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Posts tagged Sexual Torture

I’ve been moving from coast to coast since I graduated university. No matter how many times I’ve moved over the course of my adult life, my journals have followed. Last time I moved they accounted for 4 boxes. Now I suspect it would take up to 8. After some soul searching, I rid myself of all those hand written documents. But I did take a last look at my 25 years of existential scrawling. Over the course of 6 months I reviewed all of my self-reflections. I came to the conclusion that my life took a positive but harrowing turn when I was 8 years old. This turn took place in 1975. My 8 year old self took a determined stand against my father and everything changed. I find it interesting that such a powerful moment in my assertion of self is so eclipsed by art and one profound realization about the world.

"Love will keep us together..." Captain & Tennille, 1975

“Love will keep us together…”
Captain & Tennille, 1975

I guess I should have known better.  I was eight years old, but I was still somehow too innocent. I can remember waiting with anticipation for the arrival of  The Sea-Monkey Aquarium package. I know I was eight because I had been working out my plan to get myself into the cinema to see Tommy which was due to open in our town before summer had even begun. It was 1975.  Jaws was playing at the movies and Captain & Tennilles’ Love Will Keep Us Together was always on the radio. My Grandmother had helped me place my Sea Monkeys order shortly after Christmas.

"Caricatures shown not intended to depict Artemia" But no one pointed out the fine print to me!

“Caricatures shown not intended to depict Artemia”
But no one pointed out the fine print to me! By the way, this image is dated 1978, but I got mine in 1975.

I had carefully cleaned a pickle jar, filled it with water and emptied the contents of my Sea Monkey “seeds” expecting to watch whole families of Amazing Life swimming about. They would me my pets! Not like my father’s mean little poodle that had once upon a time been intended for me. These Sea Monkeys would be my friends and my amazing pets!

Oh, for the promise of Sea Monkeys...

Oh, for the promise of Sea Monkeys…

I did eventually notice little specs moving about the jar. My Grandmother’s magnifying glass revealed surprisingly little of these highly uninteresting floating things. There was nothing amazing to be seen.

I think these are brine shrimp.

I was far too embarrassed to admit that I had expected to see multiple happy families just like the advert promised.

You didn’t think they were going to look like the cartoon, did you?

I wanted to say, “Yes, I did.” Instead I said something to the effect that I thought that Sea Monkeys would at least be fun to watch. These lifeless brine shrimp seemed to just float on the top of the water.

Artemia captured in motion for YouTube. The image seems magnified to what I saw in my pickle jar.

Artemia captured in motion for YouTube. The image seems magnified to what I saw in my pickle jar.

I had followed the directions very carefully, but it seemed like the very un-Amazing and practically microscopic brine shrimp were far from being Sea Monkeys.  I was also fairly certain they were already dead. A knotted feeling gripped my stomach as I poured the contents of my pickle jar into the toilet and flushed. Sea Monkeys had only yielded disappointment. Yet there were far darker realizations that took place in my 8th year of life. However the true realizations were  obscured by memories of movies and music.

My father was crazy. I am sure some who read this will think I’m exaggerating but the dude was nuts.

The man who put me through hell was buried six feet under a long while ago. I always thought his absence would bring me peace, but the truth is there are only more things I wish I could say to him. Only more questions I would like to ask. I doubt I would, but it would be nice to have the opportunity.

I do miss him. It would be a massive understatement to write that he had a twisted sense of humor. He was a complete character and a mound of eccentricities balanced on cowboy boots. While almost everything he left me has caused pain, he did gift me with the love of movies. It was a gift delivered in a sadistic manner, but I credit him all the same.

"Take a trip into terror!" One of many amazing films I saw on the adult side of our town's Drive-In. I saw this there in 1975. SISTERS Brian De Palma, 1973

“Take a trip into terror!”
One of many amazing films I saw on the adult side of our town’s Drive-In. I saw this there in 1975.
SISTERS
Brian De Palma, 1973

 

My father had no true sense of the appropriate. Not too long after I drew my line in the sand, he began to take me with him to the movies. He either had no sense or did not care about the content of a movie being inappropriate for a child and movie rating restrictions were always ignored. My mother did not like going to movies much and he did not like going alone. I think I became his movie pal. I sometimes wonder if this all wasn’t possibly an intentional toe over my blood marked line.

It was made clear that I was never to discuss the movies we saw with my mother or Grandmother. Most of these screenings were framed within the context of a shared secret. I did not mind. In fact, I loved going to the movies. Like any kid, I especially loved being able to see the movies that were forbidden to my school friends. My mother would have never allowed me to see most of these movies. However by the time I was 10 years old, she wasn’t too restrictive with me regarding movies. Her concern regarding the warning of the movie rating system seemed to only flare when a film contained a lot of sex. However if I articulated the desire to see a movie I could usually secure her buy in.

"Take her to the prom. I dare you!" Released in 1976, but I saw it in 1977. CARRIE Brian De Palma, 1976

“Take her to the prom. I dare you!”
Released in 1976, but I saw it in 1977.
CARRIE
Brian De Palma, 1976

By 1977 my mother’s own situation had become quite complex. I suspect it was a bit of a relief to drop me off to see Saturday Night Fever or The Rose.  I would usually end up alone at the two screened cinema and would end up sneaking in to see the move playing in the other cinema. This was how I saw Carrie in addition to Network. I know that my mother would have been very concerned had she been aware. Most especially when I was 8 or 9. Actually she would have been very concerned when I was 10. I just don’t think she had the time or the emotional ability to be to actually question or be aware. However, that is another topic. The only self-aware problem I encountered with our Father/Son movie outings was that I quite often did not understand much of what we saw. And he was never interested in explaining anything.

Back in the 1970’s movies never really seemed to have gone out of distribution. It is my impression that distributors just kept a lot of them in circulation to not only Grindhouse cinemas and Drive-In’s, but in pretty much all movie houses outside of major cities across the Americas. I remember thinking that the poster for the other two movies on the first screen looked more interesting, but we were not seeing those. My father considered the two that interested me to be dull. I usually fell asleep by the time the second feature began anyway. I remember Sisters fairly well. The whole movie confused me from beginning to end. It would be years later before I finally saw it as a young teen on VHS.

Like many of the movies we saw, they drifted through my head in confusing ways. Did that really happen in the movie? Why was she taking her clothes off in front of a guy? Was she blind? Were there two of her? Why did the other lady seem to be one of them? It would be well into the 80’s before these questions were answered.

I'm certain I was not the only child to be taken to see this. Swimming at the beach or even in pools would never be the same. JAWS Steven Spielberg, 1975

I’m certain I was not the only child to be taken to see this. Swimming at the beach or even in pools would never be the same.
JAWS
Steven Spielberg, 1975

 

We saw Jaws as a family unit. I saw the giant shark movie with my parents in our town’s nicer cinema. It was a shared terrifying experience. Unlike many of the movies I saw, most of my friends saw Jaws as well. It wasn’t just because I was a kid that this movie altered my perception of Fun-In-The-Sun. I think this film impacted culture ’round the world. Going for a swim would never be the same. The only fears that seemed to be unique to me was that I was convinced that my father had rigged our toilet and bathtub to drop me into The Gulf where sharks waited to kill me in the most painful ways possible.

Like a lot of kids, I was obsessed with Jaws and I taught myself to draw the iconic poster image. I don’t think I’m dreaming — we had a single of this movie’s theme song and I played that 45 rpm a lot! Unlike most of the kids I knew, my obsession came to end when I learned of another movie that was promoted as Coming Soon.

It was a movie that somehow captured my entire being.

 

"Your senses will never be the same..." TOMMY Ken Russell, 1975

“Your senses will never be the same…”
TOMMY
Ken Russell, 1975

 

I am fairly certain I become aware of Ken Russell’s Tommy because of preview I saw at the Drive-In and some odd photographs I noticed in my Grandmother’s copy of People Magazine. I remember knowing that it was Ann-Margret was on the cover. I am so certain of this that I would swear in a court of law. I recall a mention of it regarding Elton John on one of my Grandmother’s favorite talk shows. Did I see that on Dinah! or The Michael Douglas Show? Of this I am unsure, but one thing is solidly real: I had never seen or heard anything quite Tommy the movie. It just looked so incredibly cool and strange to me. And I knew the lyrics to Elton John’s version of Pinball Wizard within hours of having heard it on the radio.

"But I ain't seen nothing like him in any amusement hall. That deaf, dumb and blind kid sure plays a mean pinball!" Note: I have never seen this particular single. I found it on The Internet! Elton John Pinball Wizard Limited Edition 7" single, 1975

“But I ain’t seen nothing like him in any amusement hall. That deaf, dumb and blind kid sure plays a mean pinball!”
Note: I have never seen this particular single. I found it on The Internet!
Elton John
Pinball Wizard Limited Edition 7″ single, 1975

 

I immediately received push-back from all three of the adults in my life. Not even my father was willing to take me to see Tommy. And even though my mother had a couple of Elton John 8-Track Tapes and a Who LP, she was not interested and didn’t felt it unsuitable for a child to see. Initially she could not understand why I would even want to see it.

I just don’t understand why you like that Streisand lady, this weird movie or that ugly Patti Smith band!

My father dismissed my request because it looked like “hippie shit.” I attempted to lie and claimed that Ann-Margret was probably “totally naked!” in it. This did not change his opinion. What is interesting is that my longest pitch to my father was delivered as he parked his mammoth car in the field of the Drive-In to see one of the most notoriously shocking movies of the day.

We saw The Exorcist and a second “weird” movie called Beyond The Door. The lady inside the ticket booth saw me at me seated in the car. She asked my father if he knew that these were R-rated movies and not intended for children. He told her to calm down sell him the ticket. I was curious why we were seeing The Exorcist as I knew that he and Mom had seen it before. It had really bothered my mother and he hadn’t seemed all that impressed. The only answer I got was that he liked the movie. I remember being excited to see something I had heard so many people discuss. I had also been fascinated by the cover of my parents’ copy of the novel.

 

"Mother! Make it stop!" THE EXORCIST William Friedkin, 1973 Cinematography | Owen Roizman

“Mother! Make it stop!”
THE EXORCIST
William Friedkin, 1973
Cinematography | Owen Roizman

I am not trying to defend my father’s taking me to see these two movies, but neither of these movie bothered or scared me as a childMy understanding of religion was somewhat limited. I had seen a crucifix, but at that time in my life I really did not fully understand what it was. My mother had given me a tiny bible when I was about 5 years old, but Jesus looked like a number of cool rock stars. I had been taught to say a prayer before I went to sleep, but this was a perfunctory requirement. I knew the story of Easter and Christmas, but neither meant anything to me. I just liked the candy and wished for certain gifts. Anyway, the only scene in The Exorcist that freaked me out was when Linda Blair began to spout profanity and repeatedly “stabbed” herself with a crucifix. I wasn’t sure what to call the cross with Jesus on it. I do not think I really understood what it was. While I  did have an understanding of human genitalia, I obviously did not fully grasp it.

What is she doing?

Why isn’t she dead?

“Is that the same kid?”

What is that she is stabbing herself with?

“How can she spin her head all the way around?” 

“Is it making the furniture move?”

I do not remember my father answering any of my questions. I do know that he was very quiet for the entirety of movie. As per usual he left the car a couple of times. Was he going to use a bathroom? He seemed like a zombie throughout both screenings.

"The most terrifying event in the history of mankind is about to occur!" Beyond The Door 1974

“The most terrifying event in the history of mankind is about to occur!”
Beyond The Door
1974

I remember thinking he was asleep during Beyond The Door. But he wasn’t snoring and when I poked him he turned to me and said I needed to shut up and leave him alone. The only thing I recall about Beyond The Door is the poster. I did think it looked promising. It still amuses me as an adult. The poster that is. I think the scariest aspect these two movies at that time was the music used in both and the way my father was acting throughout each of them. From an adult perspective the latter was easily the more worrying concern. And I do recall that it was a creepy drive home. It must have been because I still remember it so well.

My world began to open around this time. I had long been attempting to assert my own tastes, but it was 1975  I began to embrace mainstream culture as my own. When my older cousin introduced me to Led Zeppelin, Fleetwood Mac and Grand Funk — I loved what I heard. It was at this time that the idea of a band being called Grand Funk seemed so grown-up and cool. I know it wasn’t a new song at the time, but I took great pride when I selected this single as my father purchased a Willie Nelson album. Upon reflection his purchase was wiser, but I still enjoy the groove of Grand Funk’s take on The Loco-Motion.

"Everybody's doing a brand-new dance, now..." My first cool 45 rpm single! The Loco Motion Grand Funk, 1974

“Everybody’s doing a brand-new dance, now…”
My first 45 rpm single!
The Loco Motion
Grand Funk, 1974

My mother liked popular music and she was already leaning into what seems like disco. I liked that stuff as well. I don’t know if it was actually called disco, but ABBA and The O’Jays seemed cool to me. Though, when I compared LP or 8-Track Tape covers, ABBA, The O’Jays and The Captain & Tennille did not look or sound nearly as cool as Grand Funk, Led Zeppelin or The Who.

Our neighbor had a daughter who was 4 years my senior. I thought her the ultimate in cool for a long time. I drove her crazy, but I suspect I also made her feel important. She would “borrow” record albums from her older siblings. One afternoon I was boasting of owning the Grand Funk single when she told me to wait a few minutes. She left me leaning on a tree, but she returned with an album that totally zapped me into a whole new universe.

"It's only teenage wasteland." The Who Who's Next? 1971

“It’s only teenage wasteland.”
The Who
Who’s Next? 1971

 

Who’s Next sounded completely alien to anything I had ever heard at that point. The music felt like hard rock but it had a booming sort of wired sound. The lead singer sang as if every lyric meant everything to him. And the cover seemed so “dirty” that I agreed with my neighbor.

The Who were far cooler than Grand Funk. In fact they were even cooler than Queen who I had only just discovered. It would be a while before I actually owned the Who’s Next album.

 

"Carry on, carry on, as if nothing really matters..." Queen Bohemian Rhapsody, 1975

“Carry on, carry on, as if nothing really matters…”
Queen
Bohemian Rhapsody, 1975

It was also my cool neighbor who saw Tommy on its opening night. She explained the movie to me scene by scene. I was mesmerized by the idea of Elton John in giant shoes, a TV that spewed Pork & Beans and Tina Turner injecting Tommy with new blood.

(this was how she explained it)

I put my campaign to see Tommy into full running force. It was literally all I talked about when I was around my family unit. My father ignored me. My mother begged me to stop. My Grandmother said that she would take me if only my mother would allow her. (Um, my Grandmother’s comment was not true. She just liked to blame all bad things on my poor, confused and often unplugged mother)

The following weekend after my 12 year old neighbor had laid out the entire plot of Tommy I found myself alone in the car at the Drive-In.

When my father returned to the car he handed me a soda. I had been plugging away with my “I must see Tommy!” assault. I started into it again as the previews began.

That is not the kind of movie that a son of mine should see!

A different kind of X... Iisa: She Wolf of the SS 1975

A different kind of X…
Iisa: She Wolf of the SS
1975

 

 

Cue the first reel of Ilsa: She-Wolf of the SS. I was not frightened by what I saw but I was most certainly shocked. I am not positive that this was an X-rated movie, but it should have been. I had seen violent films, but this one took things to a whole new level. I knew more about Nazis than a crucifix. Nazis were more than just bad, they were evil. And Ilsa was really bad!

I should point out that I have never been able to look away from anything on a screen once a scene starts. I am compelled to watch.

I would not have known the words “fetish” or “grindhouse” but this was most certainly Nazi Torture Porn playing to the lowest human denominator. I don’t know, maybe it would seem camp to me now, but back then I was shocked. I’ve avoided ever seeing this movie again.

My father’s eyes never left the screen except for when he would leave the car. It is probably better that I never figured out what he was doing when he left our car. But he was once again like a zombie. I remember thinking that I should point out that I didn’t think Tommy was as dirty as Ilsa: She-Wolf of the SS but my gut warned me not to speak as we drove home.

 

You know, I'd swear her copy was on an orange tape... "Well you came and you gave without taking." Barry Manilow II

You know, I’d swear her copy was on an orange tape…
“Well you came and you gave without taking.”
Barry Manilow II

 

By this time Tommy had been playing for close to 3 weeks. It was a hit. Back then movies seldom played in my town for more than two weeks. It had been held over for 4 weeks!  My mother was wearing down. She agreed to buy me the soundtrack album – a 2 LP set with a gate fold cover!!!

We drove to a record store. I roamed all over looking for my 2 LP set. I was having no luck. Mom approached carrying her planned purchase: an 8 Track Tape of a Barry Manilow album that contained a song she liked. She consulted with the guy at the counter: they only had the Tommy soundtrack on 8 Track Tape. That was not going to work. I had to have the album in LP format with the gate fold art!

 

Inside the gate fold... TOMMY: The Movie Soundtrack, 1975

Inside the gate fold…
TOMMY: The Movie Soundtrack, 1975

 

Exasperated she called me a spoiled brat, bought her tape and didn’t speak to me until Barry had finished crooning “Mandy” which amazingly was not broken apart by one of the 4 channels of the tape. (8-Track-Tapes were really strange!)

We were already almost home when she told me that we would go to the mall the next day if I would stop talking about the movie.

Maybe I was a spoiled brat. I told her that she had to take me to get the record and that I couldn’t stop talking about the movie unless she took me to see it.  She gave in and turned the car around bound for K-Mart. They had the album. At least the first part of the battle was won!

"Well, I'd certainly say she had marvelous judgment, Albert, if not particularly good taste." Don Johnson and his talking dog A Boy and His Dog L.Q. Jones, 1975 Cinematography | John Arthur Morrill

“Well, I’d certainly say she had marvelous judgment, Albert, if not particularly good taste.”
Don Johnson and his talking dog
A Boy and His Dog
L.Q. Jones, 1975
Cinematography | John Arthur Morrill

 

I was not taken to see Benji like my other friends. For that matter I didn’t get to see The Apple Dumpling Gang. However I was always the coolest kid at school because I got to see the movies that the other kids could only think about! The downside was that some of these movies were simply unknown to the other kids and I couldn’t even articulate what I had seen. I did get to see a movie that featured a cute dog, but  A Man and His Dog was one of those movies that made no sense to my child brain. I had a hard time following this film. My father did point something out to me what I didn’t catch on my own: the boy and his dog ate the girl.

The second feature on this double bill was the only movie that actually upset me:  The Last House on the Left.

I should have been too young to understand much of what was going down on the screen, but this time I did understand. As per usual, my father was dazed out — but this time I was terrified.

I do not remember the ride home. It would take me a couple of decades to revisit Wes Craven’s notorious film.

 

"I thought you were supposed to be the love generation." The Last House on the Left Wes Craven, 1972 Cinematography | Victor Hurwitz

“I thought you were supposed to be the love generation.”
The Last House on the Left
Wes Craven, 1972
Cinematography | Victor Hurwitz

It would be a long time before I made any connection to why Tommy and the respective soundtrack album resonated so deeply for me. It was all I listened to at this time in my life. I loved side 2 on record 1 the most. By this time we were headed to summer. It was getting really hot. My father took me to a twin cinema instead of the Drive-In. We saw Hal Ashby’s Shampoo.

Yet another film I failed to understand. It is funny thinking back to this as Shampoo a movie with which I’ve had to spend a good deal of time. I love it now, but at 8 years old I just wanted to be sure I understood what a “cock” was and why did the pretty lady want to suck one. My question caused a spasm of laughter throughout the cinema. It also led to a well-intentioned woman attempting to lecture my father for having taken a “little boy” to “such a movie.”

What is that and why does she want to suck it? Julie Christie and Warren Beatty Shampoo Hal Ashby, 1975 Cinematography | Laszlo Kovacs

What is that and why does she want to suck it?
Julie Christie and Warren Beatty
Shampoo
Hal Ashby, 1975
Cinematography | Laszlo Kovacs

He had to stop and let her correct him. He was a polite, “Well Lady, you are here seeing it so I guess it can’t be that bad?

As for me I had moved to the other side of the cinema’s lobby. I was studying the poster for movie that was playing in Cinema One. The strange doubled image of Roger Daltrey wearing the Blind Deaf & Dumb contraption was like a beacon to me. I could hear Jack Nicholson attempting to sing as I looked. Before we had even reached the car I was advised I would not be seeing “that fucking movie!

Just two days before it closed I did get to see Tommy.

"Gather your wits and hold on fast, Your mind must learn to roam." Tina Turner is The Acid Queen TOMMY Ken Russell, 1975 Cinematography | Dick Bush

“Gather your wits and hold on fast,
Your mind must learn to roam.”
Tina Turner is The Acid Queen
TOMMY
Ken Russell, 1975
Cinematography | Dick Bush

 

Drugs as a way to escape the pain. "I'll tear your soul apart..." Roger Daltrey TOMMY Ken Russell, 1975 Cinematography | Dick Bush

Drugs as a way to escape the pain.
“I’ll tear your soul apart…”
Roger Daltrey
TOMMY
Ken Russell, 1975
Cinematography | Dick Bush

 

The coolest platform shoes on record... Elton John is The Pinball Wizard TOMMY Ken Russell, 1975 Cinematography | Dick Bush

The coolest platform shoes on record…
Elton John is The Pinball Wizard
TOMMY
Ken Russell, 1975
Cinematography | Dick Bush

 

Tommy studies his splintered selves as his mother worries and his step father calculates things to his advantage. Ann-Margret, Roger Daltrey and Oliver Reed TOMMY Ken Russell, 1975 Cinematography | Dick Bush

Tommy studies his splintered selves as his mother worries and his step father calculates things to his advantage.
Ann-Margret, Roger Daltrey and Oliver Reed
TOMMY
Ken Russell, 1975
Cinematography | Dick Bush

I finally got to see the movie thanks to my mother. I didn’t really understand all that I saw.

Why was his mother working with all those women? What is a “Holiday Camp?” Is that like a Marilyn Monroe church? Why is Tina Turner taking out blood and shooting more in? What is a “Pinball Wizard” anyway? Why do all those people want to be “Blind, Deaf and Dumb?”

I did understand a couple of things. I understood that Tommy was trapped. I understood that he was trying to escape pain. I understood what Uncle Ernie was doing — and I was relieved it was treated comically. Interestingly, I did not  connect the film to myself. That understanding would dawn much later.  But the great music, camera work and consistently strange set designs took hold of me from first image and sound until the end credit cards hit the screen.

Tommy was completely unique to anything I had ever seen. The same was true for the rest of the audience.

Even in a small Texas town, the kids were totally into what Ken Russell was showing. My neighbor pointed out that her boyfriend had gotten stoned and watched it four times. I wasn’t sure I understood what she was talking about, but there was a strange aroma coming from a few odd cigarettes being shared in the audience.

But all of this aside, it is interesting how strongly this move held me in its grip. This was my Star Wars. This film was speaking to me.

"It out-Tommy's TOMMY!" Lisztomania Ken Russell, 1975

“It out-Tommy’s TOMMY!”
Lisztomania
Ken Russell, 1975

 

Not too long after I finally saw Tommy, my father took me to another movie. There was a big movie theatre in our town to which we seldom went. It was not in the best part of our town though it was fairly close to the college. It tended to get older movies that were probably too sophisticated for my father’s taste. He would end up taking me to see three movies there. The first movie we saw there was in 1975. The other two we would see there would be during the period my parents were divorced. Those two movies were also wildly inappropriate for a child to see: Dressed To Kill and Cruising.

But in 1975 my father was swayed to another rock musical staring The Who’s Roger Daltrey: Lisztomania.

 

Franz Liszt becomes "inspired." Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Franz Liszt becomes “inspired.”
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

 

The reason he was swayed? A Playboy Magazine pictorial promoting the movie as an erotic filled fantasy. Of course this would propel my father to take his 8 year old child to see it. I was thrilled and excited to see Lisztomania. I was already becoming a bit of cinephile. I recognized Ken Russell’s name. I saw that the movie poster referenced Tommy. And I also recognized Ringo Starr and Rick Wakemans’ names.

 

Ringo Starr is The Pope Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Ringo Starr is The Pope
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

 

I doubt I would have even known about this movie if my father had not taken me to see it. I had seen the soundtrack LP, but had not been able to get near enough to understand what it was. I had recognized Roger Daltrey on its cover, but I don’t think I was aware that it was a movie soundtrack.

"The Soundtrack Album of the Ken Russell Film" Lisztomania 1975

“The Soundtrack Album of the Ken Russell Film”
Lisztomania
1975

I used to study the movie section of the city newspaper. I remember that Lisztomania closed after 3 days. I didn’t understand it was based on historical facts. I had not heard of Franz Liszt. I knew of the Pope, but I didn’t really understand what he did. I was fascinated by the film’s visuals and the strange mix of music. I knew who Hitler was, but I didn’t understand why he showed up. The whole movie was like a dirty cartoon. I loved it. And I wanted Roger Daltrey’s boots.

As we left the theater my father was not zombie like at all. He was annoyed. I tried to ask him some questions, but all he wanted to do was complain about “hippie bullshit” and that there “was no sexy stuff” in it. As he drove onto the highway I did ask him something that was bothering me:

Why was it OK for me to see that but not OK for me to see Tommy?

To my surprise he actually answered me.

I didn’t want to see Tommy.

"That deaf, dumb and blind kid sure plays a mean pinball." Elton John TOMMY Ken Russell, 1975 Cinematography | Dick Bush

“That deaf, dumb and blind kid sure plays a mean pinball.”
Elton John
TOMMY
Ken Russell, 1975
Cinematography | Dick Bush

 

I owe my knowledge and love of cinema to my father, but it was at this moment that I realized it was never about me. These were not movies we were seeing together — these were movies he wanted to see and I was being taken along for the ride. Ten years later he asked me to go to Houston with him to see a movie. I agreed. Turned out it was a foreign film I had wanted to see. He slept through the entire film. I found it somehow touching that he was attempting to somehow connect with me by taking me to see a movie I wanted to see. As we left the cinema I was about to thank him when it turned out we were actually in Houston so he could meet up with a seller regarding some guns he wanted to buy. I was needed to load the car and figured a movie was a good way to kill time and avoid rush hour traffic.

Glad you wanted to see it, though. I didn’t much care for it.

Perhaps I owe more credit to my love of film and my endless pursuit to understand the whole “picture” to Ken Russell. It was Lisztomania that propelled me to look into classical music and history. Tommy had also led me to find more of his films once the age of VHS began. I read interviews with Mr. Russell that pointed me toward other filmmakers like John Ford, Nicolas Roeg and others. But I would have never been connected to the world of movies had it not been for my insane father.

Do you think it's alright? Roger Daltrey and Ann-Margret search for saving grace... TOMMY Ken Russell, 1975 Cinematography | Dick Bush

Do you think it’s alright?
Roger Daltrey and Ann-Margret search for saving grace…
TOMMY
Ken Russell, 1975
Cinematography | Dick Bush

I destroyed the last of my journals yesterday. As I watched them denigrate I was brought back to the moment I flushed the disappointment of Sea Monkeys away. After the water had pushed the brine shrimp from my life, I took the empty pickle jar for a walk past our back yard. I raced down and up the other side of the ditch to the railroad tracks. I sat the pickle jar on a track. I ran down and back up to return to our side of the ditch. I crouched down and waited for the train. When is sped by the pickle jar was smashed into thousands of glass pieces.

A dream was crushed that would require me to wear my flip-flops instead of going barefoot for a long while.  The promise of Sea Monkeys was hollow, but the idea of them was still pretty fucking cool.

Matty Stanfield, 5.21.2016

Barbet Schroeder has always been interested in human obsessions and the dynamic of relationships, but when he got the idea to make Maîtresse he added something rather strange: Comedy. If you have never seen his infamous 1975 film, you should be aware of several things prior to watching it. The first of which is that this is essentially a very dark comedy about an unlikely love between a professional Dominatrix and a somewhat dim-witted would-be-thug.  The second is that it is probably the closest a film has come to capturing the true idea of BDSM as something more than a simple desire — for Ariane (Bulle Ogier) and her clients, it is a true obsession. While she might attempt to keep her professional life hidden in the strange world isolated in a cloistered series of rooms beneath her apartment, it becomes clear that this world is more than a way to earn money. Elements of her sadism have already worked their way into her sunny world.

Stylish lady with some secrets... Bulle Ogier Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

Stylish lady with some secrets…
Bulle Ogier
Maîtresse
Barbet Schroeder, 1975
Cinematography | Néstor Almendros

Like her clients, this is an obsession meant to be hidden from the rest of the world to see. The third is that Maîtresse is a very graphic film. This is not a movie for the faint of heart. The final and most important general statement about Maîtresse is that it is a highly artistic and well-crafted film. While it does not deserve to be listed or thought of as Shock Cinema, it is a most certainly highly provocative work. Schroeder is an intellectually restrained artist, but he is most certainly putting himself in the role of provocateur when it comes to this unforgettable and odd movie.

When Barbet Schroeder began production of Maîtresse in 1974 he knew he was creating a provocative film, but he had no idea just how difficult it would be to secure distribution in 1975. It would be more than a couple of years before this infamous film would be seen much at all. The film was essentially banned and censored for over six years after the initial debut. The UK would prove the toughest nut to crack. Interestingly it was not so much due to the exploration into the world of a French Dominatrix which included graphic depictions of BDSM activities, nor was it actually due to anything tied up in fetish and kink and it certainly wasn’t the horrific visit to a Paris horse meat slaughterhouse. The bottomline reason Schroeder’s film was refused release into the UK was because it featured the back view of a vulva.

Maîtresse Barbet Schroeder, 1975

Maîtresse
Barbet Schroeder, 1975

To give the British Board of Film Classification their due — they were smart enough to actually state that the film’s refusal was related to the “excessive” degrees of fetishism. The real reason BBFC denied release to the film was not because a person was being whipped, it was because the audience could see her vulva. The board did not mind that the audience could see a penis being severely mistreated. They were upset that the man seemed to enjoy having his genitals mistreated.

Maîtresse was screened and received a limited release in the US. The distributor assigned the film an X-rating on its own. So limited was the release that very few film critics actually reviewed it. The New York Times quite liked it. But the film became notorious with relatively few people having ever actually seen it. That all changed when The Criterion Collection remastered and released it to DVD in 2004.

Maîtresse Barbet Schroeder, 1975 Criterion Collection, 2004

Maîtresse
Barbet Schroeder, 1975
Criterion Collection, 2004

While the uncensored theatrical cut of Maîtresse had been released to the UK via DVD starting in 2003, the transfers were not solid. Under their Flipside Editions, The British Film Institute released it to Blu-ray in 2012. Blu quality enhanced, the BFI release is actually superior to the Criterion Collection pressing. There has been some very loose rumors that Criterion may give the film another image/sound boost to re-issue to Blu-ray, but it is rather unlikely. The film’s graphic scene filmed in an actual horse slaughterhouse is truly horrific to watch. This scene is most likely intended to act as a sort of metaphor for a powerful beast being reduced to a powerless victim ultimately utilized as food. The scene arrives in the story when the leading man is feeling powerless and emasculated.

Even playing "footsie" takes a turn... Gerard Depardieu / Bulle Ogier Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

Even playing “footsie” takes a turn…
Gerard Depardieu / Bulle Ogier
Maîtresse
Barbet Schroeder, 1975
Cinematography | Néstor Almendros

Note: Even by 1975 horse meat had already become a taboo form of food in more than a couple of countries. However it should be noted that while it has dramatically shifted away from favor, there are still butcher shops in France specifically reserved for the sale of this meat. All the same this is an alarming scene that will most likely put off a good number of people. As an FYI, Schroeder’s use of the footage is almost tame when compared to Rainer Werner Fassbinder’s use of Goethe recitation as the audience is led through the horrors of a slaughterhouse in 1978’s In a Year of 13 Moons. Fassbinder employed this form of human brutality to create a metaphor for fascism and despair. Unlike Schroeder’s movie,  Fassbinder’s film is not even remotely a comedy. Still both films carry a repugnant reputation for screening graphic screening of animal slaughter. Consider yourself warned.

All the same, it is annoying that the Criterion transfer is inferior to the one released by BFI Flipside Edition.

Wig and make-up perfected as well as an enhanced transfer. Maîtresse Barbet Schroeder, 1975 BFI Flipside, 2012

Wig and make-up perfected as well as an enhanced transfer.
Maîtresse
Barbet Schroeder, 1975
BFI Flipside, 2012

While one might expect a 1975 French film to be dated, it really isn’t. Even the clothing is not particularly 1970’s tacky. Let’s not forget that Karl Lagerfeld was in charge of costume design. …And the line between S&M to Lagerfeld is fairly short in distance.

And speaking of Sadomasochism, Maîtresse is one of the few films to actually craft a realistic depiction of this subculture. While many speak of Sadomasochism, the reality is that a true Sadist is not going to derive much pleasure from role-play. And while one might think of a Masochist as passive or willing victim, the true master of S&M role-play is always the Masochist. In other words, there is a very dark side to the games that many adults play. In Maîtresse the role playing is most definitely in action, but the games are being played with the rules loose and usually hidden. During the first half of the film it would appear that  Ariane takes no particular pleasure in what she does in the lair beneath her bright apartment, but Schroeder slowly begins to reveal aspects of her true nature as the film moves forward.

Going down below to a domestic torture garden... Bulle Ogier Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

Going down below to a domestic torture garden…
Bulle Ogier
Maîtresse
Barbet Schroeder, 1975
Cinematography | Néstor Almendros

Ariane seems to take true delight in feeding a collection of venus fly trap plants. Her high-scale bathtub has been crafted to include a bottom chamber that she has filled with water snakes or eels who feed off small fish which she her maid/assistant pours into the mix. And of course as the battle of the sexes ensues we see examples of her need to remain firmly in the position of dominance.

Tighten up the gimp... Bulle Ogier & Client Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

Tighten up the gimp…
Bulle Ogier & Client
Maîtresse
Barbet Schroeder, 1975
Cinematography | Néstor Almendros

The film’s perspective belongs to leading man of the story. Gérard Depardieu’s Olivier appears to be a harmless sort of guy, but it only takes a small opportunity and he is ready to take up the grift as burglar. And it only takes another moment or two before we realize that this burly young man is a criminal. The film’s plot begins as Olivier and a pal break into what they think is an empty Parisian apartment. Like voyeurs, we follow these knuckleheads into a creepy dark space. With only a flashlight to provide limited perspective, we understand within a few seconds that this is no ordinary apartment. The small light reveals gimp masks, gas masks, latex & rubber suits, a hanging noose, a sinister looking dental chair, something like a torture rack, loads of odd surgical type equipment, dildos, baby bottles, diapers, a wide variety of torture tools and a terrified naked man shivering in a dog pen.  This might all read a bit funnier than it is. I first saw this movie in Cambridge back in the 1990’s and it was and remains a genuinely creepy opening sequence. Soon these two thugs find themselves handcuffed together and to a radiator as Bulle Ogier’s Ariane tends to her clients.

Sexual attraction, crime, money and a battle for control is about to begin... Gerard Depardieu / Bulle Ogier Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

Sexual attraction, crime, money and a battle for control is about to begin…
Gerard Depardieu / Bulle Ogier
Maîtresse
Barbet Schroeder, 1975
Cinematography | Néstor Almendros

This is a filmmaker’s movie. Gerard Depardieu is well cast in the type of role for which he was best known in his youth — a sort of primally sexy gentle giant. It is really through Olivier‘s eyes that the audience sees the film. While this man is far from innocent, he clearly has no understanding of the world to which he has entered. But it is both comical and interesting that he finds himself deeply attracted to Ariane. His desire for her begins as she one-up’s both he and his pal by managing to cuff them together with no hope of escape. His attraction only builds as she offers him a chance to make some money and leads him further into the dark corners of her domestic torture garden. As they approach a man dressed in female bondage gear, she demands that the client get on all fours. She straddles him and positions Olivier directly in front of the masochist’s face. Olivier looks more curious than shocked. She unzips her burglar’s fly, pulls out his penis and demands that he urinate in the client’s face. Olivier‘s eyes never leave those of Ariane. As we hear the urine release he shares a passionate kiss with her. Suddenly this brute of a man is in love.

And now we begin your punishment... A Masochist Client & Bulle Ogier Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

And now we begin your punishment…
A Masochist Client & Bulle Ogier
Maîtresse
Barbet Schroeder, 1975
Cinematography | Néstor Almendros

After a night of what appears to be romance funded by Ariane, the two lie in bed. There are no professions of love, but it is clear it is there. Schroeder’s screenplay and Bulle Ogier’s careful performance require no words for the audience to understand that much of her attraction / fondness for Olivier is grounded in his mix of dull intellect, brutish but placid assertions of dominance. Of course the deal-sealer for Ariane is that this man is unabashedly almost worshiping in his adoration. There is also no need for discussion regarding Olivier‘s confusion regarding the downstairs world of his love’s professional life. All Depardieu need to do is offer a glance and we know that he is even more confused than those of us in the audience.

And this must be the naughty girl in need of punishment...

And this must be the naughty girl in need of punishment… Bulls Ogier / Wealthy Clients / Gerard Depardieu Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

When Ariane essentially tricks him into visiting a friend in the country, he has no idea that she is leading him into a Dominatrix scenario involving a group of wealthy devotees. Confused, unsure and fearful of being judged as less than a man Olivier agreed to remove his belt and whip the pretty and only female player in the chateau. It is clear that he simply does not understand why a tough whipping would provide pleasure. Eager to demonstrate his abilities to his new lover, he opts to softly tease the masochist’s vulva. Of course this only demonstrates his misunderstanding of this type of desire. The wealthy clients are amused as is Ariane. But Olivier and the audience are confused and worried that he is being used and reduced to some sort of walking joke.

When I saw Maîtresse for the first time back in the 1990’s I had been informed that it was a dark comedy. At this time it was hard for me to accept it as comedy. It seemed to me that the film was aiming far deeper than one anticipates from the genre. Despite my own desire to interpret the movie in a different way there were elements that simply did not seem to fit the action on the screen.

Meet the Whore-Madonna concept personified...

Néstor Almendros captures our Mistress in perfect frame to emerge with a halo for the man who will become obsessed. Meet the Whore-Madonna concept personified… Bulls Ogier Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

Carlos D’Alessio’s musical score seemed odd. It is a rather charming bit of work that never fits into the world we and Olivier are exploring. In addition some of the darkest moments contained within the movie have no musical accompaniment. Seeing the film again after it had been added to The Criterion Collection, the comedy of Maîtresse hit me. Certainly not a comic experience that generates laughs as much as amusement — this is more a sense of bemusement. This is, of course, a French film. I love French cinema, but no one else presents comedy quite like the French. This level of dark comedy or comédie de l’ cruels has become more familiar outside of French cinema in the past decade. John Magary’s recent brilliant independent American film, The Mend, presents an incisive and rage-filled study of two brothers as the sort of dark comedy one might expect from France. Serious studies of humanity taking a turn toward the comical is not so odd to most of us anymore. Despite all of the transgressions and darker elements of identity, Maîtresse is most certainly a comedy.

Watching love's persona and identity change presents more than a little confusion for the boyfriend.

Watching love’s persona and identity change presents more than a little confusion for the boyfriend. Bulle Ogier / Gerard Depardieu Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

A key to understanding Maîtresse is to know that nothing we see is eroticized. This is not an erotic film.

When we are given glimpses into the Maitresse’s world of punishment and humiliation it is either directly related to Olivier‘s sneaking around peaking or listening. Schroeder spent a good deal of time researching the subject matter of the film as he felt no connection to the world of S&M. Much of Bulle Ogier’s character is based on an actual dominatrix. He gained her trust and she agreed to allow she and several of her clients to be used in the film itself. Long before the idea of digital effects existed, Schroeder carefully placed the actual dominatrix in relation to his actress/wife’s positions. The actual members of the 1970’s Parisian BDSM Underground wear masks to protect their identity, but they are willfully accepting their mistresses’ punishments. All is filmed to make it look as if Ogier is the one applying nails, needles and other manipulations. Filmed without typical movie lighting or other stylings, these transgressive acts are presented with only the sounds that were occurring at the time of filming. The result is often jarring and more than a little shocking, but never eroticized.

Nothing is ever explained beyond the most limited of discussion. Like Olivier, we are left with only what we see and might already understand separate from the film. Unlike Olivier, we are hopefully not quite so simple in our thinking and reasoning. And let’s hope we are not male chauvinist pigs. Olivier has a deep-seated need to dominate his woman. Having grown into a world of cruelty and crime, he has no trouble formulating the idea that his girl is a prostitute in need of a strong pimp. He wants the role of her pimp. And he wants to find a way to help her earn even more money. Because it is all about money. Right?!? 

One simple bully who has met his match without even fully realizing it... Gerard Depardieu Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

One simple bully who has met his match without even fully realizing it…
Gerard Depardieu Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

Tragically for Olivier, he is unable to grasp that Ariane needs no protecting and certainly no pimp. Ariane never states an opinion, but it is clear that she does not identify as a prostitute and would never even consider the idea of pimp in her existence. As Olivier becomes more and more obsessed with understanding what Ariane does and why people pay her to do it — he becomes even more determined to know all of her secrets. The identity of a certain person constantly being mentioned in relation to money either with her maid or on one of her two phones consumes Olivier.

It is at this point of the story that we fully begin to understand the depth of Ariane‘s own perverse sadistic urges. It would not take much for her to simply explain it all to Olivier, but she has far too much fun watching him struggle for his grounding and fret over the details of her life.

Even when Olivier’s tendencies toward domestic abuse begin to flare up, she maintains her sense of control.

He's just royally screwed a lot up, but there is simply too much joy to be found in his desperate need for her love and forgiveness. Who has the power now?

He’s just royally screwed a lot up, but there is simply too much joy to be found in his desperate need for her love and forgiveness. Who has the power now? Bulle Ogier / Gerard Depardieu Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

When he puts his huge hands around her slender throat she plays it off as if a game. Poor Olivier doesn’t even pick up that he has failed to scare her. Later when he finally pushes things too far and our Maîtresse has had enough, she head-butts Olivier so hard blood begins to pour from his nose. Clearly shocked by her strength, his reaction is to attempt to warn Ariane that she too has been harmed. He is concerned. Ariane is unbothered by the self-damage inflicted by her head-butting. She is seething with anger.

It is the dim-witted Olivier who is emotionally crushed. This is not the first time we have seen this rough and huge man fall to pieces over his girl.  Control and cruelty are needs and that refuse to stay in that dark cave of torture secretly adjoined to her private home. These needs are not being fully satisfied by respecting most of her clients’ wishes and safe words. A Sadist wants real control and a victim. She is happy to play along with Olivier‘s limited view of women for the pleasure his pain provides.

She may look the part of angel, but this aspect is in appearance only.

Another key scene involves some personal and rather rough role-play between Ariane and Olivier. Schroeder wisely shoots this scene in a particularly ambiguous way. It looks like a violent public fight between the two characters as reality with the looming threat of rape. When the two end up in a garden shed of an elderly woman we hear Ariane‘s screams. As the poor old woman rushes to come to the aide of the petit blond woman, Olivier emerges with a switchblade pointed to kill. When Ariane walks out of the shed she is still pulling up her skirt. We might expect that she would feel empathy for the elder woman, but instead she merely leans into Olivier and mockingly suggests he leave the poor “old dear” alone. She skips away without even waiting to see what Olivier might do.

We never actually  know if this was a bit of role-playing or a real scenario that Ariane has manifested / navigated for some sadistic fun.

Punishing a key client, this is not a woman who needs or wants the protection of a man. Bulle Ogier  Maîtresse  Barbet Schroeder, 1975  Cinematography | Néstor Almendros

Punishing a key client, this is not a woman who needs or wants the protection of a man.
Bulle Ogier
Maîtresse
Barbet Schroeder, 1975
Cinematography | Néstor Almendros

Despite the dark elements of the on-screen actions, this is a story about the battle of the sexes. It is also an odd 1970’s twist on Feminisim. The key word here is “odd.” In many ways it almost seems a mistake that Barbet Schroeder opted to sculpt a very twisted romantic comedy from the BDSM clay of his story. There are so many aspects of Bulle Ogier’s Ariane it seems a bit of a waste of a great actress that she is unable to explore them. As I’ve stated several times, not much is ever explained about the title character.

Forever lingering with mystery...

Forever lingering with mystery… Bulle Ogier Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

The subplot of Ariane‘s situation is only mentioned in passing. I’m not sure I even fully noticed it upon my first viewing some 20 years ago, but it is wrought with dramatic potential. La Maîtresse is the mother of an elementary school age child.  An older gentleman (who may or may not be the child’s father) appears to have taken custody of the child. We may not know the full story here, but it would appear that Ariane is fine with this arrangement and most likely has intended it to be this way. When we see her with her child she clearly feels a stronger bond to her Doberman Pinscher. A beloved pet she has named Texas and claims to have trained to kill upon demand. We do not know if this is true, but it seems likely to be an accurate claim. Her young son appears to attempt to gain his mother’s attention, but Ariane is far more interested with Texas. When the boy walks off with his guardian/father, Ariane appears bored, but fixated on the dog. We never learn the name of her son, but she is more than happy to sneak away and join Olivier on a very strange drive in which the battle for power takes a surprising turn.

Orgasm without brakes! Hey, who is really driving this car anyway?!?!

Orgasm without brakes! Hey, who is really driving this car anyway?!?! Gerard Depardieu / Bulle Ogier Maîtresse Barbet Schroeder, 1975 Cinematography | Néstor Almendros

Barbet Schroeder’s Maîtresse is an uncomplicated film about some very complicated people. The choice to keep it unexplained and unexplored is intentional. And as it turns out this was a very clever and wise decision. Maîtresse pulls us in just deep enough to make us squirm but never so far out that we need to grasp for air. It also prevents the film from slipping into a psychological realm that would ultimately prove disappointing.

Why?

Well sometimes life’s complications and the obsessions to which it leads are too murky to actually articulate.

Matty Stanfield, 1.28.2016

 

 

 

 

 

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Exorcist William Friedkin, 1973 Cinematography | Owen Roizman

The Exorcist
William Friedkin, 1973
Cinematography | Owen Roizman

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Devils Ken Russell, 1971 Cinematography | David Watkin

The Devils
Ken Russell, 1971
Cinematography | David Watkin

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Matty Stanfield, 8.10.2015