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Johan Liedgren’s latest film, The Very Private Work of Sister K, begins with a priest telling a story. He is doing so at the request of a young nun who sits at the end of a table. It’s the tale of a little rabbit who decides to take the opportunity to eat a bit of meat. The little rabbit discovers that being a vegetarian is too limiting. The tale’s ending is simple but disturbing. The little rabbit begins to hunt and consume meat. Soon it transforms into a bloodthirsty beast. His listeners are not only unsatisfied with this ending — they do not seem to understand the point. The priest is attempting to use his story as an ice-breaker, but he provided a revealing analogy.

His little fable is really more of a parable in which a meek creature has become a life-threatening menace. Sister K wants to hear his story once more before her hearing begins. The men in the room are far too polite and cautious to call the meeting by the appropriate term. Sister K, a young nun, has apparently committed several grave transgressions. Despite their initial protests, this is not a gathering to protect and assist Sister K. This gathering only appears informal and friendly. Four priests, a lawyer and a doctor have gathered to issue a judgement regarding the young nun. An older nun sits off the side. This young nun finds herself seated in front of the patriarchal order of Catholic Hierarchy.

A witness for persecution... Marty Mukhalian The Very Private Work of Sister K Johan Liedgren, 2016 Cinematography | Zia Mohajerjasbi

A witness for persecution… “I speak loudly in German and pour cold water in the tub.”
Marty Mukhalian
The Very Private Work of Sister K
Johan Liedgren, 2016
Cinematography | Zia Mohajerjasbi

Johan Liedgren has effectively used a rabbit analogy before. The protagonist of his 2013 film, Mother Nature, is bullied, threatened and maligned as being the equivalent of a “little rabbit.” In that intense film, the father is gradually pushed to adapt the far more sinister powers to prove that he is far more than an innocuous creature. In both Mother Nature and The Very Private Work of Sister K, the idea of the respective protagonists as furry little creatures fit easily into one rabbit-like archetype. The only shared rabbit attribute is that they both manage to lead others down into deeply rooted holes.

Johan Liedgren’s Mother Nature came to my attention by accident. A friend had mentioned him as a potentially important emerging film artist. As it turns out he was not “emerging.” Liedgren was already firmly emerged and established. He is a respected and savvy storyteller who has been thinking out-of-the-box his entire career. And it is a career of note. Just press a few buttons to discover how successful he has been at creatively utilizing his skills in more than a few disciplines. Mother Nature is his first feature length film. It is a potent and unforgettable debut.  My friend had not seen the movie and I could find no reviews posted to iTunes when I took a chance and purchased a copy. It turned out to be a rewarding investment.

"I don't know why I feel like fucking with you. It's weird, but it was from the moment I saw you." Karina Deyko Mother Nature Johan Liedgren, 2013 Cinematography | Trevor Fife

“I don’t know why I feel like fucking with you. It’s weird, but it was from the moment I saw you.”
Karina Deyko
Mother Nature
Johan Liedgren, 2013
Cinematography | Trevor Fife

Mother Nature presents itself within the trappings of an Art Horror film, but it is actually a surrealistic journey to the core of male identity. Liedgren’s film masterfully pushes the main character to his primordial core. Phillip Roebuck’s performance is perfectly matched with the manner in which the movie unfolds. We first see him playing with the family dog. Within a couple of minutes we know that he is a father taking his son and their dog on a short camping trip. This appears to be an outing designed to foster bonding. Father is out of sorts. His marriage has failed and now he wants to connect with his son.

This is not a father who easily fits into the mode of a fun loving dad. The son is not looking forward to hanging out with his father and the audience can’t help but understand. It is difficult to articulate, but Father is somehow unlikeable. Roebuck is brilliant in the role. With each small gesture and glance, this character just feels like a frustrated mass of inertia and depression. In the first portion of the movie, Father is of no interest. A skilled film actor is always welcome in any movie, but here it is of particular note. Roebuck is playing a character who turns out to be something far more than anticipated. Liedgren has written a character who will soon inhabit The Jungian Archetype. We do not see that coming and the transformation is unhinged and believable.

A father's identity is challenged to the core. Will he be up for the challenge? Phillip Roebuck Mother Nature Johan Liedgren, 2013 Cinematography | Trevor Fife

A father’s identity is challenged to the core. Will he be up for the challenge?
Phillip Roebuck
Mother Nature
Johan Liedgren, 2013
Cinematography | Trevor Fife

At first, the “hero” of Mother Nature is not someone we can like. Roebuck rightfully plays the father as passively aggressive and slump shouldered. He is disagreeable and awkward. Karina Deyko’s character hates him upon first sight. His very existence annoys her. And she is more than eager to let him know. Thanks to exceptional directing, acting, writing, editing and cinematography — we can’t help but agree with her. This is a bold choice but effective. It is also in keeping with the film’s odd dark humor.

The surrounding nature is beautiful, but somehow sinister. It doesn’t take long for Father to piss off all of the neighboring campers. And all of these fellow campers seem to possess natural weirdness that lends itself to cruelty. The son rightfully wants to leave, but his father becomes determined to stand their ground. Passive anger begins to simmer to the boiling point. Father‘s inner animal instincts begin to take control. It never feels unbelievable. The father’s transformation to Warrior is warranted and, with hindsight, it is inevitable. Like a cunning animal waking from a deep sleep to defend his turf, Father no longer fears anything. External threats have provoked his realization of identity. This provocation leads him to primal instincts and it is  visceral. Father‘s strength was always there. It was just sleeping.

Thinking a snake has slithered under a fellow camper’s tent, he warns her and begins to poke beneath her enclosure to force the snake away. Instead of being appreciative — she seeks to humilate him. She refuses acknowledgment of his attempted kindness. Instead she incredulously accuses him of wanting her to like him. As if he has committed a crime by getting her attention she considers this snake to be of the Freudian variety. Frustrated and emasculated, he mutters that the snake is probably gone. Head bowed he admits he never actually saw it. His son claims to have seen it.

Well, not seeing it won’t make it go away.

"How do you want to play it? Mother Nature Johan Liedgren, 2013 Cinematography | Trevor Fife

“How do you want to play it?
Mother Nature
Johan Liedgren, 2013
Cinematography | Trevor Fife

Like the priest in The Very Private Work of Sister K, father has a story to share with his son. Before he can even begin to tell it the son attempts to stop him.

Whenever you tell me stories you want something from me.

Father does not attempt to argue with him. He merely points out that this time it is only a story.

The story tells of an Alaskan park ranger who, while conducting a bear population study, ends up becoming trapped with a sleeping bear. This bear is pure beast who will most definitely kill and eat the ranger. The ranger manages to use a small pair of clippers to slice deep within the bear’s neck to severe its main artery. The triumphant ranger falls asleep atop the bear who has died in a pool of its own blood. The son is impressed, but the point is not clear.

But Father is already thinking that they are now trapped in a situation that is equally dangerous. A sociopathic camper begins to threaten Father and taunts him as being no more than “a little rabbit.” Liedgren’s film takes an unexpected turn. Mother Nature presents one man’s fight for survival. A meek little man transforms to Warrior.

Mother Nature Johan Liedgren, 2013

Mother Nature
Johan Liedgren, 2013

Trevor Fife’s cinematography is simple but articulate and masterful. Ben Lukas Boysen’s musical score is pitch-perfect. The real star here is the ways in which Liedgren has collaborated with his crew of artists and then achieved a tightly edited story that is  as equally intense, unnerving and entertaining. It is of note that this film manages to register so deeply. Mr.Liedgren has not attempted to cash in on cheap effects. There is no sentimentality here, but we relate. We understand.

Mother Nature is one of those great movies that has never managed to secure the audience it deserves. It is available for rent or purchase on both Vimeo and iTunes. I highly recommend it. Watch the trailer for Mother Nature here.

The Very Private Work of Sister K is every bit as bold, provocative and surprising as Mother Nature, but the protagonist has a different sort of conflict. While it is far removed from the visceral world established in Mother Nature, the ideas of identity and the primordial inner battles of sexuality pulsing just beneath her habit is just as unrelenting.

Andrew Tribolini has a little story to share... The Very Private Work of Sister K Johan Liedgren, 2016 Cinematography | Zia Mohajerjasbi

Andrew Tribolini has a little story to share…
The Very Private Work of Sister K
Johan Liedgren, 2016
Cinematography | Zia Mohajerjasbi

After she successfully nudges the priest to share his story, Sister K sits patiently awaiting the Catholic patriarchy attempt to lull her into believing that they have not gathered to judge her. Sister K’s gaze signals she knows better. Utilizing Catholic hierarchy to funnel age-old misogyny, sexually conflicted fears and hypocrisy, Liedgren has created a darkly comical and often sharp edged take on the parlor drama. This is a highly intellectual work that is fueled by words, but make no mistake — this is cinema.

Zia Mohajerjasbi’s camera is truly masterful and it reflects a majestic scope. Bryson Michael’s editing is decisive and elegant and smooth. Both of these of these crucial elements serve to elevate and add additional impact to Liedgren’s witty film. There is a simple complexity to both Mother Nature and The Very Private Work of Sister K that lead to almost quietly deafening resolutions. As I watched this film I could not help but think of Michael Haneke’s collaborations with Christian Berger and Monika Willi. While Haneke’s cinematic visions go to different places, Liedgren’s stylistic approach is similar. This is a film of ideas presented in a passionate but unsentimental language.

It should be noted that while the movie articulates dark comedy — it never sacrifices a thread of potency. It is refreshing to witness a filmmaker who can color outside the lines without surrendering to any level of uncertainty. This is a small film with big ideas — and all are pushed forward with style to match their substance. Essentially a chamber drama that takes place in one room, Liedgren never loses a cinematic hold. This is not a filmed play. This is cinema of ideas that flows easily and it never backs down from standing its ground.  Sister K and her judges are angry. But hunger trumps anger. Sister K is far to hungry to put with their repressive fear, stupidity and misogyny.

"Well, there's no story without evil." Bradley Goodwill, Andrew Tribolini, and Ed Stone The Very Private Work of Sister K Johan Liedgren, 2016 Cinematography | Zia Mohajerjasbi

“Well, there’s no story without evil.”
Bradley Goodwill, Andrew Tribolini, and Ed Stone
The Very Private Work of Sister K
Johan Liedgren, 2016
Cinematography | Zia Mohajerjasbi

Thinking that they have safely hidden their true selves behind the fraudulent mask of fatherly concern, the judges are eager to punish their little rabbit. The priests appear to be ascetic, but they each have agendas that oppose this concept. Liza Curtiss plays Sister K with quiet resolve. She is no one’s martyr. It isn’t her future that seems to concern her. It is the hypocrisy and evil that thrives within the walls of her chosen faith. As the nature of her transgressions become clear so do the illogical viewpoints of the men who lead the Catholic Church. These men of God are all too eager to paint facts to match the color of their vileness. It is from this perspective that we understand that this young nun has become a bloodthirsty monster rabbit intend on defiling all they hold sacred. The story of that little rabbit transformed to bloodthirsty beast turns out to be more fable than parable. These holy men see unsuppressed women as menacing beasts.

Sister K is thirsty, but it is not for blood. She hungers for the knowledge, blessing and love of God. And from where Sister K sits — God has long left the Catholic Church. He has left the building and it is crumbling from the decay of corrupt power, repression and suppression. Sister K has found truth and salvation through the access that these so called men of God have refused her.  The priest most eager to deliver punishment is also the first to lick his lips and salivate as the detail of Sister K‘s transgressions are revealed. She sits accused of rape, but her judges are not concerned with the crime. Their worry is rooted in the fact that this young woman shows no remorse.

Did she take pleasure in her work? Liza Curtiss The Very Private Work of Sister K Johan Liedgren, 2016 Cinematography | Zia Mohajerjasbi

Did she take pleasure in her work?
Liza Curtiss
The Very Private Work of Sister K
Johan Liedgren, 2016
Cinematography | Zia Mohajerjasbi

Sister K disagrees that she has done any wrong. She has followed a path that offered both she and her supposed victim a freedom not thought possible. She is grateful for what she has experienced. The “victim” that her judges refuse to name has brought her close to God. She has experienced true salvation. But her accusers disagree. When she tries to explain how the sweetness of sexuality delivered her lover to the light of knowledge and contentment, a priest attempts to shame her.

He filled a nature!”

He woke up.

With an apple shoved down his throat!

An adam’s apple we would deny no other man!

It was just sex!

It was just an apple!

Her refusal to retreat like a sweet little rabbit is not going to happen. And she leads these men to the source of their problem: a fairy tale of a garden in which a woman lures all mankind to the doom of knowledge.

Johan Liedgren has made a film almost as angry as Ken Russell’s The Devils, but he contains that anger into a fascinating exchange between the accused and her accusers. The Very Private Work of Sister K is a cinematic provocation that relies on the power of ideas to spark a light in a dark world. In many ways Sister K is far more dangerous than a deranged flesh eating rabbit — she is an intelligent woman who smells the fraud. Our protagonist will not to be hunted or victimized. Actually, her work has only just begun.

The trailer can be viewed and the film can be rented or purchased here

 

"Good sex. That is where God goes to church." The Very Private Work of Sister K Johan Liedgren, 2016

“Good sex. That is where God goes to church.”
The Very Private Work of Sister K
Johan Liedgren, 2016

Matty Stanfield, 11.9.2016

 

 

Starting as an odd Midnight Movie, David Lynch's debut feature film is now considered a work of cinematic art. Eraserhead David Lynch, 1977

Starting as an odd Midnight Movie, David Lynch’s debut feature film is now considered a work of cinematic art.
Eraserhead
David Lynch, 1977

It’s been building for almost 15 years now, but many of the cinematic treasures buried under the title of Cult Film are currently being re-examined and re-evaluated. There are still plenty of cinephiles who shudder as classics like Valley of the Dolls, Beyond the Valley of the Dolls, One-Eyed Jacks and Carnival of Souls are taking their deserved seats within The Criterion Collection.

As my generation moves toward half century mark, the younger generations of movie lovers are feeling less self-conscious when it comes to fully owning their love of Cult Films that have never quite fit into the restrictively defined Cinematic Masterpiece.

I’ve never worried much about what people think of me. As a teenager I would often snare unsuspecting friends into watching a VHS copy of a movie I deemed as essential. I remember some of my pals squirming through a movie like John Waters’ Multiple Maniacs or Herk Harvey’s Carnival of Souls. I myself placed in a defensive position. I would attempt to list the cinematic virtues of a numerous cinematic oddities that had been relegated to midnight screenings and discarded as Odd, Smut and ultimately Cult Films. I began to formulate excuses for these movies I loved. These were offered up as self-defenses to shield my ego from the those harbingers of The Cinematic Elite.

  • This movie is so bad it comes around to exceptional
  • A movie we must love to hate
  • There is a certain level of artistry to create a film so entertainingly bad
  • It’s fun to watch
  • It is one of my guilty pleasures

The opinion regarding Cult Films has come a long way since I was in high school. I was the only one who had ever rented All Star Video’s VHS copy of David Lynch’s Eraserhead. In fact, I rented it a lot.

Filmed on a shoe string and with a desire to haunt vs. scare -- This strange B Movie is now a treasured member of The Criterion Collection. Carnival of Souls Herk Harvey, 1962

Filmed on a shoe string and with a desire to haunt vs. scare — This strange B Movie is now a treasured member of The Criterion Collection.
Carnival of Souls
Herk Harvey, 1962

There was a period of time when I would enter All Star and the lady behind the counter would say, “Look y’all! It’s that kid who rents Eraserhead!” Turns out they had acquired the tape by accident. Some of my friends enjoyed some of what they saw in David Lynch’s surreal movie, but more than a few were bored or disgusted. Some of my pals discovered that it was a great movie with which to get stoned. Gradually a few others began to rent All Star’s VHS copy. In less than a decade Eraserhead would finally begin to garnish the respect it deserved. It would take a whole lot longer for Carnival of Souls to gain appropriate recognition, but this year it was remastered and issued as a member of The Criterion Collection.

After I had finally begun to find a place within the ranks of a respected Film Festival my knowledge and love of French and Asian cinema would be put to some good use, but even as we entered the 21st Century there was still passive annoyance at films that dared to color outside the lines of societal ideas of Cinematic Art.

"Love really hurts... Koroshiya 1 / Ichi The Killer Takashi Miike, 2001

“Love really hurts…
Koroshiya 1 / Ichi The Killer
Takashi Miike, 2001

I first saw Takashi Miike’s Ichi The Killer at a limited screening not too long after the tragedies of 9/11. It took me several minutes to ground myself back into the real world as I stumbled out of the theatre. I found it difficult to articulate what it was that so strongly appealed regarding this sick and twisted movie. In many ways it was a cartoonish orgy of gore that never let up. The special effects were not so much realistic as they were insanely creative. The film was far more interested in following a sadistic and comically twisted thug following Ichi‘s bloody trail of violence than in Ichi himself. Each passing scene seemed to propel the audience into higher levels of audacity and shock. This was a needless exercise in the excesses of violence and aberrantly cruel behaviors. But all of it was presented in such silly and innovative ways, it was almost impossible not to watch.

Surveying the carnage Tadanobu Asano Ichi The Killer Takashi Miike, 2001 Cinematography | Hideo Yamamoto

Surveying the carnage
Tadanobu Asano
Ichi The Killer
Takashi Miike, 2001
Cinematography | Hideo Yamamoto

I was not new to the over-the-top genre of Japanese Shock Horror movies, but this was something a great deal different. I had already been caught in Miike’s web the year before. His 1999 Cult Film, Audition, was in many ways a far superior film. It had been a surrealist take on a widowed man’s sexual fears. The gore utilized in Audition was far more realistic in look and the film’s exploration into self-hate, human cruelty and misogyny was a bit more than the average viewer would ever be able to approve. It was a smart and exceptionally well crafted movie that would only ever have a limited audience. Ichi The Killer was not nearly so dire. Ichi took no prisoners, but it also allowed the audience a “pass” regarding its violent nature.

"Everything I'm about to tell you is a joke..." This young Yakuza soldier is having a strange day that quickly morphs into levels of strangeness too odd to be explained. There is genius here. Hideki Sone GOZU Takashi Miike, 2003 Cinematography | Kazunari Tanaka

“Everything I’m about to tell you is a joke…”
This young Yakuza soldier is having a strange day that quickly morphs into levels of strangeness too odd to be explained. There is genius here.
Hideki Sone
GOZU
Takashi Miike, 2003
Cinematography | Kazunari Tanaka

From my perspective, both Audition and Ichi The Killer were destined for consideration as films of note. But if I had to place my bet, I’d venture that it would be Ichi The Killer that would manage to achieve mutually agreed regard. Interestingly it would be Audition that was the first to be recognized as something more than simply Cult. But the time of Ichi The Killer will soon arrive. Let’s hope that Ichi is ready for the validation. He is kind of sensitive.

Two years after I saw Ichi The Killer in a cinema, I pitched the idea of having the film festival host a retrospective of Miike’s work. I had put out “feelers” and his camp was more than willing and the director was open to attending. He did not speak English, but he had someone who could join him as his translator. In addition, his 2003 film, GOZU had only enjoyed one US screening at this point. I had been lucky enough to receive a promotional copy of that film. GOZU is an experiment into Yakuza thriller gone the way of Lynchian fever dream. GOZU is artistic, comical, beyond strange and unforgettable. I was excited as I pitched the idea to the committee. Only one of the ten members shared in my enthusiasm. My idea was nixed. GOZU and Miike went to Chicago.

Wagner drugs and then literally saps Franz Liszt of his blood. Paul Nicholas and Roger Daltrey LISZTOMANIA Ken Russell, 1975 Cinematography | Peter Suschitzky

Wagner drugs and then literally saps Franz Liszt of his blood.
Paul Nicholas and Roger Daltrey
LISZTOMANIA
Ken Russell, 1975
Cinematography | Peter Suschitzky

My pleas for the committee to consider Ken Russell’s The Devils and Lisztomania fell prey to closed minds and snobbery. Appreciation for Ken Russell’s brilliant The Devils has existed since the film’s debut through to today. The problem is that many have never had the amazing opportunity to see this important film in Russell’s original cut. Warner Bros. continues to hold that film hostage thanks to the powers of The Vatican. It is the only reason that seems to explain Warner Bros. refusal to relinquish the movie. It continues to sit in exile within the confines of the Warner Bros. vault. Although not blessed with the masterful artistry of The Devils, Ken Russell’s surreal comic book take on Franz Liszt is also due for reconsideration. Rumors continue to fly about regarding the resurgence of both films. Back in my teen years I was constantly pimping Ken Russell to the unconverted. It is impossible to understand, but it has only been in the last decade that Ken Russell’s brilliance has begun to receive the recognition that so very many knew it and he was due. And the rally call for both of these films — most especially for The Devils — is growing stronger.

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

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

A couple of years ago I got into a disagreement with someone of “standing” within the world of Film Restoration. A seminal film was at stake. Was this beloved and profoundly odd but brilliant film damned to be restored by a well-intentioned but tech limited distribution company? As it became clear that my opinion meant nothing to this individual who is actually a bigger Film Snob than me — and that is saying something — I took one more consideration regarding concerns of bombast, overly silly presentation, perverse articulation and Grindhouse residue. I ended the conversation with the following sentence:

I will watch Citizen Kane, The Bicycle Thief, The Godfather or Casablanca as often as I watch this film.

As it turned out, this almost forgotten cinematic gem was restored brilliantly by the great team at Vinegar Syndrome. One of my favorite movies, The Telephone Book, was restored and re-issued to an unsuspecting public. Sadly their efforts did not result in many sales.

Just because it is X-rated and full-on odd does not mean that it isn't a valid artistic experience. The Telephone Book Nelson Lyon, 1971

Just because it is X-rated and full-on odd does not mean that it isn’t a valid artistic experience. The Telephone Book Nelson Lyon, 1971

This type of discussion became a sort of staple of my Movie Lover’s Life. It was also a discussion I was nearly always bound to lose. But something is in the air. I’d like to think it partially thanks to my generation, but it is equally indebted to the generation that arrived just after mine. There are a number of people now in their mid-to-late 30’s who recognize the importance of many films that cause life threatening eye-rolling by most serious cinematic scholars born before 1972.

Before she became An Unmarried Woman and deservedly respected actor, Jill Clayburgh was a valuable featured player in an experimental movie mistakenly considered pornography. Jill Clayburgh The Telephone Book Nelson Lyon, 1971 Cinematography | Leon Perera

Before she became An Unmarried Woman and deservedly respected actor, Jill Clayburgh was a valuable featured player in an experimental movie mistakenly considered pornography.
Jill Clayburgh
The Telephone Book
Nelson Lyon, 1971
Cinematography | Leon Perera

Another highly valuable movie that had been thought long lost is Jean-Jacques Beineix’s The Moon in the Gutter. A neon-drenched world awaits the viewer who allows themselves to slip into this strange film. While it is most certainly flawed, it is equally most certainly fascinating. Cinema Libre Studio restored and reissued the film to DVD/Blu-Ray in 2011.

Largely panned when it debuted in cinemas,  Jean-Jacques Beineix's 1983 flop continues to be re-evaluated.  The Moon in the Gutter / La lune dans le caniveau Jean-Jacques Beineix, 1983

Largely panned when it debuted in cinemas, Jean-Jacques Beineix’s 1983 flop continues to be re-evaluated.
The Moon in the Gutter / La lune dans le caniveau
Jean-Jacques Beineix, 1983

They also did the same for Jean-Jacques Beineix’s infamous Betty Blue, but opted to issue only the theatrical version of that film. Sales for Betty Blue were strong, but The Moon in the Gutter is no longer in print. Seek it out.  Meanwhile the director’s cut of Betty Blue is out there and will most likely be re-issued soon. Which paves the way for a restoration of that director’s successful but largely forgotten art film, Diva. An unforgettable hybrid film that is experimental to say the least. We are likely to see this film receive an upgrade within the next year or so.

"Her voice was his calling." Diva Jean-Jacques Beineix, 1981

“Her voice was his calling.”
Diva
Jean-Jacques Beineix, 1981

It had been a fairly tight secret when The Criterion Collection decided to pursue the distribution rights for both The Valley of the Dolls and its dirty little sister, Beyond the Valley of the Dolls. The announcement created a bit of grumbling, but many are thrilled to finally see these two cultural relics restored.

 

"This is my happening and it freaks me out!" Long maligned but deeply loved by a whole lot more -- Russ Meyer and Roger Eberts' 1970 X-Rated film has also joined the ranks of The Criterion Collection. Beyond the Valley of the Dolls Russ Meyer, 1970

“This is my happening and it freaks me out!”
Long maligned but deeply loved by a whole lot more — Russ Meyer and Roger Eberts’ 1970 X-Rated film has also joined the ranks of The Criterion Collection.
Beyond the Valley of the Dolls
Russ Meyer, 1970

Kino Lober and Olive Films have also been doing a great job of rescuing lost or forgotten cult films. This month KL released Otto Preminger’s all but forgotten Cult Film, Tell Me That You Love Me, Junie Moon Junie Moon. Olive Films has just released three other treasured Cult Films, Wild In the Streets, Whoever Slew Auntie Roo? and Modesty Blaise.

"You said she was going to eat us." Strange and surprisingly effective... Whoever Slew Auntie Roo? Curtis Harrington, 1972

“You said she was going to eat us.”
Strange and surprisingly effective…
Whoever Slew Auntie Roo?
Curtis Harrington , 1972

Get ready. Here are but a few other films up for reconsideration beyond the realm of The Cult Film

"Eventually stars burn out..." This 2014 was far too quickly dismissed and ignored. This is a Cult Film that is destined for later appreciation and re-evaluation. Map to the Stars David Cronenberg, 2014

“Eventually stars burn out…”
This 2014 was far too quickly dismissed and ignored. This is a Cult Film that is destined for later appreciation and re-evaluation.
Map to the Stars
David Cronenberg, 2014

 

"Why don't rapists eat at T.G.I. Friday's? Well, it's hard to rape with a stomachache." The jokes induce squirms vs. laughs as the comic's ego deconstructs. Gregg Turkington ENTERTAINMENT Rick Alverson, 2014 Cinematography | Lorenzo Hagerman

“Why don’t rapists eat at T.G.I. Friday’s? Well, it’s hard to rape with a stomachache.”
The jokes induce squirms vs. laughs as the comic’s ego deconstructs.
Gregg Turkington
ENTERTAINMENT
Rick Alverson, 2014
Cinematography | Lorenzo Hagerman

 

"Gilderoy, this is going to be a fantastic film. Brutal and honest. Nobody has seen this horror before." Berberian Sound Studio Peter Strickland, 2012 Cinematography | Nicholas D. Knowland

“Gilderoy, this is going to be a fantastic film. Brutal and honest. Nobody has seen this horror before.”
Berberian Sound Studio
Peter Strickland, 2012
Cinematography | Nicholas D. Knowland

 

" Everything is more complicated than you think..." Coming up close to a decade -- is the audience ready to revisit Charlie Kaufman's ever undulating surreal epic? Philip Seymour Hoffman Synecdoche, New York Charlie Kaufman, 2008 Cinematography | Frederick Elmes

” Everything is more complicated than you think…”
Coming up close to a decade — is the audience ready to revisit Charlie Kaufman’s ever undulating surreal epic?
Philip Seymour Hoffman
Synecdoche, New York
Charlie Kaufman, 2008
Cinematography | Frederick Elmes

The film I am most excited about is John Schlesinger’s strange and surreal forgotten bit of dark magic, The Day of the Locust. The Hollywood Dream is reduced to absolute metaphorical nightmare. It also features some of Conrad L. Hall’s best cinematography work.

"Good evening ladies and gentlemen in radioland. We're speaking to you from the forecourt of Grumman's Chinese Theater here in Hollywood, California..." John Schlesinger, 1975

“Good evening ladies and gentlemen in radioland. We’re speaking to you from the forecourt of Grumman’s Chinese Theater here in Hollywood, California…”
John Schlesinger, 1975

And, of course, Takashi Miike’s odd trip into Surrealism — GOZU.

"There's no need to hide something as fine and dandy as that!" GOZU Takashi Miike, 2003 Cinematography | Kazunari Tanaka

“There’s no need to hide something as fine and dandy as that!”
GOZU
Takashi Miike, 2003
Cinematography | Kazunari Tanaka

Matty Stanfield, 8.16.2016

One too many epiphanies had driven my resistance down. Feeling down had taken a sharp turn toward depression. I had pulled a blanket from the closet, turned out the lights, closed the blinds, took to sofa and prepared to lose myself into a movie. But had it really come to this? Yes, it had.

"I would tell you that I wrestle alone in the dark, in the deep dark, and that only I can know..." Nicole Kidman The Hours Stephen Daldry, 2002 Cinematography | Seamus McGarvey

“I would tell you that I wrestle alone in the dark, in the deep dark, and that only I can know…”
Nicole Kidman
The Hours
Stephen Daldry, 2002
Cinematography | Seamus McGarvey

It was already unfolding before my eyes. Nicole Kidman, two pockets filled with stones and a prosthetic nose were floating toward death. Ed Harris and Julianne Moore fell and swooned into their respective doom. Meryl Streep would soon be compressing into a tidy mess in her kitchen as Jeff Daniels stood by in a stupor of blonde confusion. And here I was watching the grim human sadness that is The Hours. To make it all the worse, I was suffering the added indignity of watching it all via an outmoded DVD. The 2003 DVD can’t seem to keep up with the 2015 huge flatscreen TV. Every image is a bit washed out and hazy.

"always the years between us, always the years. Always the love. Always the hours..." Nicole Kidman readies to descend. The Hours Stephen Daldry, 2002 Cinematography | Seamus McGarvey

“always the years between us, always the years. Always the love. Always the hours…”
Nicole Kidman readies to descend.
The Hours
Stephen Daldry, 2002
Cinematography | Seamus McGarvey

I sat up and decided to take matters into my own hands. I held the Universal Remote with a firm and fully articulated grasp. I pressed “Eject” with a sturdy resolve. Our sad copy of the depressive Stephen Daldry was quickly returned to its cracked jewel box. I’ve never been a half-measure sort of person. I seem to either go all the way or no distance at all. But I would not define myself as “extreme.” That isn’t too say I am not capable of excess. I am. It was at this point I opted for a movie that might lead my attentions in an altogether different direction.

As I slipped our Pillow Talk blu ray into the player I suspected I might be making a mistake. No one can accuse Joseph Gordon-Levitt’s grandfather of understatement when it comes to his 1959 pop cultural cinematic landmark. On the one hand this film could be discussed as a gender identity politic comedic study — and on more than a couple of levels. With hindsight, the idea of Rock Hudson as a ruthless ladies man is beyond irony — Pillow Talk becomes more than a little meta when applied to ideas of sexuality.

"It's what goes on when the lights go off!" Pillow Talk Michael Gordon, 1959

“It’s what goes on when the lights go off!”
Pillow Talk
Michael Gordon, 1959

But on my other hand this move movie is just a silly romp that was most likely dated even when it arrived on CinemaScope Screens across the world. This box office hit scored more than a couple of Oscar nominations and a win! Yes, Pillow Talk was awarded an Academy Award for best original screenplay. It also gave Doris Day and Thelma Ritter Oscar nods for their respective performances.

It would be unfair to claim that this movie isn’t clever and equally amusing. It is. However it is not particularly witty. The plot is about as flimsy as it gets, but it is the performances, editing and sheer goofiness that makes this iconic movie so much fun. Thelma Ritter is the movie’s most valuable player. As she snarks and complains her way through the various hyper-color sets — Thelma not only advances the thin plot she continually comments on it. Her hang-over ridden character’s head is hurting not only from booze but from the woozy level of sexual repression going on all around her. Tony Randall is, well, Tony Randall. It works here.

"...this may come as a surprise to you, but there are some men who don't end every sentence with a proposition." Doris Day and Rock Hudson Pillow Talk Michael Gordon, 1959 Cinematography | Arthur E. Arling

“…this may come as a surprise to you, but there are some men who don’t end every sentence with a proposition.”
Doris Day and Rock Hudson
Pillow Talk
Michael Gordon, 1959
Cinematography | Arthur E. Arling

But the film really belongs to Doris, Rock and the creative split screen utilization. The telephone politics and party line of the late 1950’s might not be known to us, but we catch on pretty quick. Rock Hudson hams it up and seems to be poking the screen at his real life gay buddies. It is impossible not to chuckle, but it is Doris who really amps it all up. Ms. Day’s capacity for facial mugging seems to know no bounds. Her petite figure, bright blue eyes and deep red lips constrict and pulsate to unbelievable extremities. She is never wonky or goofy, but she totally camps her reactions and timing as if she were a tightly wound fashion doll ready to explode. A performance like this would be the thing of “Anti-Comedy” — but framed within the multiple frames of Pillow Talk she manages to trick out her performance that seemed to rival any other performance given in 1959.

Poor Jan is about to take facial mugging to a whole new level... Doris Day and Rock Hudson Pillow Talk Michael Gordon, 1959 Cinematography | Arthur E. Arling

Poor Jan is about to take facial mugging to a whole new level…
Doris Day and Rock Hudson
Pillow Talk
Michael Gordon, 1959
Cinematography | Arthur E. Arling

But all the double entendres, facial mugging and idiosyncratic editing began to take their toll on my troubled soul quicker than I expected. Once again I pressed the eject button. I decided to direct my mind toward  Jason Reitman’s adaptation of Diablo Cody’s acidic Young Adult. This movie almost fools me every time. How? I really should know better. I’ve seen it more than a couple of times. The thing is that it always makes me laugh. I guess I remember those comical moments over the reality that interlaces each one.

"Sometimes in order to heal a few people have to get hurt." YOUNG ADULT Jason Reitman, 2011

“Sometimes in order to heal a few people have to get hurt.”
YOUNG ADULT
Jason Reitman, 2011

I had skipped seeing this film when it was released. I was worried that it would smack of the same ick-twee that ruined both Juno and United States of Tara. Stop. Don’t complain or correct me. I know that the number of folks who love that movie and show well out number those of us who didn’t. But any sense of reality was tossed out the window to earn laughs. Young Adult is actually one of my favorite films of 2011. I was sorry I had not supported it at the cinema. As the story of Mavis‘ journey back to her hometown and that this entails began I worried that this disc might have been a poor choice for my day.

It is never clear if Charlize Theron’s Mavis suffers with Borderline Personality Disorder or if she is simply a truly cruel and self-involved functioning addict. It is to the film’s makers credit that it is never articulated. Theron’s movie role choices are often questionable from an artistic standpoint, but when she does manage to find her way into a good role, she plays it with gritty conviction. This is most definitely the case with Mavis. In more than a few ways, the actor actually goes beyond the power she conveyed in 2003’s Monster. The role of Mavis may not offer her the same obvious challenges, but it does lay out a gambit of challenges that most actors would fail. Theron is truly brilliant in this role.

Ewww. A baby. Charlize Theron YOUNG ADULT Jason Reitman, 2011 Cinematography | Eric Steelberg

Ewww. A baby.
Charlize Theron
YOUNG ADULT
Jason Reitman, 2011
Cinematography | Eric Steelberg

Mavis‘ story offers only a bit of insight into why she is so self-involved and raging. This is a woman headed toward 40 with the emotional intelligence of spoiled High School Princess. Each scenario in which we experience Mavis pushes up the level of uncomfortably so that we do laugh, but those laughs come at the expense of the characters on the screen. Cody, Reitman and Theron never back down. Just when we think there might be some hope for the protagonist the film zooms in on Mavis‘ deeply rooted delusions. This hard-edged study of human failing was not going to be as depressing as The Hours, but in some ways it was going to be equally soul-daring.

Eject.

So I pushed in Alex van Warmerdam’s Borgman. This twisted Danish film turned out to the perfect accompaniment for my blues. As strange as it is fascinating, Borgman presents the idea of home invasion as a folklore parable. van Warmerdam’s film plays out with stark efficiency. This is a tight and symmetrical example of cinematic storytelling that somehow manages to establish a constant threat of menace. The reason that this ever lurking danger is surprising because the film unfolds with a misplaced levels of orthodoxy.

"Please, come in." Borgman Alex van Warmerdam, 2013

“Please, come in.”
Borgman
Alex van Warmerdam, 2013

As I recall this movie came out of nowhere for me. I literally stumbled into the screening by default. I loved it then and I still love it now. Jan Bijvoet plays the title character. We meet Borgman as he is awakened from a slumber that might be closer to hibernation than rest. Like a demon, his determined vagrant emerges from a tunnel of various underground living graves. Nonplused and regimented, Borgman quickly wakens his sleeping pals and quickly escapes from the hunters who seem to seek to slay he and his kind.

I wonder if I could have a bath here. I’m a bit dirty,” he explains to a stern housewife. His polite directness seems to contradict his wild man appearance. He has walked up to the first suburban home that meets his satisfaction. It is an upper class home and well appointed. Luckily for her, the housewife smartly slams the door in his face. Without any sign of surprise Borgman strolls along until he finds a cold but wealthy looking bit of minimalist architecture that houses the poor family that accepts him in for a bath. He does not gain entry easily. A fight between the husband / father of the house takes place, but this only seems to ignite a greater need for access to their bathtub and home.

It is almost impossible to feel any empathy or understanding of the wealthy family as Borgman and his tribe begin to do what they will... Borgman  Alex van Warmerdam, 2013 Cinematography | Tom Erisman

It is almost impossible to feel any empathy or understanding of the wealthy family as Borgman and his tribe begin to do what they will…
Borgman
Alex van Warmerdam, 2013
Cinematography | Tom Erisman

Borgman appears to be in charge of four others. It doesn’t take long to realize that this morose band of home invaders are most likely not human. They seem to illicit some form of powers over others and they might even have the gift of shape shifters. The children and their nanny seem to find Borman and his friends to be enticing beyond explanation. They easily accept he and his actions and demands with not even the slightest hesitation. The children and their nanny are not fully developed characters, but each seems to feel real. As Borgman‘s crew infiltrates their shared lives, their darkest aspects begin to shine through. The father and master of the house is also easily swindled into accepting / following anything that Borgman asserts or suggests. But it is Borgman‘s connection with the wife and mother that seems to hold the strongest grip. It is through this connection that much of the film’s menace emanates.

Is he planning to seduce or simply invade her dreams as well as her home? Borgman Alex van Warmerdam, 2013 Cinematography | Tom Erisman

Is he planning to seduce or simply invade her dreams as well as her home?
Borgman
Alex van Warmerdam, 2013
Cinematography | Tom Erisman

By the time things take turns toward murder, seduction, suspicious implant surgery and other surprising bits of magic — the audience is not so much shocked as worried. It is an interesting and intoxicating mix of worry and curiosity. This unforgettable and grim little movie is spellbinding. It is difficult to even fully articulate why we feel worry or dread. Only the character of the wife is developed and she is not someone we trust or like. Clearly under Borgman’s influence she does manage a few moments of lucidity. When she expresses her fear and confusion it is unclear if she really and truly cares. She seems to know what is going down long before anyone on the screen or in the audience — she seems even more complicit than her children and nanny.

Momentarily forced into the role of The Hunted, Borgman quickly gathers his wits and sets out on a hunt of his own.  Borgman Alex van Warmerdam, 2013 Cinematography | Tom Erisman

Momentarily forced into the role of The Hunted, Borgman quickly gathers his wits and sets out on a hunt of his own.
Borgman
Alex van Warmerdam, 2013
Cinematography | Tom Erisman

Borgman‘s use of violence and horror is surprisingly demure. This is no typical horror film. In fact it is actually far less horror as it is a modern twist on the concept of folktales. The film smartly offers brief scenes that offer up allegory or parable but never to the point of the obvious. Although clearly a harbinger of doom, Borgman always artistically extracts his jollies with surgical precision. It is an unsettling and amusing view that provides insights with repeated viewings. This is a film that deserved far more attention than it received.

Even evil spirits need a bit of applause... Borgman Alex van Warmerdam, 2013 Cinematography | Tom Erisman

Even evil spirits need a bit of applause…
Borgman
Alex van Warmerdam, 2013
Cinematography | Tom Erisman

As the credits began to roll I realized that it taken me a while to find the correct film for my mood. Turns out that a depressing movie was a bad fit. A broad comedy even worse. A dark comedic character study certainly wasn’t the right fit. No, I found some solace from my blue day from a Danish film that pushes the boundaries of horror into something mythical, mysterious and subversive.

Matty Stanfield, 7.5.2016

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

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

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

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

You see? There! It just happened again!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

This was a Regan and Thatcher world.

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

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

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

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

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

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

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

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

Arrow Video Presents Crimes of Passion

Crimes of Passion Arrow Video Art Design by Twins of Evil

Crimes of Passion
Arrow Video
Art Design by Twins of Evil

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

matty stanfield, 4.15.2016

 

 

 

Are you scared or bored? The Witch Robert Eggers, 2016

Are you scared or bored?
The Witch
Robert Eggers, 2016

Ever since Robert Eggers’s The Witch screened at the 2015 Sundance word of mouth praises for the film have pushed expectations through the roof. A24 opted to wait over a year before releasing the movie to cinemas. This decision was no doubt to build up audience anticipation. Their plan seems to have worked, but was marketing The Witch as a horror movie might not have been the best strategy.

While a great many have been left spellbound (pun intended) — it would seem an almost equal number of people have left the movie disappointed. Some have even felt bored by the movie. I among those who consider this film as a cinematic gem and a great example of the Art Horror genre. In my opinion Robert Eggers is a much needed breath of creative air to the current world of cinematic art. So I scratch my head when I hear/read cinephiles bash The Witch. Why don’t they all love it? Why is The Witch failing to capture all imaginations? How can someone see this low-budget film and not be impressed?

Well, easily.

Has Mia Farrow been impregnated with the child of Satan or date raped by her husband? Rosemary's Baby Roman Polanski, 1968 Cinematography | William A. Fraker

Has Mia Farrow been impregnated with the child of Satan or date raped by her husband?
Rosemary’s Baby
Roman Polanski, 1968
Cinematography | William A. Fraker

What constitutes a great horror movie? A film that scares us on some level seems an essential requirement, but is there a way to make the definition of that word fit us all as a group? Of course not. We are all scared and disturbed by different things and styles. There are two horror films which can both be easily defended as cinematic masterworks: Rosemary’s Baby and The Exorcist. Both of these films terrified audiences upon their initial releases.

What would happen if Roman Polanski were 35 years old in 2015 and Rosemary’s Baby had debuted at the 2016 Sundance Film Festival? Would it frighten audiences and be eagerly snapped up by A24? Let’s pretend it would. So it is February 2016 and you sit yourself down at a cineplex and watch it.

"All of them witches" Rosemary's Baby Roman Polanski, 1968 Cinematography | William A. Fraker

“All of them witches”
Rosemary’s Baby
Roman Polanski, 1968
Cinematography | William A. Fraker

Are you pleased with Rosemary’s Baby as a horror film or did it make you chuckle and feel resentful because the “pay-off” failed to make you jump or dumbfound you in awe?

Sure you might admire William A. Fraker’s cinematography, the eccentric performances and the ambiguity of what is actually happening on the screen — but would this movie disappoint as a horror film?

I have a knee-jerk reaction to this “what if” scenario. I want to dig my feet into the sand and answer, “Yes! It is provocative, entertaining, creepy, amusing and most certainly haunts my mind long after I see it!

However my knee-jerk might be a bit off.

"Your mother sucks cocks in Hell." Linda Blair The Exorcist William Friedkin, 1973 Cinematography | Owen Roizman

“Your mother sucks cocks in Hell.”
Linda Blair
The Exorcist
William Friedkin, 1973
Cinematography | Owen Roizman

Ideas of what constitutes a horror film have dramatically changed since 1968. This is no longer the 20th Century. We have become jaded to violence and horrific events depicted in film. Movies are no longer presented as “Events” and most audiences demand more than looming threat and ambiguities from horror films. A solid example of this is to revisit William Friedkin’s  The Exorcist. Upon this film’s release in late 1973/early 1974, it literally caused an international sensation. Reports of heart attacks, fainting and full-on panic attacks in cinemas filled the news. Lines to ticket counters wrapped blocks and an endless slew of cinematic rip-offs soon littered cinemas for years to come. Even back in the early 1970’s there were people who found the grim horror film funny, but it would seem to have been a small minority of the film’s audience.

"The power of Christ compels you!" The Exorcist William Friedkin, 1973 Cinematography | Owen Roizman

“The power of Christ compels you!”
The Exorcist
William Friedkin, 1973
Cinematography | Owen Roizman

In 2000 a new remastered and cut of the film was released into cinemas. This was The Exorcist: Version You’ve Never Seen. I was in the cinema to watch the movie with a sold-out audience. Parents with babies, sullen teens and eager fans of the 1970’s flick filled the theatre. Endless chattering throughout the on-screen commercials and previews led me to expect that I’d be watching the movie with children running around, teens giggling and older folks calling for silence. Instead something odd happened. The entire audience sat in silence once the jarring music of Krzysztof Penderecki met the film’s title card. I saw this film with 3 friends from my office. I didn’t care for the new ending, but was satisfied that The Exorcist had stood the test of time. Only minutes later as we exited the building I began to hear people talk about how comical the movie was. Yet why had there been no laughs during the screening? The 2000 release still brought in a significant amount of money for Warner Bros.

For those who would dismiss both Rosemary’s Baby and The Exorcist as dark or even unintended comedy, it is important to access both films within the appropriate and respective contexts. By the time Rosemary’s Baby was released the Hippie Movement had taken a dark turn toward addiction, homelessness and the horrific introduction to The Manson Family truly crushed ideas of peace and harmony for many. Theories regarding the corruption of government was starting to brew over the top of the cultural pot. The important growth of the Women’s Movement had started to challenge the cultural status quo. Roman Polanski’s film worked on both the straight-on horror of the story presented, but it also offered plenty of ambiguous subjectivity to allow viewers to see the film as hallucination or even as a metaphor. When The Exorcist was released filmmakers had already begun to push the cinematic envelope far beyond what was accustomed. However, no one had really pushed it as far as William Friedkin’s film.

The guilt that will not die. A demon takes the form of a deceased mother... The Exorcist William Friedkin, 1973 Cinematography | Owen Roizman

The guilt that will not die. A demon takes the form of a deceased mother…
The Exorcist
William Friedkin, 1973
Cinematography | Owen Roizman

Marketed as a horror film, The Exorcist presented horror in a whole new way. The Exorcist takes itself very seriously and the actors perform as if cast in a highly important work of dramatic cinema. This was horror movie gone the way of The Actors Studio with elevated production values. The Exorcist was missing most of the normal cinematic clues that it was a horror film. It also depicts the sadistic and perverse possession of an innocent little girl. In 1973 / 1974 no one had ever seen a child in such peril or scenes this shocking. This was a film of firsts.

And of course there is a whole other level of understanding at play in this iconic film — a reflection of its time. The government was letting us down from the Watergate Hotel to a meaningless war that continued to ravage despite overwhelming protest. The post Hippie Movement had evolved into the Sexual Revolution and Drug Culture was causing some serious cultural rifts. Parents no longer felt any control over their children. The Exorcist was a particularly incisive cut into the once communal ideas of cultural aspects once considered sacred. It expertly captured the Western World’s deepest fears into a manifestation of demonic possession of innocence that could no longer be protected.

No matter how you want to look at it, this was a whole different kind of world 48 / 43 years ago.

"The film which you are about to see is an account of the tragedy which befell a group of five youths..." Title Card The Texas Chainsaw Massacre Tobe Hooper, 1974

“The film which you are about to see is an account of the tragedy which befell a group of five youths…”
Title Card
The Texas Chainsaw Massacre
Tobe Hooper, 1974

Horror films took a swift and dark turn that blended the fantastical with reality. What many might funny now, were visualizations of all too real horror for many in the late 1960’s to early 1970’s. Kobe Hooper’s drive-in movie was far more realistically articulated than anything that had arrived there with the possible exception of his earlier The Last House on the Left. The Texas Chainsaw Massacre was really not all that graphic, but it sent audiences into a horror of a different order. These two films manifested horrors of parents as well as their children.

"...consciousness is a terrible curse. I think. I feel. I suffer." John Malkovich looks into a portal that leads to his own mind. Being John Malkovich Spike Jonze, 1999 Cinematography | Lance Acord

“…Consciousness is a terrible curse. I think. I feel. I suffer.”
John Malkovich looks into a portal that leads to his own mind.
Being John Malkovich
Spike Jonze, 1999
Cinematography | Lance Acord

The next film that comes to my mind will most likely lend a glimpse into what scares me. I saw Being John Malkovich on the afternoon it opened in Boston. I had heard nothing of it. I walked into that cinema free of any anticipation of what I was about to see. I wanted to see it because I quite like both John Cusack and Catherine Keener. While there was some very comical moments, this movie creeped me out. That night I met some friends at a bar and told them that Being John Malkovich was exceptional but quite disturbing. I think I actually called it a comical horror movie.

Dissatisfied, misunderstood and lonely. John Cusack contemplates falling into the consciousness of another... Being John Malkovich Spike Jonze, 1999 Cinematography | Lance Acord

Dissatisfied, misunderstood and lonely. John Cusack contemplates falling into the consciousness of another…
Being John Malkovich
Spike Jonze, 1999
Cinematography | Lance Acord

I would later get questions from my pals who found the movie awesome, but not at all disturbing or horrifying. But for me the idea of someone finding a way into my mind or even worse, me being stuck in the brain of another is an absolutely horrifying concept. Talk about an identity crisis from Hell. Being John Malkovich still freaks me out a bit. I usually have at least one nightmare after having seen it.

Perhaps the most polarizing horror film of my time is 1999’s The Blair Witch Project. Unlike with Spike Jonze’s movie, I was well aware of TBWP. We all were. And I saw it during its first weekend run. This film had created a whole new way to market a movie.

Heather Donahue turns the camera on herself as she panics and fears she is facing her end. The Blair Witch Project Daniel Myrick / Eduardo Sanchez, 1999

Heather Donahue turns the camera on herself as she panics and fears she is facing her end.
The Blair Witch Project
Daniel Myrick / Eduardo Sanchez, 1999

The cinema was sold out. A good number of the audience was frustrated by what they saw. For me it was a positive horror experience. I had not ever seen a film quite like it. As Heather Donahue slipped into hysteria, I felt her panic. I’m not a person who enjoys camping. The very idea is scary to me. So this film already offered something that I find creepy — nature after dark. I quite admired the lo-fi ingenuity of both Daniel Myrick Eduardo Sanchez. The online marketing blitz was fascinating. Please note that the Internet was still kind of new. The fake documentary that screened on television sporadically at the time was equally odd. It seemed to be a real documentary. The film really felt like found footage. All three characters seemed like people you might know. Their shared and respective fits of rage and panic felt like the real thing.

The movie made a ton of money and spawned an endless stream of found footage horror films continuing to this day. The difference is that other filmmakers would learn to avoid aspects of The Blair Witch Project that deeply annoyed audiences. If ever a horror movie arrived carrying strong word-of-mouth it was The Blair Witch Project.

To say that it fully satisfied audience expectations would not be correct. Many found the jittery camera movements nauseating. Others found the whole film to be tease for over an hour resulting in deliverance of a limp pay-off. But I was among those who was impressed by the movie. I was not so impressed from a technical standpoint, but the style matched the plot. I liked it, but I could understand the reservations of others.

A very clever use of TV and Internet marketing The Blair Witch Project Daniel Myrick / Eduardo Sanchez, 1999

A very clever use of TV and Internet marketing
The Blair Witch Project
Daniel Myrick / Eduardo Sanchez, 1999

After wowing audiences at The Cannes Film Festival in 2014, David Robert Mitchell’s It Follows was released to limited cinemas and shortly after to VOD in 2015. The surreal and odd film received a great deal of red-hot press and strong word-of-mouth prior and just after it came out in the US. A meticulously crafted low-budget film that looks a great deal better than most low budget films, It Follows is far more than your average horror film. As praise mounted the movie became a painful example of falling victim to heightened expectations from horror movie fans. Even worse, Mitchell’s clever and disturbing little movie had sparked debate among Film Critics and cinephiles regarding its worth as Film Art.

How in the world do we define terms like “Horror Movie” and “Film Art” in a way to determine which films fit within each? More importantly, who has the right to set the terms?

I might detest movies like I, Frankenstein or Pixels, but to some these films are fantastic and should be considered “Film Art.” What gives me the right to argue their points down? No one or organization issues this right. Even if such a person or institution existed I would proudly rebel against it.

The subjectivity of art is what makes it great. And the freedom to voice opinions and evaluations is what makes being a cinephile fun, but lately differing opinions have really taken an ugly turn.

Is this where sex can lead? It Follows David Robert Mitchell, 2015 Cinematography | Mike Gioulakis

Is this where sex can lead?
It Follows
David Robert Mitchell, 2015
Cinematography | Mike Gioulakis

Our 24/7 connection in the 21st Century has created a platform on to which international magazines, paid Film Critics and every member of the Audience can have an equal voice. This provides an awesome potential for the individual. From blogs like this to the exceptional podcasts, people now have the power.

The downside to this is that more than a few have opted to use that platform to be cruel and mean-spirited.

Such is the sad way of human nature. But every once in a while great films get unfairly gut-punched by the meanest and loudest voices. The result is that many individuals who might have been open to evaluating a movie that has gotten some negative feedback are led to believe that doing so would be jump on the wrong bandwagon. In other words, people are afraid of being bullied or appear ignorant to take a chance on a particular film.  The loudest and often most cruel voices manage to force a hand in keeping others from making up their own minds.

It Follows is not for all members of the collective audience. Very few, if any, movies will entertain everyone, but the quality of a film should not be made to serve as a barometer by which individuals are judged and causally dismissed as if each were a movie themselves. A person should be comfortable in being able to state she/he enjoyed a movie without fear of being flamed by others on the platform.

David Robert Mitchell’s surreal film explores everything from fears associated with sex to sexually transmitted diseases and all the way around to ideas about potential dangers of friendship and meditations on death. It is also an outstanding example of how much can be done with a very limited budget. It Follows is a great looking film.

"Okay, like I told you, all you can do is pass it on to someone else." It Follows David Robert Mitchell, 2015 Cinematography | Mike Gioulakis

“Okay, like I told you, all you can do is pass it on to someone else.”
It Follows
David Robert Mitchell, 2015
Cinematography | Mike Gioulakis

When I first saw It Follows I was blown away. I was invited to an advance screening. I had only read a couple of things about it at the time. I came out of the viewing experience disoriented and loved the film. I thought of it as Surrealism. I did not immediately identify the movie within the Horror Film genre. To be honest, my biggest concern was trying to determine if the movie had taken place in the not so distant past or present day.

The negative backlash against It Follows caused a number of folks to avoid the movie. I’ve noted a strong number who have seen it via DVD or streaming and loved it and wished they could have seen it on a big screen or sooner. Sadly I’ve also come across a rather large number of folks who loved it but avoid ever stating or sharing this fact for fear of being flamed by fellow bloggers, twitters and other Internet Communities. This really bums me out. It is all too easy to think these people are weak and need to assert themselves. For many the Internet which had once welcomed them has de-evolved to a High School-like experience in which they feel the need to conform.

"This may hurt a little." Perspectives go askew in more way than several. Seconds John Frankenheimer, 1966 Cinematography | James Wong Howe

“This may hurt a little.”
Perspectives go askew in more way than several.
Seconds
John Frankenheimer, 1966
Cinematography | James Wong Howe

The film genre of horror has always been a wide genre. It includes the silly and inane as well as well as the highly artistic and innovative. It can also bleed more easily into other genres than others. A good example of this is John Frankenheimer’s Seconds. This movie is usually considered a “thriller” or “drama” but it has also been read as “science fiction.”

I’ve always considered Seconds to be a horror film of the highest order, to which I assign the label “Art Horror.” Frankenheimer’s vision depicts what is perhaps one of humanity’s greatest fears: aging and mortality. Look just a bit deeper and you will notice the capture of committed relationship horror. Aging and life’s ultimate natural end is not for sissies. Nor is a relationship such as marriage. As we see in Seconds, love may spark passion but down the line that passion often slips away. If there is no love between life partners, facing the natural perils of life can be hard if not impossible. Seconds has enjoyed a re-evaluation thanks to the folks at The Criterion Collection. Label or genre it as you like, but this is a disturbing movie from all aspects. This is a generally accepted film. Sadly we are not so open to respect for a newer movie like It Follows.

Patrick Wilson about to get a fright... Insidious James Wan, 2010 Cinematography| Brewer / Lenenti

Patrick Wilson about to get a fright…
Insidious
James Wan, 2010
Cinematography|
Brewer / Lenenti

In 2007 yet another found footage movie found its way to cinemas. Oren Peli’s Paranormal Activity made a good deal of money for very little financial investment. I paid to see it. It was most certainly a horror film, but it failed to interest me and it certainly failed to scare me. It has spawned a franchise that continues to make money from one idea. James Wan’s Insidious also enjoyed success and has spawned at least one sequel. I saw it as well. Once again, Insidious is most certainly a horror movie. It attempted to offer a bit more thought and ideas than Paranormal Activity and featured some decent acting. The idea of a child in a coma and his parents trying to bring him back does provide some interest, but this film was focused on making the audience jump.

No new ground here. Nothing wrong with that if it floats your boat. Movies like this do not even get my boat a foot from its pier.

Robert Egger’s The Witch is currently generating an oppositional mix of awed praise to condemnation. The core of this largely online battle seems to be annoyance that The Witch has been sold to audiences as a horror film. A great number of the audience are frustrated if not straight up angry that The Witch failed to be scary by their definitions. This is a debate that has left me more than a little confused. Had we all seen the same movie? I did think that many might be disappointed to not find themselves jumping in their seats or clinging to arm rests, but the whole Anti The Witch attitude against the film has caught me by surprise.

Peek-a-boo! Anya Taylor-Joy The Witch Robert Eggers, 2016 Cinematography | Jarin Blaschke

Peek-a-boo!
Anya Taylor-Joy
The Witch
Robert Eggers, 2016
Cinematography | Jarin Blaschke

True enough A24 should have gotten The Witch out sooner. Almost a year worth of praise has most definitely put the movie in the uncomfortable position of living up to hype.

If you’ve not yet seen The Witch, there will be some spoilers to follow. Simply stop reading. If you are not sure you will see it then reading should not offer a problem.

Robert Eggers’ film has been carefully researched. Almost all of the film’s dialogue has been lifted from 17th Century records which transcribe reported events of suspected or assigned evil witchery. The movie is also closely aligned with this sort of folklore and fear of that time. The Witch captures the feeling / ambiance that matches my idea of what life must have looked and been like within the unsettled 17th Century America to which the Puritans and other settlers ventured. I could almost smell this world flowing out from the movie screen. Eggers may have only had a budget of $1.5 million, but this movie looks like it cost a great deal more. Carefully framed by Jarin Blaschke’s camera, The Witch manages to be both lush and rustically threatening all at once. The film works on two levels from beginning to end.***

 

 

Welcome to a New England folktale... The Witch Robert Eggers, 2016 Cinematography | Jarin Blaschke

Welcome to a New England folktale…
The Witch
Robert Eggers, 2016
Cinematography | Jarin Blaschke

On the one hand the film can be viewed as a horror film based on ancient folklore regarding Satan and Satanic Ritual lensed as reality. The idea that what one perceives as little more than silly fairy tale is given life as something deeply menacing, horrible and real. The Witch is also smart enough to function on a less literal levels. What we see unfold could be a manifestations resulting from misunderstood happenings to the unimaginable struggles for survival in an unknown place. And within the metaphorical read of the movie, the confusions and frustrations of two children on the verge of adulthood struggle with both the urge to rebel against and fear the changes/longings they experience under the repression of a puritanical daily life.

A pious family is banished from their Puritan Settlement for being a too hardcore with Christian beliefs. This in of itself is more than a little telling. It seems that their fellow settlers who left England in pursuit of an even more repressed life now feel that this particular family has taken worship of Christ to an unacceptable level. The father’s fevered preachings of faith are so intolerant that his words seem to border on perversity. The father stands proud and happily accepts his family’s fate of banishment. We follow the family on their devout journey for a new home. When Father decides he has found the perfect clearing of land for their own settlement, all fall to their knees and pray for thanks and blessing. It is not clear how long it takes the family to construct a bone-bare basic home, a small barn, a fence and the beginnings of a small crop — but they have managed to do it. But problems are not far behind end everything begins to crumble around them in horrifying ways.

Ralph Ineson as the father leads his family in prayer before they begin to eat a very sparse dinner. The Witch Robert Eggers, 2016 Cinematography | Jarin Blaschke

Ralph Ineson as the father leads his family in prayer before they begin to eat a very sparse dinner.
The Witch
Robert Eggers, 2016
Cinematography | Jarin Blaschke

The mysterious loss of a child, a failing crop, lack of food and an approaching winter sends this family into a deep crisis.

Could this crisis be a test from God or the work of Satan? The first indication that something far sinister is gripping the family presents itself very early in the film. Eldest child and daughter, “Thomasin” played with searing naturalism by Anya Taylor-Joy is to keep an eye on her youngest sibling. A cute baby lies in front of Thomasin. She begins to play a game of “peek-a-boo” with the baby. After a couple of rounds she covers her eyes but when she removes her hands, the baby has simply vanished. We see that the baby has been magically stolen by a naked crone of a witch. It becomes apparent that this elder witch has butchered the baby, devoured the meat and spread the babe’s blood all over her body. Is Eggers camera meant to be taken literally or is this the POV of a young woman’s darkest fear? We really do not know.

What we do know is that the family has no choice but to assume the very logical worst. The baby must have been snapped up by a wolf. Thomasin never seems to make a big point of the fact that there could be no way a wolf could have taken the baby so quickly and without a sound. And if she feels guilt it would appear to be suppressed for fear of her parents wrath. The mother slips into depression and clearly holds her eldest child responsible. It should be noted that the style in which Eggers shoots the old witch is different to what we have seen displayed in the movie.

A witch's lair, perhaps? The Witch Robert Eggers, 2016 Cinematography | Jarin Blaschke

A witch’s lair, perhaps?
The Witch
Robert Eggers, 2016
Cinematography | Jarin Blaschke

We soon discover that the eldest son has feelings for his beautiful sister that are not appropriate. He is aware of this, but does his best to hide it. While it is never fully articulated, there is a sense that Thomasin is aware of her brother’s interest. She does not encourage it, but there is a vague sense that she enjoys the attention. She passively finds ways to disguise her touches on her brother as innocent when their might be a shared desire at play in these touches. There are a pair of twins who are now the youngest of the clan. At first it would seem these two playful children are simply a bit spoiled, but their behavior is revealed to be far more sinister. They have taken to playing with the family’s black goat to which they have assigned the name Black Phillip. They claim to speak with him and that he has told them things. Most of which are more than a little worrying. The family’s misfortunes only continue. Eavesdropping, keeping secrets, lying, anger, hunger, depression and accusations soon engulf this family. Along the way we see horrific incidents that may or may not be actually happening. A goat appears to provide blood instead of milk. A seemingly ready to consume chicken’s egg is dropped to reveal a fully formed chick dead and bloody. An innocent rabbit appears to the father and his son but seems to serve as some sort of hiding beast of omen. Black Phillip does some very odd movements for the twins. The eldest boy stumbles upon what appears to be a witch’s lair. A beautiful woman emerges with an apple and gives the child an adult kiss. This woman soon appears to turn into an old crone. Thomasin takes to staring into the woods that border the newly created home land.

An odd plaything for an odd pair of twins... Meet Black Phillip. The Witch Robert Eggers, 2016 Cinematography | Jarin Blaschke

An odd plaything for an odd pair of twins… Meet Black Phillip.
The Witch
Robert Eggers, 2016
Cinematography | Jarin Blaschke

The father, expertly played by Ralph Ineson, has the look of a somehow perverse version of a stereotypical idea of Jesus. He seems to be the most conflicted by the events that are pushing the family beyond the edge of reason. Before long their eldest son falls prey to what appears to be witchcraft or black magic and dies. The mother slips further into hysteria. Ineson’s William is torn by accusations from the twins that Thomasin has been consorting with The Devil. Most especially due to the fact that they claim it is Black Phillip who has informed them of this as well as Thomasin herself.

But continuing events which he is unable to explain push him to put all three children into the small barn. He barricades it so they can’t leave, but the twins’ Black Phillip is sealed in with them. Disturbing visions come to the mother in her fevered night’s sleep. William emerges in the morning to discover that the barn has been essentially destroyed, the twins dead and Thomasin lies on the ground covered in the twins’ blood. Tragedy strikes yet again leaving Thomasin alone among the carnage. Exhausted and traumatized she makes her way into the hovel of a home, sits at the table and allows her head to fall.

Locked up in the barn with Black Phillip or The Devil? The Witch Robert Eggers, 2016 Cinematography | Jarin Blaschke

Locked up in the barn with Black Phillip or The Devil?
The Witch
Robert Eggers, 2016
Cinematography | Jarin Blaschke

Is Thomasin sleeping? It is not entirely clear but it would seem she is awoken by a male presence. Could it be the vile Black Phillip? It is. But then perhaps it isn’t.

Thomasin does not seem particularly surprised. Why should she? She has witnessed what can she can only attribute to Satan’s darkest magik destroy her family. She demands or rather “conjuresBlack Phillip to speak with her. We do not see the goat speak but we hear a deep male voice respond. A conversation ensues in which he asks the young girl what she might want from life. The voice assures her she will live life “deliciously” if she will simply sign a book that has magically been sat before her. Thomasin hesitates, but is instructed to remove her shift and that he will guide her hand to sign her name in the book.

The last images we see are of a nude Thomasin walking toward a gathering of nude witches in the midst of a Satanic ritual. As the chanting reaches a pitch, the witches began to levitate and fly upward. A calming look comes over Thomasin’s face and she begins to levitate toward the sky.

And here is a bit of cinematic magic — in another director’s hands this moment in the film might have come across in another way. But under Robert Eggers steady direction, this young woman’s take to flight is not a moment of female freedom or rebirth. This is the film’s most chilling moment. We see a young woman ascend naked toward her destiny in celebration of her evilness. She embraces all that is evil and leaves all kindness behind. It is a nightmare awakening and is horrifying.

Ralph Ineson The Witch Robert Eggers, 2016 Cinematography | Jarin Blaschke

Ralph Ineson
The Witch
Robert Eggers, 2016
Cinematography | Jarin Blaschke

The Witch weaves a spell that takes on a slow burn within the mind. I was never afraid as I watched the movie unfold, but I was disturbed as much as I was fascinated. Hours after I saw The Witch, it began to haunt my thoughts. This is a movie that stays with you.

A24 has employed two tag lines to promote The Witch:

Evil takes many forms and A New-England Folktale  — both makes sense for the film. Each expresses the two ways in which the film can be viewed.

Neither tag line makes any promises that the movie is unable to keep. The Witch may not make you jump in your seat or cling to your arm rests, but you very well might squirm. And it is highly likely that you will ponder what you have seen long after you have left the cinema.

A work of Art Horror that deserves praise. I think The Witch comes close to being a brilliant exercise in Art Horror. Make fun of me, flame me and dismiss me if you wish.

"Wouldst thou like to live deliciously?" The Witch Rober Eggers, 2016 Cinematography |

“Wouldst thou like to live deliciously?”
The Witch
Rober Eggers, 2016
Cinematography |

***There is a third “read” to be found while watching and evaluating The Witch. While this reading is more than a bit dark, there is correlation to be made between a metaphorical rejection of patriarchal ideas regarding the identity of women. A story which leads a young woman out of repression, oppression and up to the sky in a celebration of her own identity, sexuality and power. The thing is that most feminist thinkers are likely to take exception to using such actions as vivisection murder of male baby and ultimate violent destruction of a family unit. However, we are dealing in metaphors here.

 

Matty Stanfield, 2.25.2016

 

 

 

 

 

 

 

 

 

At this moment, it was still very much style over substance. But this would soon change. Performance Donald Cammell / Nicolas Roeg, 1970 Cinematography | Nicolas Roeg

At this moment, it was still very much style over substance. But this would soon change.
Performance
Donald Cammell / Nicolas Roeg, 1970
Cinematography | Nicolas Roeg

Having the opportunity to interview or chat with a filmmaker is always interesting, but once in a while it can be somewhat magical. From time to time a highly respected and successful film artist manages to escape the limitations of celebrity. Not all celebrated filmmakers live in bubbles.

And while it often feels a thing of the past, there are still filmmakers who are more concerned with filmmaking as an art form than as the opportunity for the wealth of a franchise. No artist desires creating work that fails to connect with an audience, but there are some who are far more concerned with a personal vision than worrying about selling tickets. While this can create limitations for the filmmaker, it also presents a great level of freedom.

Nicolas Roeg BBC Arena Portrait Photograph | David Thompson, 2015

Nicolas Roeg
BBC Arena Portrait
Photograph | David Thompson, 2015

One such filmmaker is Nicolas Cage. If you’ve ever watched or read an interview with eccentric auteur you will be aware that his style of conversing is at once intellectual and rather free-form. His style of discussing his work, history and ideas often ramble, but they never miss their mark.

If you’ve ever had the pleasure of listening to Nicolas Roeg speak, you will note a highly intelligent and genuine man. It is impossible to miss the fact that he is so filled with ideas that he tends talk in meandering and circular logic sentences. Last year, after overcoming more than a few challenges, The Criterion Collection re-mastered and re-issued Don’t Look Now. It features a discussion filmed in 2003 at London’s Ciné Lumière. It is an entertaining discussion and fully captures the way in which Roeg communicates. More importantly, it lets us see how he thinks and more than a little insight into how he makes films. He has always stretched cinematography and film editing to the limits to mimic the ways the human mind works. It may not always appear logical if we can slow down long enough to notice the jumbled order of our thoughts, but we are able to connect the dots of our odd assortment of ideas to lead us to the ways in which we operate.

If there is one element that shines through when listening to Mr. Roeg is the constant desire to find ways for film to connect with the human brain. When he made his debut as a film director it was a collaboration with writer/director, Donald Cammell.

There is a great deal more going on behind James Fox's "Johnny's" violent actions than simple thuggery. James Fox Performance Donald Cammell / Nicolas Roeg, 1970 Cinematography | Nicolas Roeg

There is a great deal more going on behind James Fox’s “Johnny’s” violent actions than simple thuggery.
James Fox
Performance
Donald Cammell / Nicolas Roeg, 1970
Cinematography | Nicolas Roeg

That debut film was Performance. Essentially a thriller in which a thug makes the mistake of hiding out in the home of rock star and his two groupies. The “thrill” aspect of the film takes a long fall as the film quickly evolves into a surrealistic study of a drug-fueled, hallucinogenic trip into identity. The film remains firmly seated as a dated but groundbreaking film of its time featuring Mick Jagger playing the odd rock star who pulls James Fox into a great deal more than his own isolated world.

“Nothing is true, everything is permitted.”

There only appears to be no rules... Mick Jagger Performance Donald Cammell / Nicolas Roeg, 1970 Cinematography | Nicolas Roeg

There only appears to be no rules…
Mick Jagger
Performance
Donald Cammell / Nicolas Roeg, 1970
Cinematography | Nicolas Roeg

It is an iconic film. It is also offers a key insight into what would soon become Nic Roeg’s life long pursuit toward a whole new kind of cinematic language. The idea of filming and editing a film to reflect the inner-workings of the human mind is forming. As Performance was a collaborative effort and firmly rooted in the culture of late 1960’s Swinging London world of fashion, rock and drugs — the uses of this idea never fully form. Instead the film often employs stylistic choices of jittery fast cuts and odd perspectives that are as ornamental as they are meaningful. Even still Roeg’s approach human thought as a method of plot projection is there.

Even the smallest creatures fight to survive. A picnic in the outback turns into a journey of cruel awakening, self-discovery and survival. A Cinematographer becomes an Auteur. Walkabout Nicolas Roeg, 1971

Even the smallest creatures fight to survive. A picnic in the outback turns into a journey of cruel awakening, self-discovery and survival. A Cinematographer becomes an Auteur.
Walkabout
Nicolas Roeg, 1971

Nicolas Roeg’s true directorial debut is filled with ideas and unique perceptions. A brother and sister escape the insanity of their troubled father to find themselves in the wilds of The Australian Outback. The title of the film comes from the Aboriginal concept of a male’s journey to adulthood. And with the assistance of a young man in the middle of his tribal ritual “walkabout” — the siblings journey through adversity and mystery toward their own adulthood.

What constantly threatens danger springs forward into a celebration of life's possibilities... Jenny Agutter Walkabout Nicolas Roeg, 1971

What constantly threatens danger springs forward into a celebration of life’s possibilities…
Jenny Agutter
Walkabout
Nicolas Roeg, 1971

Along the way cultural differences cause confusion and alarm. It is a film about survival thanks to human kindness. But more than anything it is a startling view of how racism and cultural differences are so engrained, no amount of human kindness can make them go away.  Roeg’s camera captures reality through a sort of surrealistic lens. The careful use of Antony Gibbs and Alan Pattillos’ editing allow us to view the realities and revelations from the perspective of two young adults and a child. It is here that we get a glimpse of identity perspective through the way the characters’ minds take in and view individual perceptions of experience.

A beautiful and tragic experimental film about both the strengths and flaws of the human condition. Another idea is put forward that hints that as our society applies more and more pressures, the concept of a walkabout could become a new sort of ritual for human beings contained within a society that only appears to offer safety and protection.

A young man takes a look at the land of his future and a shot becomes an iconic image. David Gulpilil Walkabout Nicolas Roeg, 1971

A young man takes a look at the land of his future and a shot becomes an iconic image.
David Gulpilil
Walkabout
Nicolas Roeg, 1971

When one watches Roeg’s 1980’s Bad Timing, a story of lust turned to obsession that not only pushes both individuals to the limits — it pulls one of them into the darkest corners of insanity. Bad Timing is graphic in the use of nudity, but the story it tells is not all that unusual. What makes this film standout as a work of cinematic art is the blending and discordant use of plot points into a fluid labyrinthine of perspectives that is often almost impossible to follow. The concept of flashback story-telling takes an almost hysterical detour into uncharted territories.

What often feels like a murder mystery is really far more complex in what it attempts to do. Bad Timing dares to toss a number of film genres our way, but the goal here is not suspense or even mystery. This film charts the deterioration of both the human mind and psyche after the requirements of desire, lust and sexual obsession have overtaken the rational.

"I'll be dead in a minute; just wanted to say good-bye." Who is in control? Who is being seduced? And in what order are these experiences happening?  Art Garfunkel / Theresa Russell Bad Timing Nicolas Roeg, 1980 Cinematography | Anthony B. Richmond

“I’ll be dead in a minute; just wanted to say good-bye.”
Who is in control? Who is being seduced? And in what order are these experiences happening?
Art Garfunkel / Theresa Russell
Bad Timing
Nicolas Roeg, 1980
Cinematography | Anthony B. Richmond

Tony Lawson’s editing of Anthony B. Richmond’s oddly framed cinematography shifts the viewer perspective into a strange flow that is challenging to grasp. The majority of film critics and audiences at the time tended to dismiss the film. Art Garfunkel’s low-key performance mixing with Harvey Keitel’s intensity and Theresa Russell’s unhinged demonstration of carnal obsession often feels like a cinematic experiment with celluloid as rubber band. Bad Timing was so strange at the time it was released that it would take a good decade before it would be reconsidered and re-evaluated for the exceptional film it is. This film remains strange and refuses to give in.

tumblr_ngklgdbxKL1tus777o3_r1_1280

“You tell the truth about a lie so beautifully.” Art Garfunkel / Theresa Russell Bad Timing Nicolas Roeg, 1980 Cinematography | Anthony B. Richmond

Don’t Look Now takes us to a Venice steeped in decay, sadness and uncertain dangers. We are led through a series of seemingly endless loop of dark tunnels. We pass over aged bridges in a fog of mystery. Hope can become deadly. Grief can become a release. Like life, nothing is at it appears. Constantly shifting back and forth in time which only becomes obvious upon a second screening. Everything is viewed with disconnected logic and paranormal hindsight. There is a constant confusion of “real-time” with conscious and subconscious perceptions. An unrelenting sense of déjà vu that our protagonist refuses to own or fully evaluate.

Nothing is what it appears... Julie Christie Don't Look Now Nicolas Roeg, 1973 Cinematography | Anthony B. Richmond

Nothing is what it appears…
Julie Christie
Don’t Look Now
Nicolas Roeg, 1973
Cinematography | Anthony B. Richmond

A cinematic masterwork that captures a young couple trying to re-connect and support each other in order to survive the worst experience life can offer.  It is a truly horrific film that somehow manages to be both beautiful and hauntingly sad. This is a surreal horror film about love, guilt, connections and grief.

"This one who's blind. She's the one that can see." Don't Look Now Nicolas Roeg, 1973

“This one who’s blind. She’s the one that can see.”
Don’t Look Now
Nicolas Roeg, 1973

This controversial 1973 film remains Roeg’s most successful film. Don’t Look Now is perhaps the best example of how Nicolas Roeg’s films work.

These films are about a whole lot more than seeingthese films are about how we think.

Matty Stanfield, 2.8.2016

 

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

 

Definitions, categorizations and comparisons fill the world of art theory. When it comes to Film Art there seems to be an almost endless stream of terms. Defining “cinema” and determining what films truly achieve “cult” status is not always as easy as it would seem. A great Cinematic Master gave a definition that I’ve always found inappropriate and insulting. However I am forever returning to his definition in much the same way I am constantly re-watching one of his many masterpieces.

"Oh, you ARE sick." Eraserhead David Lynch, 1977

“Oh, you ARE sick.”
Eraserhead
David Lynch, 1977

Federico Fellini once described the art of cinema as “...an old whore, like circus and variety, who knows how to give many kinds of pleasure.”

There is a good deal of validity to this definition. Film has become an integral part of our culture and is quite possibly the most valued art form which screens 24/7 all over the world. It is also based on a model so firmly grounded in marketing and profit earning that is impossible to talk with any filmmaker and not end up discussing the costs to make them and how much they earn. Of course even while money is the requirement and the goal, it takes a backseat to the pleasures it provides to us, its John. And we are a constantly returning customer.  No matter how bad the weather or strapped for cash we might be. This is one service most of us seem to need and we constantly run the risk of being disappointed.

Lonely, isolated and sad. Donald Sutherland Fellini's Casanova Federico Fellini, 1976 Cinematography | Giuseppe Rotunno

Lonely, isolated and sad. Mid-1970’s audiences did not know what to think of this strange Surrealist take on Casanova. Three decades later, a whole new audience eagerly awaits a refreshed print. Criterion Collection?
Donald Sutherland
Fellini’s Casanova
Federico Fellini, 1976
Cinematography | Giuseppe Rotunno

Sometimes one of the these movies seems to pull us back again and again. We can’t get enough. This of course is not a hooker. This is a film that develops a loyal following no matter its profit margin. And no matter how hard it is to locate. We pursue it. Welcome to the Cult Film. David Lynch’s Eraserhead is an exceptional Cult Film. It is not a bad film. I would argue that this 1977 film represents years of work, dedication and is ultimately a fine work of American Art. But how can a films like Eraserhead and Grey Gardens be lumped into the same category as Roger Vadim’s Pretty Maids All in a Row or Mark Robson’s painfully bad, Valley of the Dolls? Well, it is pretty easy actually.

"They drummed you out of Hollywood, so you come crawling back to Broadway. But Broadway doesn't go for booze and dope. Now get out of my way, I've got a man waiting for me." Valley of the Dolls Mark Robson, 1967

“They drummed you out of Hollywood, so you come crawling back to Broadway. But Broadway doesn’t go for booze and dope. Now get out of my way, I’ve got a man waiting for me.”
Valley of the Dolls
Mark Robson, 1967

Wikipedia prefers to apply the term “Cult Classic” instead of “Cult Film.” The definition provided is “…a film that has acquired a cult following. Cult films are known for their dedicated, passionate fanbase, an elaborate subculture that engage in repeated viewings, quoting dialogue, and audience participation. Inclusive definitions allow for major studio productions, especially box office bombs, while exclusive definitions focus more on obscure, transgressive films shunned by the mainstream. The difficulty in defining the term and subjectivity of what qualifies as a cult film mirror classificatory disputes about art. The term cult film itself was first used in the 1970s to describe the culture that surrounded underground films and midnight movies, though cult was in common use in film analysis for decades prior to that. Cult films trace their origin back to controversial and suppressed films kept alive by dedicated fans. In some cases, reclaimed or rediscovered films have acquired cult followings decades after their original release, occasionally for their camp value…

"A good football coach can get away with murder." Uh, oh. Movies do not get much worse or conversely better than... Pretty Maids All In A Row Roger Vadim, 1971

“A good football coach can get away with murder.” Uh, oh. Movies do not get much worse or conversely better than…
Pretty Maids All In A Row
Roger Vadim, 1971

The definition goes on to discuss the fact that Cult Classic is not limited to the campy or the failed. It is often reserved for films that are acclaimed but never quite move into mainstream success. There are some exceptional Cult Classics, or Cult Films as I prefer to call them. These are artistically solid works of Film Art that may not have broken box office records or secured the false acclaim of The Academy Award. In fact there are some fairly new films that are brilliant and are already achieving Cult Film status. There are also a number of God-awful movies that have over the past decade have begun to return to our attention as Cult Films.

Both Roger Vadim’s deeply odd Pretty Maids all in a Row and Mark Robson’s big-budgeted major studio Valley of the Dolls have enjoyed the status of Cult Films for decades. These are both examples of unintended camp. When it comes to Robson’s adaptation of Jacqueline Susann’s hugely successful novel, the idea of Cult Film is turned every which way but loose. This film was actually a huge box office hit. When watching this infamous movie it boggles the mind that our parents and grandparents were rushing to local movie theaters to watch this astoundingly bad film. But they did. Drag Queens should be given credit for catching the camp value of this film first, but over the past couple of decades those of us who love a great bad movie have come to love it just as much. At once shamelessly lewd and contradictorily innocent, from start to finish — VOD is continually amping itself up to a seemingly endless escalation of camp.

An exorcise in narcissism featuring fashion designs from the mind of the film's star. Diana Ross Mahogany Berry Gordy, 1975 Cinematography | David Watkin

An exorcise in narcissism featuring fashion designs from the mind of the film’s star. Another painfully bad film that is so desperately horrible it becomes an endless source of fun! 
Diana Ross
Mahogany
Berry Gordy, 1975
Cinematography | David Watkin

Roger Vadim’s Pretty Maids was designed to cash in on the idea of the T&A movie merged with once major Hollywood Players. Rock Hudson and Angie Dickinson quickly tossed cautiously crafted on-screen personas to prove they were hip to the grooves that had spread across middle America. Keenan Wynn, Telly Savalas and Roddy McDowell were also eager to strap it on for the ride. None seem to be embarrassed as they romp about with semi or fully nude nymphettes. Nor do any seem to be bothered by the fact that the sexual teases were also mixed with serial murder killings. The film was also intended to be a dark comedy. The film flopped. It was decidedly not hip and most certainly far from cool. It was not particularly funny. It did however open a door for Telly Savalas by inspiring the idea of what would become Kojak. After the tragic death of Rock Hudson, this film began to be re-evaluated. It was still bad, but oh so much mind-blowing fun to watch.

As bad as these two major studio films are, neither can top Berry Gordy’s ill-advised star-vehicle for Motown’s own, Miss. Diana Ross.  That film is Mahogany. A hit song did not a hit movie make. When news that the film was being released to DVD, fans rushed to pre-order it. So unwilling to have to even think about the movie, Diana Ross herself held up over 500,000 newly printed DVD’s hostage (!) until someone convinced her it would be cheaper to let the film out. Those of you who know the fun that is Berry Gordy’s Mahogany hold that DVD close to your hearts. Of course it was this film that inspired Rupaul to become the persona she is today! But Mahogany merits its own post. There is not enough room here.

"Death to Videodrome! Long live the new flesh!" Videodrome David Cronenberg, 1983

“Death to Videodrome! Long live the new flesh!” An example of profound Surrealism that verges toward that of Cinematic Masterpiece is now considered a Cult Film or Cult Classic. As well as a beloved member of The Criterion Collection.
Videodrome
David Cronenberg, 1983

In the early 1980’s David Cronenberg finally secured a modest, but decent budget when he made Videodrome. Featuring Pop-Icon, Debbie Harry, in a pivotal role — this controversial and surreal examination in body horror and paranoia was acclaimed and achieved a slight success in cinemas. Far too grim, graphic and controversial to achieve major box office success — this film was admired. By the time it was released to VHS, Cronenberg’s dark vision had already built a solid fan base that would continue to grow. Videodrome is now rightly viewed as somewhat of a cinematic masterpiece. It is also a member of the esteemed Criterion Collection. This is a Cult Film that is brilliant and some 30 years on — it still threatens to bite. Despite the fact that the technology key to the film’s plot has long been left behind in the dust, this movie remains disturbing, visceral and horrifying. Interestingly, this film also remains controversial in its depiction of BDSM.

But I’d like to shift focus forward to a couple of more recent films that are quickly establishing themselves as Cult Films. One such movie is Evan Glodell’s 2011 independently produced, Bellflower.

"Dude you are fucking Lord Humongous. The master of fire, the king of the wasteland." Bellflower Evan Glodell, 2011

“Dude you are fucking Lord Humongous. The master of fire, the king of the wasteland.”
Bellflower
Evan Glodell, 2011

From the first moment Evan Glodell’s writing/directorial debut, Bellflower, starts – – the audience knows that they are about to watch something at once slightly familiar and yet remarkably unique in almost all aspects. Bellflower is not quite like any movie you have seen. Without giving away any spoilers the film begins as a rather humorous and sad take on a relationship between two late twenty-somethings one of whom is a man obsessed with apocalyptic movies and creating weapons in preparation for the end of times.

The main character fill his days and time with his best bud day dreaming about the ultimate apocalypse in which they will each play roles of the Mad Max/Road Warrior types. These two men share a child-like joy in the planning of playing these roles in the Hell that will be left after the world as they know it ends. All the more interesting is the fact that these two “dudes” do not even have any sense of their own immaturity or the irony that their adult feet are planted so firmly in adolescence.

His heart broken and without the maturity to work through a lost first love, Woodrow's mind leads us into a film where reality and fantasy become blurred. Bellflower Evan Glodell, 2011 Cinematography | Joel Hodge

His heart broken and without the maturity to work through a lost first love, Woodrow’s mind leads us into a film where reality and fantasy become blurred.
Bellflower
Evan Glodell, 2011
Cinematography | Joel Hodge

The plot takes a turn for the romantic when Woodrow, played by director/writer, Evan Glodell, meets the beautiful and equally odd, Milly. Like Woodrow and his close pal, Aiden, Milly seems to be stuck in a rut of narcissistic immaturity. Milly and Woodrow fall in love but both lack the maturity to navigate the wild woods of a romantic relationship. It isn’t long before their relationship takes a dead end turn. At that point Bellflower pulls the audience into the darkest corners of damaged heartbreak and rage. Bellflower becomes a devastatingly disturbing apocalyptic journey filtered through the eyes of drug-fueled insanity. Glodell has cleverly created a highly artistic and powerful study of the Love Wounded Boy-Man Walking. As this metaphor that when merges with the stunted emotionality of the character, Bellflower comes close to the trajectory of Coppola’s cinematic masterpiece, Apocalypse Now. In fact, Bellflower almost manages to make Apocalypse Now seem like a Disney movie. This impact is quite a cinematic feat.

For one immature slacker, love takes a startlingly apocalyptic turn. Bleeding, violated, defeated and broken -- Evan Glodell and Jessie Wiseman embrace as everything around them seems to fall apart. Bellflower Evan Glodell, 2011 Cinematography | Joel Hodge

For one immature slacker, love takes a startlingly apocalyptic turn. Bleeding, violated, defeated and broken — Evan Glodell and Jessie Wiseman embrace as everything around them seems to fall apart.
Bellflower
Evan Glodell, 2011
Cinematography | Joel Hodge

Evan Glodell’s film deals with pain and frustration that every young adult feels in his/her first loves and quite literally blows them to oblivion. It is a gut punch that would make the strongest of people bend over or, at the very least, squirm in their seats. While this film garnished Film Festival attention, it did not fare so well at the box office. Since it was released to DVD, Blu-Ray and VOD, this film has emerged with a fierce following. While it is about as dark as any film can get, it resonates.

This movie is tapping into a current vibe shared by many as we enter the 21st Century. So much is unknown. So much is uncertain. Uncomfortable change and misadventure seem to be in the air. Bellflower plays with that creepy societal feeling to an extreme that turns to an almost manic glee of vengeance. The failure of the characters to have grown into mature/adjusted men and women is presented as a reflection of a generation weaned on TV, bad movies and low expectations. Bellflower grinds into the psyche as a blistering reminder of our shared creation of a generation of people largely misplaced and lost.

Armed with a hand-made weapon of destruction, our tragically lost man-child sets out to right wrongs and assert his masculinity. Bellflower Evan Glodell, 2011 Cinematography | Joel Hodge

Armed with a hand-made weapon of destruction, our tragically lost man-child sets out to right wrongs and assert his masculinity.
Bellflower
Evan Glodell, 2011
Cinematography | Joel Hodge

Bellflower, like Woodrow’s amped up car called Medusa, speeds, twists, turns, shoots out the very flames of fury and spins out of control into crashing oblivion. Horrible heartbreak speeds through the veins of Woodrow without the boundaries of emotional understanding to know when to put on the breaks or slow down at corner. This is spectacular feature film debut. Fingers crossed that Glodell will emerge with a new film soon. But no matter what he does, this dark film lives on in the minds of those who see it. And see it again.

In the Robert Altman’s 3 Women, Shelley Duvall gleefully informs Sissy Spacek, “This is my parking space. It’s the best one!” Later Duvall explains, “That’s Dirty Girtie! Pull her bow and she’ll say hello!” Her delivery of these improvised lines creates an odd and varied response for viewers. Some giggle, some laugh, some are not sure how to react, but many viewers feel the need to go fetal with dread. This film was inspired by a dream Altman experienced. He assembled his cast out in the desert and began filming. While there was a very loose form script, he encouraged both Duvall and Spacek to come up with their own voices for their respective characters. The entire film feels like a hazy dream that offers a glimpse into the psyche’s darkest corners of loneliness, insecurities and unsure identity.

"You're the most perfect person I've met." 3 Women Robert Altman, 1977

“You’re the most perfect person I’ve met.”
3 Women
Robert Altman, 1977

The majority of film critics of the time loved the film. Sadly there was one exception. That exception caused a great deal of damage to the film’s potential for success. This would be the first Robert Altman film that Pauline Kael would dismiss. The film’s initial release was fairly limited to major cities and on to the Art House screens. Kael’s odd disconnect to this brilliant film kept many intellectuals away.

Millie Lammoreaux strives to be sophisticated and a woman of taste. Shelley Duvall 3 Women Robert Altman, 1977 Cinematography | Charles Rosher Jr.

Millie Lammoreaux strives to be sophisticated and a woman of taste.
Shelley Duvall
3 Women
Robert Altman, 1977
Cinematography | Charles Rosher Jr.

Before any sort of “word of mouth” regarding Robert Altman’s surreal experimental film had the chance to spread, it was pulled out of circulation within 8 days. Over the following two decades 3 Women became not only a “Cult Classic” but was largely considered one of the most important American films of the 1970’s. Robert Altman’s study of identity, isolation, loneliness and sexuality is pure cinematic magic. Shelley Duvall and Sissy Spacek are pitch-perfect. The cinematic experimentation employed is fully realized. His two lead actresses’ visions blend, but most importantly they successfully morph into Altman’s disturbing dream world. Sissy Spacek is outstanding in the film, but it is Shelley Duvall who remains the film’s vital core.

Almost completely improvised, these two actors transform their director's dream into a psychological study of identity that manages to be Surreal, comical and surprisingly horrific all at once. There is a great deal going on here... Sissy Spacek and Shelley Duvall 3 Women Robert Altman, 1977 Cinematography | Charles Rosher Jr.

Almost completely improvised, these two actors transform their director’s dream into a psychological study of identity that manages to be Surreal, comical and surprisingly horrific all at once. There is a great deal going on here…
Sissy Spacek and Shelley Duvall
3 Women
Robert Altman, 1977
Cinematography | Charles Rosher Jr.

Despite the fact that the film was available on only inferior VHS tapes and in loose fragments online — much of which focused on Duvall’s scenes featuring only the eccentricity and comic aspects of her performance — 3 Women has never been short of devoted fans. Thanks to The Criterion Collection, the film was beautifully remastered and issued for all those devoted to grab. And of course, the film has since snared an even bigger audience and reappraisal. Some like to frame this film as an American answer to Ingmar Bergman’s Persona, but that is a poor framing device. 3 Women is far less tight in construction. It flows over the viewer. While Duvall may make the audience laugh, she also slips in under the skin. Millie‘s awkwardness feels a bit too familiar. Spacek’s Pinky slowly begins to take on a sinister edge. By the time we become aware of the third woman played by a mute Janice Rule, the spell has been cast. This Cult Film goes deeper with each viewing.

"Dreams can't hurt ya." Or maybe they can... Shelley Duvall 3 Women Robert Altman, 1977 Cinematography | Charles Rosher Jr.

“Dreams can’t hurt ya.” Or maybe they can…
Shelley Duvall
3 Women
Robert Altman, 1977
Cinematography | Charles Rosher Jr.

In many ways, Altman’s 3 Women almost seems more tied to the American Underground Film of the late 1960’s to mid-1970’s. So many interesting works emerged from this Underground. One of the most interesting is also a film which has attracted a huge following over the past 20 years is a notorious epic called Thundercrack!.

"And don't go telling me it's some kind of a popsicle!" Thundercrack! Curt McDowell, 1975

“And don’t go telling me it’s some kind of a popsicle!”
Thundercrack!
Curt McDowell, 1975

Thundercrack! is truly one of the oddest films ever made. An odd mix of dark humor, surrealism and hardcore pornography — it can be a difficult viewing for some. A movie never intended for all audiences, this movie aims both cerebrally and very much below the belt. This film is a tripped-out work of art by the most bold artists’ of The 1970’s Bay Area. The level of Surrealism and Absurdism should not be denied. And on top of everything else, this twisted epic of a movie is often very funny.  This is a film that makes John Waters’ early films seem tame. Make no mistake, this film plunges into the full-on hardcore porn found in the mid-1970’s. It is like an experimental theatre company gone to seed and given a camera.

The thing about Thundercrack! is that while it is all of these things, it manages to step up toward a twisted version of Art House Cinema. This may be a part of The Underground Trash Cinema subgenre, but it is clearly an artistic venture. Directed by Curt McDowell and co-written with Mark Ellinger (who also serves as the film’s composer and sole musical instrument player!) — the script would also feature some added ideas from the infamous George Kuchar. McDowell was a Queer Artist going places. Tragically, AIDS would steal him away from the world far too soon.

Mrs. Gert Hammond finds her home full of lost souls with more than a few secrets, but all of them are limp when compared to Gert's. Mark Ellinger and Marion Eaton Thundercrack! Curt McDowell, 1975

Mrs. Gert Hammond finds her home full of lost souls with more than a few secrets, but all of them are limp when compared to Gert’s.
Mark Ellinger and Marion Eaton
Thundercrack!
Curt McDowell, 1975

Marion Eaton is the film’s “star.” She plays sad Mrs. Gert Hammond. A wealthy, constantly drunk/drugged eccentric, we find Gert drunkenly yelling at her radio. A horrid storm is raging and she soon opens up her home to a wild and often sordid bunch of strangers who need shelter from the raging storm. Each character has a dark secret, but none have a secret that tops the two Mrs. Gert Hammond is keeping. Gradually each secret is revealed until the film builds to its insane crescendo when Gert’s secrets are revealed. Interestingly, this motley crew is willing to accept every secret except for the two belonging to their host. Mrs. Gert Hammond simply goes too far.

A demented and often brilliant vision captures the mood of the mid-1970's Sexual and Cultural Revolution. ...with plenty of lube. Thundercrack! Curt McDowell, 1975

A demented and often brilliant vision captures the mood of the mid-1970’s Sexual and Cultural Revolution. …with plenty of lube.
Thundercrack!
Curt McDowell, 1975

 

All manner of things happen. Conflict and melodrama run amok. In between strange scenes of banter, the film features a wide range of sex acts. Leading us back to The Bay Area of the 1970’s when sexual experimentation and exploration were still free of dangers, nothing appears to be off-limits for these characters. This is fluid sex at it’s most hairy. Never actually erotic, the sex scenes seem to serve more as an empowering statement of sexual rebellion and freedom. These actors don’t just go for broke, they are out to break. The most impressive member of the cast is Marion Eaton. Every movement, line and gyration is delivered with theatrical sincerity. The late Ms. Eaton even finds moments of poetry which she delivers as if her life depended upon it.

"Who is it that speaks to me with the voice of a woman?" Marion Eaton Thundercrack! Curt McDowell, 1975

“Who is it that speaks to me with the voice of a woman?”
Marion Eaton
Thundercrack!
Curt McDowell, 1975

Heavily censored and often difficult to find, Thundercrack! has a running time of close to 2.5 hours. It will be too much for many, but for many it is an unexpected, strange and wild trip. Thundercrack! ‘s road to restoration and Blu-Ray/DVD has been a long one. But Synapse Films has finally released it to the Cult that has been waiting patiently. This film is not for everyone, but if you’re feeling adventurous you will discover a movie that can still leave a viewer God-smacked some 40 years since it first screened. This is a film that defies categorization, time, space and your judgement. It does not care what you think. 

Artistic and poetic moments surface between scenes of hardcore sex and absurdist situations... Marion Eaton Thundercrack! Curt McDowell, 1975

Artistic and poetic moments surface between scenes of hardcore sex and absurdist situations…
Marion Eaton
Thundercrack!
Curt McDowell, 1975

As Spencer Susser film begins a middle grade teacher tells his class, “Now today we’re going to talk about ‘metaphor.’” Welcome to the world of  TJ played by Devin Brochu. TJ’s father (played exceptionally by Rainn Wilson) has fallen into a deep depression following the death of his wife and TJ’s mother. They are now living with TJ‘s elderly Grandmother. Piper Laurie delivers a touching performance as an elderly woman who feels helpless as she sees her son vanishing and her grandson losing control.

"Today, we are going to talk about 'metaphor.'" Hesher Spencer Susser, 2010

“Today, we are going to talk about ‘metaphor.'”
Hesher
Spencer Susser, 2010

Everything takes a very fast change for “the better” when a stoned-out, psychotic, metalhead and ‘pyromatically’-inclined dude named Hesher appears. At first he is a threat to TJ, but soon he becomes a hero. Hesher takes it all on for TJ. Spinning wild tales of drug-fused adventures and sexual escapades. Hesher is sort of like a very sick and twisted id personified. Hesher quickly leads the boy into a string of dangerous, profane, violent and sexually charged situations. Essentially this film is about rage. In fact, it is one of the most interesting explorations of rage I’ve ever seen.

Grief, loss and resulting depression leave a child's world vacant of hope. Rain Wilson, Piper Laurie and Devin Brochu Hesher Spencer Susser, 2010 Cinematography | Morgan Susser

Grief, loss and resulting depression leave a child’s world vacant of hope.
Rain Wilson, Piper Laurie and Devin Brochu
Hesher
Spencer Susser, 2010
Cinematography | Morgan Susser

TJ has seen his mother killed in a violent car crash, his father is fading away, his Grandmother seems to be on the verge of dying, he is bullied, he is lonely and he is lost. This child is in a deep grief that he can only express through rebellion and righteous anger. Small and unsure, he needs a way to channel his rage.

Enter Joseph Gordon-Levitt’s Hesher.

This film is full of strong performances. The mix of realism and surrealism is intentionally vague. It is also one of the key reasons the film begs for repeated viewings. Each revisit reveals a bit more of something that we either did not notice or interpret correctly. Sadly the film’s use of the perverse and its steadfast refusal to hold the audience hand, seemed to cause indifference from film critics. Some dismissed the film as “unbelievable” and others accused it of being unnecessarily offensive. These opinions were short-sighted. It’s valid R-Rating also kept Gordon-Levitt’s mass of young girl fans from gaining access.

A creation of rage and survival. Joseph Gordon-Levitt Hesher Spencer Susser, 2010 Cinematography | Morgan Susser

A creation of rage and survival.
Joseph Gordon-Levitt
Hesher
Spencer Susser, 2010
Cinematography | Morgan Susser

Of course, Hesher is almost all metaphor. It is doubtful that any aspect of Gordon-Levitt’s character is even real. Spencer Susser created a surreal film that many didn’t seem to realize was surreal. Much of this film is in TJ‘s mind — and the rest is propelled by bravery he finds in his imaginary Death Metal Hero. This is an angry and defiant movie told from the perspective of a very sad and traumatized child. This was not a sanitized cineplex movie. This is an Art House Cinema with unexpected edges. Sharp and threatening potential danger, Hesher continues to attract fans. The film is already being reevaluated and gaining a rightful Cult Following.

This year saw the release of some original, innovative and amazing films. One of the best films to find its way to cinemas this year was John Magary’s feature-length debut, The Mend. Magary’s film presents itself as one thing, but works its way under the skin. A brilliantly conceived and constructed film, The Mend is not simplistic. Always potent, the film’s power grows with each viewing. It has been gathering a following since it’s first screening.

"Hey! Can we go get ice cream?" The Mend John Magary, 2014

“Hey! Can we go get ice cream?”
The Mend
John Magary, 2014

John Magary’s feature length film debut is so impressive it is hard to believe that this is his first movie. Despite a low budget, this is a masterfully constructed work. Assured and rigid in its refusal to dumb itself down or fall back on cinematic trope, this odd dark comedy is sharp. It is cutting and it cuts so fast you do not realize you’re bleeding until well after the closing credits. Josh Lucas, an accomplished actor by any standard, delivers the performance of his career.  Essentially an incisive character study of two brothers. Both are miserable. One represses everything and attempts to force his way through. The other seems to have slipped into an empty world of rage and damage.

Can they change or is the dysfunction shared between two brother a part of their inherited DNA? Stephen Plunkett and Josh Lucas The Mend John Magary, 2014

Can they change or is the dysfunction shared between two brother a part of their inherited DNA?
Stephen Plunkett and Josh Lucas
The Mend
John Magary, 2014

As cruel as it is often deeply and artistically insightful. The brothers are caught in vicious cycle of dysfunction that may or may not have been “passed-on” or pulled into their own psyches. This idea of being genetically dysfunctional hoovers over the brothers. While it is often very angry and dark, it is also somehow always funny. The Mend feels a bit like a French film in the way it applies intellectualism and unexpected comedy. The film also has no problem of utilizing an often off-kilter style that doesn’t seem to match the content. Yet as we follow the eccentric narrative of these two broken men, the obscure stylistic leanings begin to make sense.

The Mend automatically lends itself to repeated viewings. Ideas and scenes haunt the viewer long after seeing the film for the first time. The second viewing offers a more firm understanding of what we have already seen. This is not a flaw. This is a brilliant move by Magary. There is nothing surface or easy about this smart film. So much is presented that it is hard to take it all in.

Giving an e-cig a run for it's money. Josh Lucas The Mend John Magary, 2014 Cinematography | Chris Teague

Giving an e-cig a run for it’s money.
Josh Lucas
The Mend
John Magary, 2014
Cinematography | Chris Teague

What could have easily turned out to be yet another in a long line of familial dysfunction and tormented boy-men who refuse to grow up, is actually a brutally realistic glimpse into the human instinct to survive. It is this same survival instinct that trips our two lead characters up as they each realize that they want so much more from life than what they are receiving. While each comes to realizations, it is unclear if either has the ability to escape each other or even their respective selves. Cynical but never satirical or unrealistic, these two brothers know they are sick and getting sicker, but getting well is easier discussed than achieved.  This movie works brilliantly.

A man on the verge... Josh Lucas delivers what is most likely the best work by a male actor in any film released in 2015. The Mend John Magary, 2014 Cinematography | Chris Teague

A man on the verge…
Josh Lucas delivers what is most likely the best work by a male actor in any film released in 2015.
The Mend
John Magary, 2014
Cinematography | Chris Teague

The Mend is still new enough to be seen before it reaches full Cult Film status. However you better hurry or you will be joining the party late.

I realize I should end this rambling post on positive note. I could easily discuss Alejandro Jodorowsky, Slava Tsukerman, John Waters, Andrzej Zuławski, The Coen Brothers, The Brothers Quay, Ed Wood, Peter Greenaway or Terry Gilliam. But instead I would like to turn my attention to the ultimate in my favorite type of Cult Film: The major studio cinematic error and the film that most best embodies the endless possibilities of its results. Yes, I must discuss the demented alchemy of Frank Perry’s Mommie Dearest.

"I'm not mad at you, I'm mad at the dirt." Faye Dunaway takes film acting to a whole new operatic level... Mommie Dearest Frank Perry, 1981

“I’m not mad at you, I’m mad at the dirt.”
Faye Dunaway takes film acting to a whole new operatic level…
Mommie Dearest
Frank Perry, 1981

Shortly before the movie premiered, Faye Dunaway gave a couple of interviews in which she explained that she felt as if the spirit of Joan Crawford had possessed her. At that time one thought this was just an actor marketing her latest film. Who could have known that there was more truth to Ms. Dunaway’s statement than anyone could have imagined. Unless you are old enough to have sat in a crowded cinema during the first several days that Frank Perry’s legendary Mommie Dearest, you have no way of understanding the way in which this film hammered its way into the film viewing experience. I was still somewhat new to being a teenager as I sat next to my mother watching this doomed movie unspool.

"The meanest mother of them all..." Joan Crawford terrorizing an enfant. Mommie Dearest Frank Perry, 1981 Cinematography | Paul Lohmann

“The meanest mother of them all…”
Joan Crawford terrorizing an enfant.
Mommie Dearest
Frank Perry, 1981
Cinematography | Paul Lohmann

It was jarring, odd and it often almost scary. There were smatterings of laughter, but mostly it was a communal jaw-dropping two hours of shared confusion. Mommie Dearest is essentially an epic cinematic error. Constructed in a clumsy manner with dialogue more fitting for a bad 1940’s melodrama and almost all of it delivered with mind-numbing bad performances.

There is a major exception to the bad acting.

That exception is Faye Dunaway. Stuck in a mediocre script better suited for an ABC Made-for-TV Movie of the Week and being led by a director who was clearly in over his head — Dunaway delivers one of the most memorable film performances of all time. That might sound like a good thing, but this is a performance beyond unrestrained.

Part impersonation mixed with passion, theatrical by the way of Kabuki Art and fused with a level of adrenaline that would have killed most athletes — Faye Dunaway goes to a place I’ve never seen another actor go. Fearless and with no net, this is an operatic show of force that threatens to melt the film on which it was captured.

Although notoriously maligned, Faye Dunaway's performance as Joan Crawford is among one of the most interesting ever captured on film. This is an actor performing feats beyond imagination. And she does so without a net. Faye Dunaway Mommie Dearest Frank Perry, 1981 Cinematography | Paul Lohmann

Although notoriously maligned, Faye Dunaway’s performance as Joan Crawford is among one of the most interesting ever captured on film. This is an actor performing feats beyond imagination. And she does so without a net.
Faye Dunaway
Mommie Dearest
Frank Perry, 1981
Cinematography | Paul Lohmann

This transformative take on one of the most iconic movie stars to ever splatter on the screen, Faye Dunaway’s take on Joan Crawford is all persona and moves itself into what can only be called Avant-garde Performance Art. Sure it is funny to watch, but there is an artistic spark here that simply does not allow the audience to dismiss it. Faye Dunaway is more Joan Crawford than Joan Crawford could have ever hoped to be. There is no way this actor can fit nuance or even hint at vulnerability. This is a bold experimental sort of acting turn.

Dunaway is playing it legit, but totally untethered and constantly running it in high gear. And as she held onto balance in spike high heels, there was no net waiting to catch her if she fell. As campy as it gets, this is powerful performance. Her career would never recover. The damage was done, but this is the stuff of legend. Even all these years later, Ms. Dunaway continues to refuse to discuss this movie. And while this is a bit of a bummer, it also adds to this Cult Classic‘s credentials.

Pushing into it’s 35th year, Mommie Dearest remains a film that is impossibly entertaining and is forever cemented as the ultimate in Cult Film. Dialogue from this movie is firmly imprinted in the shared Pop Culture Brain. Wire hangers, rodeos and warning “‘Barbara, ‘PLEASE!” stay with us in darkly comic ways.

While John Water’s Pink Flamingos, David Lynch’s Eraserhead or The Rocky Horror Picture Show might have created the concept of The Midnight Movie, there can be no doubt that this is most likely the most important example of a big budget mainstream movie gone so far off the rails it offers endless hours of viewing. It is fair to call Mommie Dearest a bad film? Yes, but there is no denying its power and entertainment. Sometimes a bad film can come around to a whole new definition of good.

A different kind of Chorus Line... The Rocky Horror Picture Show Jim Sharman, 1975

A different kind of Chorus Line…
The Rocky Horror Picture Show
Jim Sharman, 1975

If cinema is as Fellini perversely defined it, an old whore, then I’m more than happy to get lost in the magic of an ever-evolving aged sex worker. Dim the lights and start the movie.

Matty Stanfield, 12.10.2015

 

Perhaps the best example of unintended camp, as funny as it gets -- there is an undeniable level of artistic focus and energy within Faye Dunaway's iconic portrayal of Joan Crawford. Mommie Dearest Frank Perry, 1981 Cinematography | Paul Lohmann

Perhaps the best example of unintended camp, as funny as it gets — there is an undeniable level of artistic focus and energy within Faye Dunaway’s iconic portrayal of Joan Crawford.
Mommie Dearest
Frank Perry, 1981
Cinematography | Paul Lohmann

 

 

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