.2015

Like the majority of filmmakers working out of Eastern Europe, Myroslav Slaboshpytskiy’s “The Tribe” is about as dark, bleak and grim as cinema can get. It is also something dramatically different than I’ve ever seen on a movie screen.

The Tribe Miroslav Slaboshpitsky, 2014 Cinematography | Valentyn Vasyanovych

The Tribe
Miroslav Slaboshpitsky, 2014
Cinematography | Valentyn Vasyanovych

The plot of the film revolves within and around “life” in a sort of dystopian school, shelter, school, home, trade school or dorm for the deaf. The true purpose of where we find ourselves is suspect.

No auditory speaking, no subtitles — essentially no sound save the breathing and movement of fingers, hands and arms. This is not some cheap marketing stunt. This is the audience pulled into the perspective of the characters who do not have the benefit of sound. We are essentially pulled into a “world” within which we have no way of easily understanding what is being communicated.

Smoking and talking in the Boy's Room... The Tribe Miroslav Slaboshpitsky, 2014 Cinematography | Valentyn Vasyanovych

Smoking and talking in the Boy’s Room…
The Tribe
Miroslav Slaboshpitsky, 2014
Cinematography | Valentyn Vasyanovych

The impact is almost without measure.

Myroslav Slaboshpytskiy’s cast is deaf. They communicate in sign language which very few of us actually know. To the director and the casts’ credits, it doesn’t take us long to determine what is going on, but it does serve as a sort of portal toward metaphor and allegory that would not exist without this challenging perspective. Welcome to a world when all of our understanding of communication is stolen.

Ukraine, Eastern Europe,  A Community of Deaf Youth. Welcome to The Marginalized... The Tribe Miroslav Slaboshpitsky, 2014 Cinematography | Valentyn Vasyanovych

Ukraine, Eastern Europe, A Community of Deaf Youth. Welcome to The Marginalized…
The Tribe
Miroslav Slaboshpitsky, 2014
Cinematography | Valentyn Vasyanovych

Welcome to the world of “The Tribe.”

Cinematographer, Valentyn Vasyanovych, captures everything in an almost formalist and interesting set of long-takes. The art of cinematography is crucial here and extraordinary. Without question, we would be watching closely anyway, but Vasyanovych’s work lends itself to pulling us even closer in our almost dazed gaze.

The characters speaking Ukrainian Sign Language, the audience is shut out of this world with only close observation to guide us.  The Tribe Miroslav Slaboshpitsky, 2014 Cinematography | Valentyn Vasyanovych

The characters speaking Ukrainian Sign Language, the audience is shut out of this world with only close observation to guide us.
The Tribe
Miroslav Slaboshpitsky, 2014
Cinematography | Valentyn Vasyanovych

When our main character shows affection toward another, the possibility of being loved seems cruel to the other. Not fully certain what is stated between these two young people, but it certainly feels as if “Anna” feels that there is no room for “love” within the world in which both are trapped.

The Tribe Miroslav Slaboshpitsky, 2014 Cinematography | Valentyn Vasyanovych

The Tribe
Miroslav Slaboshpitsky, 2014
Cinematography | Valentyn Vasyanovych

The scenes between “Anna” and “Sergey” are intense, erotic and frightening. Partly because we are never sure exactly what is being communicated. Their argument seems like an outburst of violent gestures, grunts and thumps. The sexual intimacy is both beautiful and somehow disturbing. Especially given what we learn is going on within this dark and fractured world.

The Tribe Miroslav Slaboshpitsky, 2014 Cinematography | Valentyn Vasyanovych

The Tribe
Miroslav Slaboshpitsky, 2014
Cinematography | Valentyn Vasyanovych

There are a great many disturbing aspects in “The Tribe.” In fact, some of this film is more than a bit difficult to watch. The world in which these young people live is cold, cruel and Miroslav Slaboshpitsky’s pulls no punches. There may be aspects to this story that are too graphic for some. Be warned because once you start watching this film, you will most likely find it impossible to look away.  We have no choice but to watch, to blink or look away is to miss out on vital information about his grim world.

The Tribe Miroslav Slaboshpitsky, 2014 Cinematography | Valentyn Vasyanovych

The Tribe
Miroslav Slaboshpitsky, 2014
Cinematography | Valentyn Vasyanovych

This film is an often traumatic sort of reminder to many of us in the audience who only have limited access to this tribes’ world. In more than a few ways we are transported into their world.

Certainly not an easy film. But the vitalness and the cinematic magic is impossible to deny. And in my opinion, it would be tragic to miss this movie. An unforgettable sort of silent movie. …with no title cards to guide you.

Each is required by some enforced duty... The Tribe Miroslav Slaboshpitsky, 2014 Cinematography | Valentyn Vasyanovych

Each is required by some enforced duty…
The Tribe
Miroslav Slaboshpitsky, 2014
Cinematography | Valentyn Vasyanovych

Sadly “The Tribe” is receiving a very limited US release. But it will be coming forward via VOD, DVD and Blu-ray soon and is already available in the UK. If you love the art of film, you will not want to miss this movie. Add this to my list of the best films I’ve seen in 2015.

Being pulled into a different sort of world... The Tribe Miroslav Slaboshpitsky, 2014 Cinematography | Valentyn Vasyanovych

Being pulled into a different sort of world…
The Tribe
Miroslav Slaboshpitsky, 2014
Cinematography | Valentyn Vasyanovych

Don’t miss the opportunity to see this film. The San Francisco Roxie Theater only has 2 remaining scheduled screenings starting today. The VOD, DVD and Blu-Ray will be released to the US by http://drafthousefilms.com

Matty Stanfield, 9.13.15

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 bass, drums and orchestra kick in and we can hear Cher start to sing:

Well I’m hell on wheels, I’m a roller mama. I can slide down places that you never knew. Try me on for size at the roll-a-rama.
If you tie my laces then I’ll follow you. Follow you! Follow you!!!
See something I like, gonna go for it
See something I want, I’m gonna go after it
See something I like, gonna go for it
See something I want… Let’s roll! Hell on wheels!! Let’s roll! Come on roll with me!
I roll at a quarter till three yeah
Let’s rock! Hell on wheels!  Let’s roll!
Come on rock with me! I’ll make you feel so free! Yeah! Look out!!! “(voice echo effect)

Thus begins the infamous 1979 Roller Disco Movie which promises us “love on wheels!”

Cher croons a warning: "Look Out!"  Linda Blair & Jim Bray Roller Boogie Mark Lester, 1979 Cinematography | Dean Cundey

Cher croons a warning: “Look Out!”
Linda Blair & Jim Bray
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

The 1970’s were a strange time. Gone were the revolutionary / political activism of the 1960’s. As our nation crossed over the years of 1969 to 1971, the idea of peace and love were starting to fade. By the time American Culture slipped in the haze of the 1970’s, people were more concerned with giving The World a Coke than offering peace and love. Chairs began to fully form into vinyl sacks filled with “bean-like” substances. Colors that should never have gone together were thought to match. Suspenders were no longer a utility, they were a multi-colored/glittered fashion statement. Men in Southern California and NYC began “perming” their hair. Blow-dyers were not something limited to the hairdresser, by 1974 this item was anticipated to be in every woman’s home. By 1978 every human being was expected to own a blow-dryer. Wings were no longer just for angels — they were for your hair. Your very dry/brittle hair. Drug use for mind-expansion quickly became a tool for fun and escape. Sexuality was no longer an aspect of “free love.” Sexuality was almost required of anyone over 16 as a political state of independence.

"Feels sooooo good. Sooooo good." Donna Summer Giorgio Moroder I Feel Love, 1977

“Feels sooooo good. Sooooo good.”
Donna Summer
Giorgio Moroder
I Feel Love, 1977

The concept of The Sexual Revolution took a sharp left turn toward The Hedonistic. Love and sex became two very different things. The people who came of age in the mid-1970’s had rocks to love. This would be the era when gay men finally took a stand. Many of these men were especially trapped within the confusion of 70’s sexuality. Sex was not just for enjoyment is was an assertion of a human right — And, it was for all the world to see. Despite all the tackiness and odd ideas — Bataka Bats, anyone? Earth Shoes? Male half-shirts? Mini-shorts with tube socksBell-Bottom jeans? Special chain guards for bell-bottom pant wearing hipsters? The Brady Bunch? Battle of the Network Stars? Jeff & Pink Lady? The Bay City Rollers? Herpes?

Battle of the Network Stars

Battle of the Network Stars

Sadly it would take us till about 1982 to fully realize how lame it all was. Not that we aren’t “nostalgic” for some of it, but I’m not sure any of us would be interested in having an elementary school Guidance Counselor make us hit her puppet with the Bataka Bat she kept in the corner of her tiny space. And while it is fun to watch Jeff & Pink Lady or Battle of the Network Stars on YouTube for a couple of minutes, would any of us really want to spend an entire weekend binging on them?

If there were ever a sign that the 1970’s were a profoundly horrible era for all of us it was the advent of a Euro-idea that transformed into what we call “Disco.” In fact, everything started to go firmly downhill after Disco thumped its way into our hearts and collective culture. As the fun offered by the multi-colored flashing floors of the discotheque started to become a bit tired, the situation took a very fast slip into an odd sensation that would sweep not only the US but Canada as well!

At the time it must have made sense. But it would appear that with a simple blink of the eye, Roller Rinks which had been content for us all to skate along with Billy Swan crooning “I Can Help” or Grand Funk Railroad’s reworking of “The Locomotion” suddenly magically became Disco Roller-A-Ramas. I remember being a child at a friend’s innocent Roller Rink Birthday Party when “Disco Duck” and “I Feel Love” began to throb throughout the huge space. The lights dimmed and glitter balls began to twirl. Multi-colors spraying out in all directions. Suddenly, KISS was no longer rockin’ our world. No. It was that quick. Rick Dees, Donna Summer  and The Bee Gees has replaced Grand Funk, The Bay City Rollers, Peter Frampton, Heart, Fleetwood Mac and Dear Sweet God — Billy Swan!!! It only took our little heads a couple of minutes to find our rhythm regain appropriate sway. Our wheels took to this new level of pulse once they began to roll across the throbbing wooden floor.

Roller Disco Dancin' Baby!

Roller Disco Dancin’ Baby!

Soon we were rollin’ and disco’ing our way around the circular run that was our Roller Rink. We were not simply roller skating. No way, Baby. We were Disco Roll-A-Rama Skating. We were 7 and 8 years old hip disco rollers! And, for about 3 weeks it seemed cool.

Now. Before we engage in any discussion of Disco and the sad tilt down the ramp of Disco Roller Skating which would call Hollywood to take up any slack that might be left in our degenerate swag — we must discuss the American Anomaly we all call Cher.

Cher is more than ready to roll... Photograph | Harry Langdon, 1979

Cher is more than ready to roll…
Photograph | Harry Langdon, 1979

Yes, you know who she is. And you are lying if you do not own some music or a movie featuring her unique skill and talent.

Hey! You! Yeah, you! Super Cool Rock Dudes! No! Even you can’t escape the bitter truth!

Think about it. That was Cher on the cover of the now iconic Rod Stewart LP cover. And, take a deep breath, Cher rocked it down hard with Gregg Allman and his brothers. And if you’ve still not fallen prey to the truth: Cher was also gettin’ down with Gene Simons of KISS. If for some reason you refuse to admit any claim to Cher, check with the person nearest to you.

Gene Simmons and Cher ...eating a wiener.  c. 1979 Photographer | Unknown to me

Gene Simmons and Cher
…eating a wiener.
c. 1979
Photographer | Unknown to me

One of the two you have listened, watched and paid for Cher and her follies. They even gave her an Oscar!

One could debate if Cher really understood how “jacked” into the fleeting “cool” moments of our collective culture at just the right times. Back in the day, Cher’s motives do not seem as calculated as her fellow celebrities and artists. But none can deny that some sort of Divine Benevolence has always guided Cher to the epicenter of cool.

Sonny & Cher c. 1966 Photograph | Michael Ochs

Sonny & Cher
c. 1966
Photograph | Michael Ochs

When she cut her own “bangs” and put on an ugly-ill-fitting sort of vest and sang “The Beat Goes On” with her Svengali-like husband, how could she have known it was jet her to a level of fame beyond understanding? Even later in the late 1960’s and very early 70’s as the Sonny & Cher records screeched to a stop, she would follow Sonny to Las Vegas. They made a great deal of money in the “unhip” Vegas. Their style and Cher’s sarcasm turned Vegas toward a new kind of cool. Not far behind them would be the likes of Tony Orlando & Dawn, Diana Ross and Streisand. True, they would make more money — but it is doubtful that they would have made the trek to that Frank Sinatra/Dean Martin saturated world first. Does anyone really think that an early 70’s Streisand went to Vegas because Liberace asked her? No. She and the others flocked there because Cher went there first. It was around this time that Cher would follow Sonny to the land of TV. They were a hit for a quick year or two. She stumbled into Warren Beatty who she decided to sleep with because she had nothing better to do. As Sonny & Cher began to fade and tabloids reported of a tryst with Beatty and her divorce.  Cher happened to meet a

Does Cher's 1974 album cover remind you of Stevie Nick's Belladonna Album of 1981? ...Cher Factor!  Cher  Dark Lady, 1974 Fashion | Calvin Klein Photograph | Richard Avedon

Does Cher’s 1974 album cover remind you of Stevie Nick’s Belladonna Album of 1981? …Cher Factor!
Cher
Dark Lady, 1974
Fashion | Calvin Klein
Photograph | Richard Avedon

then major Power-Broker who had yet to achieve household fame, David Geffen. Sure Beatty just wanted to score and Geffen was about as Gay as Gay gets, but Cher didn’t realize either of these things. No, she simply liked Geffen and he found true fame with her at his side. She also found her way into Studio 54.  At the time, many hipsters of the day doubted Cher had what it took to party among the NYC Elites of Andy Warhol, Mick Jagger and Sylvester. But come on. We are talking about Cher. Her entry into the doors of Studio 54 was at the exact moment it became mainstream noticed. And while we cannot directly link Cher to the drug addictions of Liza Minnelli, Mikhail Baryshnikov and Gary Valentine, but many suspect that The Cher Factor is at least partially to blame.

Cher liked Disco music. She deemed it fun and cool. Yet, she would not run to the recording studio to record it. No. She was too busy with Gregg Allman, his brothers, Gene Simons, KISS and toying with idea of staring in some Anti-Vietnam movie called Coming Home and even a remake of A Star Is Born. These would have been logical, sound and smart marketable choices. But Cher was busy. No, not with a TV Show or in a recording studio. She was busy figuring out Aerobics.  This was long before Barbra Streisand, Goldie Hawn and Jane Fonda even put a toe in the gym. Yes, true fact. 

And while Ms. Fonda marketed Aerobics & Fitness to the masses and made millions. It was because her two pals, Barbra Streisand and Goldie Hawn were discussing politics over odd bodily contortions. But Streisand and Hawn only showed up to the Aerobic Studio because Cher was bending her body in positions that remain a thing of un-photographed legend. Tragically, these career opportunities were just for fun for Cher. She didn’t make any real money from these things.

Putting up the Cher Take Me Home billboard.  LA, 1979

Putting up the Cher Take Me Home billboard.
LA, 1979

When Cher finally turned away from the sound of Rock and California-Country-Rock toward the Disco she had been playing within, she was a bit late in recording it as her sound. It would be in the mid-point of 1979 before Cher would find her way into Bob Esty’s Disco Studio. She scored a hit single with Take Me Home plus Barry Levine captured her in Bob Mackie designed “Cher Disco Armor!” on an album cover. That album didn’t sell badly, but it didn’t sell great. But her one single sold.

Cher Bob Mackie Disco Armor! Take Me Home, 1979 Photograph | Barry Levine

Cher
Bob Mackie Disco Armor!
Take Me Home, 1979
Photograph | Barry Levine

Cher was the Secret Pioneer, but she was no marketing/selling match compared to Barbra Streisand’s The Main Event single or far less compared to the infamous and iconic Power-Diva-Duel that would become the Streisand/Summers’ massive hit, No More Tears (Enough is Enough.)  We have no real way of knowing if Cher was bothered. I mean Donna Summer was sitting on an old-fashioned Radio and Barbra was soaked Wet and looking more than a little bit confused. Just as audiences had rushed to see Jane Fonda in Coming Home and Streisand in A Star Is Born, Dolly Parton and Linda Ronstadt secured the concept of country-pop-rock and translated them into big hits. And of course, it would be Jane Fonda who would whisk past Cher as well as Streisand/Hawn to Aerobic Glory.

I must apologize. I have just taken us into the 1980’s.  OK. Let’s kick it back a couple of years. Cher has already decided she should endeavor to make a Disco record, but it would have to wait a few months.

Why?

Well, Cher was far too busy having fun. True, her second marriage wrecked in under several weeks, a new baby arrived, an eager young daughter and a frustrated Gene Simons simply refused to join her. But she left one issue and three individuals with the Nanny(s) and took off to Brooklyn.

Why would Cher skip over to Brooklyn and out Studio 54? And you must remember:  just Studio 54 was really only heating up with the Ride of The White Horse. And things between Debbie Harry and Truman Capote/Andy Warhol were forming into Art as Jessica Lange wedged her way between Mikhail Baryshnikov’s coke spoon and an increasingly frantic yet dazzling Liza were catching the public’s interest.

Why bother with Studio 54? Cher Brooklyn Disco Roll-A-Rama, c. 1976 Photographer | Unknown to me

Why bother with Studio 54?
Cher
Brooklyn Disco Roll-A-Rama, c. 1976
Photographer | Unknown to me

You see, in early 1977, one had to go to Brooklyn to Disco Roller Skate in true style. Cher rolled out a whole new type of fashion into her excursion into The World of The Roll-A-Rama Disco! Skates had to match the outfits and the outfits had to be sexy, fun and provocative! Bob Mackie was her real friend and was more than happy to assist. She owned that rink in all her see-through glitter costumed glory!

Cher Boobies by Cher Dress by Bob Mackie Photograph | Harry Langdon

Cher
Boobies by Cher
Dress by Bob Mackie
Photograph | Harry Langdon

The only reason her agent and Bob Esty was able to drag Cher out of that rink was because she had heard —  in what one can safely assume was presented in the form of a plea to her — Cher finally admitted that she was Disco Roller Skating Fanatic. Bob Esty worked like a speed-freak with Michele Aller to compose a song called, Hell on Wheels. It only took the mention that they written what they considered a true Disco Roller Skating Anthem to get Cher and her family back to LA to record that song. She also ended up recording enough songs to fill two albums which were largely fueled by the Disco Sound.

Cher is Disco-Rollin' with un-named friend. The Disco Boobies and the Disco Skating that would inspire a Hollywood Marathon Sprint!  c. 1977 Photographer | Unknown to me

Cher is Disco-Rollin’ with un-named friend. The Disco Boobies and the Disco Skating that would inspire a Hollywood Marathon Sprint!
c. 1977
Photographer | Unknown to me

One problem: This was now 1979 and the Anti-Disco Movement was building momentum. Cher barely had time to squeak out one hit. This now leads us away from Cher directly to an atrocity that her Factor helped to fuel in The Land of Hollywood. However, in all fairness to Cher — she probably knew nothing of the impact of her actions and Disco Anthem.

Hollywood had no problem with grabbing onto Disco Culture, but the subculture of Disco Roller Skating would allude their radar. The executives should have been paying better attention to The Cher Factor. But to be fair, none of us did. The Cher Factor is usually so far-ahead of the Cultural Curve that it is only obvious with the gift of hindsight.

Irwin Yablans had been an instinctive film producer. He was inspired by Cher’s sheer Disco Roller Skating Boobies images and got wind that she was about to record a Disco album! Irwin Yablans, in some ways is like Cher. He didn’t really need to put on the skates. The bump, grind and jiggle of Cher’s meshed boobs was all he needed for cinematic inspiration.

The single that failed to chart until Roller Boogie which it would help to inspire.  The Cher Factor Cher Hell On Wheels, 1979 from the Prisoner album Photograph | Harry Langdon

The single that failed to chart until Roller Boogie which it would help to inspire.
The Cher Factor
Cher
Hell On Wheels, 1979
from the Prisoner album
Photograph | Harry Langdon

 

Remember, the world of film would not have John Carpenter’s Halloween had Yablans not suggested the idea of a babysitter serial killer slasher movie to the young director. So when Yablans suggested the idea of a Disco Roller Disco movie to screenwriter, Barry Schneider, he quickly wrote what became Roller Boogie. There seems to have been a brief period when the Yablans’ project was stalled. Apparently, Schneider wanted the male lead to be a struggling song-writer and the lead actress to be the solid Disco-Rollin’ Mama. For whatever reason, this idea didn’t suit Irwin.

He was also not particularly easy in appealing to “the R-Rated Adult Audience” demographic. Kids. Irwin wanted to pull in and do it for the kids. And to do that the leading man would need to be an instant winner and cool.

When they were ready to, um, roll, Linda Blair was their first and only choice for the Leading lady.

Linda Blair Hollywood, c. 1977 Photographer | Unknown to me

Linda Blair
Hollywood, c. 1977
Photographer | Unknown to me

Linda Blair had instant name recognition, she was hot but not too hot and she could be had on the “cheap.” This had nothing to do with her talent or her fame. This was because she had recently laid claim to negative  “infamy.”  Yep. Poor Linda had strayed from the world of Demons and Rick Springfield and had found her way into the world of real rock, via Lynyrd Skynyrd and cocaine. I’m not quite clear on how that band came into play, but it did. There are a number of photographs from 1975 to 1977 that feature Linda with Ronnie Van Zant. Anyway, poor Linda had gotten into some trouble. But she was no Lindsey Lohan! She got it together pretty darn quick.

I'm not sure any of us want to understand how Linda became close to this dude and his fellow-brilliant musicians. But it was probably not a very good idea... Linda Blair and Ronnie Van Zant c. 1975 Photographer | Unknown to me

I’m not sure any of us want to understand how Linda became close to this dude and his fellow-brilliant musicians. But it was probably not a very good idea…
Linda Blair and Ronnie Van Zant
c. 1975
Photographer | Unknown to me

For Irwin Yablans and his limited budget there was only one choice for his Leading Man. True he did initially agree to Linda Blair’s request that he cast her then boyfriend. But by the times the cameras were ready to roll, she had kicked him to the curb. So there was only one choice. On paper, it would make sense to cast Jim Bray in the leading male role because he was a big deal within the Roller Skating World an “artistic roller skating champion,” but in reality it was probably a poor choice. It still puzzles me why they didn’t pull Jimmy Van Patten from out of the supporting cast and into the lead. Jim Bray was able to skate, but he wasn’t particularly great-looking and was — well — kind of scrawny with no real charisma. Jimmy Van Patten is clearly dying to jump to the head of the class, he was well built, better looking and just cooler.

The other issue with Bray in the male lead is that he just seems “small” next to Linda Blair.

Let's Roll! Let's Rock! Roller Boogie Mark L. Lester Cinematography | Dean Cundey

Let’s Roll! Let’s Rock!
Roller Boogie
Mark L. Lester
Cinematography | Dean Cundey

It is here that I find it essential to contradict something to which people always refer: Linda Blair was not fat. She was not the slim, in-shape beauty she is today — but, seriously, Linda Blair was not fat. She was seriously hot. Even in The Age of Disco, most straight dudes would have gone for Linda over any 3 of the Charlie’s Angels.

Why? Because she was naturally hot and nothing seems “high-maintenance” about her. She is accessibly hot. However, when Mark L. Lester has stand her next to a 95lbs guy like Jim Bray — it looks “off.” This is why there are so many shots of both by themselves or shots together are carefully framed so that Bray’s skinny physique is not interacting with Blair in obvious ways.

A tender moment... Jim Bray / Linda Blair Roller Boogie Mark L. Lester, 1979 Cinematography | Dean Cundey

A tender moment…
Jim Bray / Linda Blair
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

But then again, Jim Bray is one of the odd-fitting pieces that help to make the Cinematic-Taint we all love called Roller Boogie. Had the equally hot Jimmy Van Patten played opposite Linda Blair, Mark L. Lester and Yablans probably would not have felt it important to cut “the not quite R-rated sex” scene. This was not cut because it would have gained an R-rating — it was cut because I think we can all admit it would have been “uncomfortable” to think about Linda doing the deed with Jim Bray. Poor Jimmy Van Patten. It would be his younger brother, Vincent Van Patten, who would get his day in the sun with Linda Blair in the R-rated Hell Night. Wait. Maybe we should feel more sorry for Vincent.

Back to focus:

Production of Roller Boogie went fast. It had to. Just as they went into production — Columbia Studios was financing a bigger budgeted Roller Disco Movie staring Scott Baio, Marcia Brady, Ruth Buzzi, Playboy’s Dorothy Stratten, the screen debut of Patrick Swayze and the sought-after prize that was Flip Wilson. This movie was called Skatetown, U.S.A. As it turned out, this turned out not to be a problem.

Skatetown USA Cinematic Error Trust me, the poster is the only entertaining thing to be found in this movie.

Skatetown USA
Cinematic Error
Trust me, the poster is the only entertaining thing to be found in this movie.

Columbia and Rastar did beat Yablans to the screen by 2 months, but Skatetown, U.S.A. was DOA upon arrival to the cinemas. There was also a great deal of pressure to get the production filmed before Poor Linda had to be in front of a judge in Florida to face the music for her post-Exorcist II: The Hertic-Lynyrd Skynyrd-Cocaine Adventure of 1977. Production completed just in time for Linda to catch her plane and Jim Bray to visit Studio 54! Roller Boogie might have not arrived until December of 1979, 2 months after Skatetown, U.S.A., and more than several months after the Historic Disco Demolition Night — but Linda Blair and Jim Bray in Roller Boogie were a hit. Skatetown, U.S.A. was a major flop and only sounds good-bad fun. It is actually just very bad.

Still much disco work to be done through 1981. Disco had a slower death than many expected. Andy Gibb After Dark Magazine

Still much disco work to be done through 1981. Disco had a slower death than many expected.
Andy Gibb
After Dark Magazine

And while Disco Demolition Night did have some significant impact, Disco Culture was not quite done yet. Disco would not fully die until early 1981. Just in time for the ULTIMATE big-budget Disco Roller Skating Movie, Xanadu, to arrive. Xanadu’s soundtrack sold well, but the movie tanked.

Here is my challenge: The Notorious & Much-Beloved Roller Boogie was recently restored and re-issued to Blu-Ray by Olive Films. I was asked to review it. But you know I think I can sum up Roller Boogie fairly fast. Almost as fast as The Disco Roll-A-Rama Fad.

Linda Blair cruising with her best friend, Big Tits. Roller Boogie Mark L. Lester, 1979 Cinematography | Dean Cundey

Linda Blair cruising with her best friend, Big Tits.
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

Linda Blair is a classically trained flutist who doesn’t really appear to know how to play the flute. Her mastery of the flute reminds one of another oblong thing. Linda Blair gently massages her flute while teasingly gently blowing upon it’s head. Get your mind out of the gutter! The head of the flute! Linda’s flute-ing appears to be “sync’d” in. Anyway, her mom is the Step Mom from My Three Sons. And she is stressed-out! Linda’s Daddy is really rich. He gives Linda everything she wants except her freedom to really get her roll on! She has two friends: One is female. I can never recall her friend’s name. I call her Big Tits. Her other friend is a an early version of geek+Yuppy.

"Hmmm. Should I let it slip a little further down?" giggles. "NO!" Linda Blair in her closet Roller Boogie Mark L. Lester, 1979 Cinematography | Dean Cundey

“Hmmm. Should I let it slip a little further down?” giggles. “NO!”
Linda Blair in her closet
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

Linda contemplates the weary challenges of being rich, forced manipulation of a flute and best friend, Big Tits, who claims to be her age but is probably lying. Linda is pretty sure Big Tits is pushing 30. So it is time to change clothes and do what she needs to do!

"Outfit. Check. Skates. Check." Linda Blair Roller Boogie Mark L. Lester, 1979 Cinematography | Dean Cundey

“Outfit. Check. Skates. Check.”
Linda Blair
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

"OK. Hot enough!"  Linda Blair Roller Boogie Mark L. Lester, 1979 Cinematography | Dean Cundey

“OK. Hot enough!”
Linda Blair
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

"I'm outta here!" Linda Blair Roller Boogie Mark L. Lester, 1979 Cinematography | Dean Cundey

“I’m outta here!”
Linda Blair
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

Linda gets fed up and drives her sleek and way-cool car that has a telephone in it! She goes where all wealthy Beverly Hills girls go to rebel and be cool – Venice Beach!

The flute can wait! I gotta learn how to disco roller skate! Linda Blair on what I believe is an early form of a cell phone attached to her fancy car. Roller Boogie Mark L. Lester, 1976 Cinematography | Dean Cundey

The flute can wait! I gotta learn how to disco roller skate!
Linda Blair on what I believe is an early form of a cell phone attached to her fancy car.
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

Here she happens to notice a Totally Hot Stud, Jim Bray!,  who we have already had the benefit of seeing — but as he rolls up, Linda is unable to escape his boy-ish charm. He lives in a seedy hotel! (only we the viewers seem to be aware that Jim Bray is most likely a rent boy who skates to peddle his ass, but this may not really be true) — Anyway, Linda works her permed-giggly charm on Jim. She had him at her  brief confusion determining if he is her leading man and not some gay hooker who rolled up on the set.

Whoa! Wait. Is that the leading man? Oh, yes. Well he is ONE HOT HUNK OF A MAN!!! ...in mini-shorts, tube socks, skating around Venice Beach. No worries.  Jim Bray doing his best Roller Boogie Marl L. Lester, 1979 Cinematography | Dean Cundey

Whoa! Wait. Is that the leading man? Oh, yes. Well he is ONE HOT HUNK OF A MAN!!! …in mini-shorts, tube socks, skating around Venice Beach. No worries.
Jim Bray doing his best
Roller Boogie
Marl L. Lester, 1979
Cinematography | Dean Cundey

One thing leads to another and Jim teaches Linda how to Disco Roller Skate. He really had to — she already had all of the wardrobe and the skates. She just needed the skill. In truth, I think Linda was just using the Disco Skate Lessons as a ploy. She wants him. She clearly knows how to dance. The real “training” seems to be in this frail hustler’s ability to “lead” and “lift” anything above 30lbs.

So far so good. Now Jim, turn and hoist Linda above your head!  Jim Bray / Linda Blair Roller Boogie Mark L. Lester, 1979 Cinematography | Dean Cundey

So far so good. Now Jim, turn and hoist Linda above your head!
Jim Bray / Linda Blair
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

But he masters it. Linda’s friends and family do not accept her interest in pursing this Cher-like lifestyle. She has to go to Juilliard and sign with some classy classical music label to play the flute! Jim’s friends, who are all a way lot better-looking — especially the Van Patten boy, all like Linda and Big Tits!

Jim's pals!  Little Jimmy Van Patten in yellow. Are you sure he is not Linda's leading man? Roller Boogie Mark L. Lester, 1979 Cinematography | Dean Cundey

Jim’s pals!
Little Jimmy Van Patten in yellow. Are you sure he is not Linda’s leading man?
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

But they worry that she is going to crush his heart. Also he’s not bringing in his share of the sex bread. He is spending way too much time skating around with Linda. And she’s not paying! Jammers is Jim’s Disco Roll-A-Rama of choice. Cue Audience: “Of course it is!”  But Jammers is about to go down due to some shady deal to build senior housing. Senior Citizen’s don’t need housing on Venice Beach! Not when the kids need Jammers! Comic mayhem ensues! It all comes to a head and a happy conclusion at the Big Jammer’s Roller Boogie Competition!

And, Hoist! The Winners! Linda Blair/ Jim Bray Roller Boogie Mark L. Lester, 1979 Cinematography | Dean Cundey

And, Hoist! The Winners!
Linda Blair/ Jim Bray
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

Linda & Jim want to win! And all of Jim’s pals and Big Tits cheer them on. They win! And Jammers beats the evil attempt to take away their Disco Roller Fun!

In the end, Jim and Linda take a sunset walk. Yes. A walk. Not a disco roll. They love each other, but they need to take care of few personal issues first. Linda has to achieve Flute control and fame in NYC. And, Jim explains to her that he is going to take his Disco Roller Skating skill to the US Olympics!

Time to put our roller disco love on hold. Linda Blair / Jim Bray Roller Boogie Mark L. Lester, 1979 Cinematography | Dean Cundey

Time to put our roller disco love on hold.
Linda Blair / Jim Bray
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

They kiss. Linda drives away. I searched the disc for that Easter Egg feature that would at last allow me to see Linda discuss all of this with Big Tits. I could not find it! But I am fairly sure I know how Barry Schneider wrote it.

Final Scene: Airport Gate

Linda leans on Big Tits.

Linda:  I’m going to miss you sooooo much, but I’m going to miss my Jim more!

BT: Just fly him out to NYC. No major.

Linda:  Oh, no! I couldn’t do that to him. He’s on his way to disco skate for the US Olympics!

BT:   Like, Oh my God! Linda? Disco Skating is not an Olympic Sport. I mean, like, it’s barely a “thing.” As if!

Linda:  Oh, no! I need to let him know! He took the Roller Boogie prize money to get to the Olympics!”

BT:  Look. Jim is a man-hooker. Ok? He took that Roller Boogie prize money to buy some new mini-shorts.

Linda: Oh, no! Don’t be so silly! You are such a goof, Big Tits!

BT:  Look, Kiddo — you just focus on mastering the flute and the real men will be crawling to you!

Linda:  K! Byyyyeeee!

The End

Jimmy Van Patten, Coke-Fueld-Disco Skate Fan & Big Tits give a hand for Linda & Jim! Well, Van Patten is more upset that he's not skating with Linda, but he's doing his best.

Jimmy Van Patten, Coke-Fueld-Disco Skate Fan & Big Tits give a hand for Linda & Jim! Well, Van Patten is more upset that he’s not skating with Linda, but he’s doing his best.

Cue formerly failed Cher disco single.

The way I see it, if you haven’t already seen the incredibly bad-good fun that is Roller Boogie. You need to. Go on line, but the Blu-Ray or the new DVD from Olive Films. It’s cheap! You will not regret it. I think one of the main reasons Roller Boogie remains so much fun to watch and re-watch is that it is the extreme opposite of movies like Saturday Night Fever and also far better than lame movies like Skatetown, U.S.A. There is nothing “realistic” about it.

Jim laces Linda up! Roller Boogie Mark L. Lester, 1979 Cinematography | Dean Cundey

Jim laces Linda up!
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

It embraces only the fun and innocent side of things. There is plenty of room to project and talk back to the screen if you feel the need. The comedy and subplots are so very bad — they become fun. By the way, a sequel was planned, it was to be titled Acapulco Roller Boogie. Tragically, this film never came to be.

And there is The Cher Factor going down. The producers were able to use Hell On Wheels for the movie’s theme song. It was included on the mildly well selling soundtrack album.

The soundtrack for Roller Boogie featuring "a song by Cher"

The soundtrack for Roller Boogie featuring “a song by Cher”

However, Hell On Wheels was not recorded for the movie. This is mistake many make. This was a track off her second Disco-oriented album called Prisoner. It had been released as a single as shown far above in this post. But Roller Boogie gave the song a “re-visit” and it became a minor success. A very early Cher music video for Hell On Wheels started to gain some air-play. Even with a broken arm, Cher skillfully Disco Skated with the aid of holding onto moving cars! The vid-clip was not made for Roller Boggie. If you look close, you can still find it on YouTube. Wait. Now that I think about it. Cher’s disco vid-clip might ever very well inspired Olivia Newton-John to use video to promote her Physical album. Well, that’s The Cher Factor.

Linda Blair requests some new laces for her skates. Roller Boogie Mark L. Lester, 1979 Cinematography | Dean Cundey

Linda Blair requests some new laces for her skates.
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

It is not clear if Cher is even aware of this movie. No one knows and no one is going to ask her. Don’t go there. Just a friendly warning.

But were it not for Roller Boogie, Cher’s Hell On Wheels would have been lost forever. …sort of like that “punk” rock album she made which was actually more like pop attempting to be New Wave.  Black Rose, anyone? It doesn’t matter. Something made her curious about this thing that used to be called Broadway. She sort of fell into a role for a Robert Altman play that became a movie. Then she “hung” out with Mike Nichols and Meryl Streep and on her way to Vegas, she took a brief stop and made a movie called Silkwood. She would have to put off her plans for Vegas for a while. She ended up making a lot of movies that made a lot of money. She had sex with Tom Cruise but rolled her eyes at the idea of Scientology and hooked-up with this cool dude who made bagels in NYC.  She won an Oscar on her way to a party Madonna was giving. She recorded some really big-selling albums in the late 80’s. She called David Letterman on his shit. Then she got bored.

The LAPD is always trying to crash the fun... Roller Boogie Mark L. Lester, 1979 Cinematography | Dean Cundey

The LAPD is always trying to crash the fun…
Roller Boogie
Mark L. Lester, 1979
Cinematography | Dean Cundey

Flights to Vegas were booked. So she went back to LA. She directed an acclaimed Pro-Choice HBO movie. This dude talked her into recording a pop album that used this odd microphone that changes the human voice. He was gay and kind of cute so she listened. The music reminded her of Disco and all that fun she had on skates. Several publicists explained this was not “disco” music. This was “club” or “dance” music — like Madonna only without the sex. For Cher, this was a good thing because, well, you know She was tired.

She was diagnosed with Chronic Fatigue Syndrome. She dealt and kicked it’s ass. While the cause of this illness is still debated, I suspect we will eventually learn it is caused by being too fucking cool and independent. She did several — no, wait. I’m not sure. She did a lot of Farewell Concert Tours. She wrote a book. She did a lot more Farewell Tours. She supported her daughter when she realized that she was a he. Cher had always been generous with a buck, but made her philanthropy well known once she saw the shit with which her son had to deal.

Cher Believe, 1998

Cher
Believe, 1998

She turned down leads in everything from Thelma & Louise to War of The Roses to a cinematic re-make of the musical Gypsy. Streisand was to direct Gypsy. Probably can’t blame Cher for turning that one down. But it does seem strange that she turned down the other two. Interestingly, as far as I am aware she has only one professional regret: An infomercial for a pal’s hair product. Yet, even this one Cher’s regretted mistake:  Her infomercial is the thing of legend.

Cher is still tired. 

Cher is not bored.

She is “creeping” about the Internet. So you better watch your ass!  I’m not kidding. She will take you down. Don’t be giving Cher shit.

Cher c. 1981 Photograph | Harry Langdon

Cher
c. 1981
Photograph | Harry Langdon

Cher stopped taking shit after they took her Disco Roller Skates away.  Never underestimate The Cher Factor. Seriously, you will regret it.

Somehow Cher is always correct. And Roller Boogie remains a very fun watch!

 

Matty Stanfield, 8.8.15