Medium Is The Message or Long Live The New Flesh

Videodrome
David Cronenberg, 1983

Marshall McLuhan was a fascinating intellectual. He was also a scholar and philosopher who focused nearly all of his attention to the ways in which media does a great deal more than inform, sell or entertain. Almost 30 years before it was created, McLuhan predicted the concept of a “global village” or and electronic means of communication. In other words, the Canadian Media Theory Philosopher predicted what we now call The Internet.

If you are unfamiliar with the ideas put forward by McLuhan, here are a few quotes that highlight his ideas about the impact of media:

“In this electronic age we see ourselves being translated more and more into the form of information, moving toward the technological extension of consciousness.”

“Ideally, advertising aims at the goal of a programmed harmony among all human impulses and aspirations and endeavors. Using handicraft methods, it stretches out toward the ultimate electronic goal of a collective consciousness.”

Marshall McLuhan
circa 1970
Photographer | Unknown to me

“One of the effects of living with electric information is that we live habitually in a state of information overload. There’s always more than you can cope with.”

“Societies have always been shaped more by the nature of the media by which men communicate than by the content of the communication.”

“The medium is the message. This is merely to say that the personal and social consequences of any medium – that is, of any extension of ourselves – result from the new scale that is introduced into our affairs by each extension of ourselves, or by any new technology.”

McLuhan emerged as much a critic of media as he was in awe of a power that most could not see or simply seemed to to fully grasp. While “the medium is the message,” that message is continually elevating to newer and more invasive ways.

The Medium is the Massage: An Inventory of Effects
Marshall McLuhan, 1967 Graphic Design |Quentin Fiore

The continual evolution of medium’s technology is quickly escalating in it’s strength. Humankind is being manipulated in ways beyond the imagination. Individuality was / is losing ground. Is giving way to a formation of something more than “human” in the way we define ourselves.

“In this electronic age we see ourselves being translated more and more into the form of information, moving toward the technological extension of consciousness.” Marshall McLuhan

Marshall McLuhan’s ideas, theories, opinions and assertions are almost frightening in the ways one can chart the truth of what he stated in his lifetime. This great thinker died in 1980, yet his ideas remain alive and valid. To say he was ahead of the cultural curve would be an understatement.

As a Media Theorist, he had a great interest in television and motion pictures. Or, rather, an interest into what was actually being conveyed to audiences as they took in the information being “fed” into what was no longer simply the mind of the individual but the shared mind of those who watched and listened. By the mid-1970’s his ideas had well slipped into the intellectual mainstream as evidenced by his appearance as himself in Woody Allen’s Annie Hall in 1977.

In the surreal scene Allen’s character is able to invoke the presence of McLuhan to defend his personal opinion to an annoyingly loud fellow cinephile while they wait to see The Sorrow & The Pity:

“Wait a minute, why can’t I give my opinion? It’s a free country!”
“He can give it… do you have to give it so loud? I mean, aren’t you ashamed to pontificate like that? And the funny part of it is, Marshall McLuhan, you don’t know anything about Marshall McLuhan!”
“Oh, really? Well, it just so happens I teach a class at Columbia called ‘TV, Media and Culture.’ So I think my insights into Mr. McLuhan, well, have a great deal of validity!”
“Oh, do ya? Well, that’s funny, because I happen to have Mr. McLuhan right here, so, so, yeah, just let me —” [Allen pulls McLuhan into Gordon Willis’ frame] “Come over here for a second. tell him!”

“I heard what you were saying! You know nothing of my work! You mean my whole fallacy is wrong. How you got to teach a course in anything is totally amazing!”
Marshall McLuhan stands up for Alvey
Annie Hall
Woody Allen, 1977
Cinematography | Gordon Willis

While more than a few artists latched onto the ideas of Marshall McLuhan so did Film Theory, Philosophy and Journalism majors at universities across the world. But perhaps no intellectual and no artist latched onto McLuhan’s theories than fellow Canadian filmmaker, David Cronenberg.

“Art is anything you can get away with.” — Marshall McLuhan

From the very beginning, David Cronenberg pushed the ideas of Grindhouse Horror further than any other. Certainly, George A. Romero was interested in the ideas around how marketing and consumerism were rendering humans to a zombie like need that could never be fully satisfied.

“What are they doing? Why do they come here?”
“Some kind of instinct. Memory of what they used to do. This was an important place in their lives.”
Zombies roam the mall for live flesh as the new commodity.
Day of the Dead
George A. Romero, 1978
Cinematography | Michael Gornick

But it was Cronenberg who began to translate McLuhan’s ideas into a literal horror involving not only the way in which we think, but the way in which medium-saturated psychology could possibly morph into our biology.

Cronenberg was also way ahead of the cultural curve, when his low-budget gore-fests like 1975’s Shivers and 1977’s Rabid use the idea of sexual appetite and parasites or viruses merging to spread world-wide pandemics. Shivers is focused on a swinging singles apartment complex, but Rabid branches out into the world. A strange sort of gaping slip of a hole appears in the armpit, and the diseased seeks out sex partners to satisfy a painful urge. …and spread a disease.

A perplexing gape of wound appears on the body beautiful. Iconic Porn Star of the day goes legit as the sexy victim of disease which causes her to aggressively spread her sickness…
RABID
David Cronenberg, 1977
Cinematography | René Verzier

As silly as the gore might be in this movies, both carry a cerebral and visceral horror for viewers that remain today. We might giggle at some of the effects, but once these movies end the realization that we have seen two movies that seem to have predicted AIDS is impossible to dismiss. It is of particular interest that Cronenberg sought out the former Ivory Soap Girl turned Porn Superstar, Marilyn Chambers, to play the main carrier of the disease. A once symbol of Purity, Cleanliness & Innocence turned to Hardcore Media Porn Star Sinsation. The medium is the message…

In what can probably be considered Cronenberg’s first truly artistic horror film, 1979’s The Brood offers horror on several levels. In some ways this movie is a horror film about child-like killers. The site of these murderous little demons is delivered in a low-fi but intensely horrifying way.

Brooding literally births avenging demonic child-like killers intent on carrying the medium and message
The Brood
David Cronenberg, 1979
Cinematography | Mark Irwin

On another level, this surprisingly cerebral film offers a horror film related to the clinging fears left over from the 1960’s/1970’s revolutionary changes regarding individual freedoms and a culture in which patriarchal “control” over sexuality, marriage, children and our own individual minds was giving way to something that many felt sinister.

Oliver Reed’s Dr. Hal Raglan is a brilliant and charismatic sort of Psychiatry Guru (or Psychoplasmics Master) who has established a center for emotionally challenged individuals. A wife and mother with serious emotional issues has sought help, but has become a sort of Cult Slave to Dr. Raglan’s mad science experiments involving psychological anger.

Samantha Eggar broods her rage into full-fledged living beings designed to carry out her darkest violent urges.
The Brood
David Cronenberg, 1979
Cinematography | Max Irwin

Played by Samantha Eggar, this woman has learned to channel her rage into her core biology. Dr. Raglan is the medium. The message is an endless rage which morphs into stunted results of psycho-physcial pregnancies. She is not merely brooding anger, resentment and anger at her husband and a daughter who has perhaps prevented her evolution as an individual. No, she is literally brooding a number of angry beings birthed to carry out her inner insane rages. Under the work of the Mad Scientist, she is birthing the medium that seeks to destroy.

“Thirty seconds after you’re born you have a past and sixty seconds after that you begin to lie to yourself about it.”
Grooming a birth of insane rage… Body Horror taken to a whole new level.
The Brood
David Cronenberg, 1979
Cinematography | Max Irwin

The Brood suffers from limited budget, hammy acting and an idea that feels at once brilliant and a bit too silly. But we cannot forget that this is a David Cronenberg. The Brood is more than a partially scary and partially satirical cult movie — it sneaks in under our skin and into our shared thinking. This film lingers long after the comedic elements fade. Esteemed writer, Carrie Rickey, has pointed out that The Brood is also a startling counter-point to Kramer Vs. Kramer.

In 1981’s Scanners, David Cronenberg officially crossed over to mainstream success. No longer limited to Drive-In’s, Midnight Screenings or lower-rate cinemas — Scanners received a wide release.

Disturbing but creative art therapy isn’t enough for corporate interests…
Scanners
David Cronenberg, 1979
Cinematography | Max Irwin

And it not only changed the way we think of Science Fiction Horror, it elevated Cronenberg to a whole new level of artistic acceptance. It can also be closely linked to the ideology of Marshall McLuhan. Although the message is presented to humanity more in the form of 20th Century biochemicals than media. In Cronenberg’s Scanners, Diethylstilbestrol (DES) is not merely a carcinogenic, it has infected fetuses with a new sort of power. Thalidomide not only harms, it too causes a strange psycho-power mutation within infected fetal tissue of mothers treated with these chemicals.

“How do you feel?”
“I feel crystal clear.”
Heads do not roll. They explode.
Scanners
David Cronenberg, 1979
Cinematography | Max Irwin

Suddenly, Cronenberg’s much discussed Body Horror has elevated from human emotion to true biological horror. These infected mothers have given birth to children who have a new horrific telekinesis power. A power that can ultimately be controlled and used as a new kind of weapon. The film is best known for the effect of exploding heads, is actually going much deeper into human fear and horror ideology.

But it would be with Cronenberg’s 1983’s Videodrome that his interests in McLuhan’s teachings and the director’s own personal interest in the horror of the body turning against it’s owner would blend to form the almost perfect mix of Art Horror, Science Fiction, Surrealism and Cultural/Societal commentary.

“First it controls your mind…then it destroys your body”
France’s marketing campaign focused heavily on Debbie Harry
Videodrome
David Cronenberg, 1983
Cinematography | Max Irwin

Max Renn is the burned-out, bored but still ambitious CEO of a small Adults-Only cable company that seems posed to break big in the growing world of cable TV. Renn markets his cable channel as “The one you take to bed with you.” In 1983, audiences would have linked this fictional channel to the likes of Playboy TV or a wide range of latenight-only cable channels that offered soft porn and other provocative topics to it’s viewers.

Just slightly ahead of the game, the VHS industry was really only just starting to take-off across the mainstream. Players were only just starting to come down in price and the middle class had only dipped a few toes into the video-stream. The battle between VHS and BetaMax had not even fully started.

Cyber-Punk Surrealism or Infected Brain Hallucination? James Wood’s is about to receive a whole new kind of “head”
Videodrome
David Cronenberg, 1983
Cinematography | Max Irwin

In the real world, these types of channels were facing a number of obstacles in presenting hardcore sex. It was limited to silly soft-porn movies or carefully edited hardcore sex movies to amped-up R-rated erotica. In Cronenberg’s film Max Renn is eager to push pass the rules. Seemingly latching onto McLuhan’s idea of art being what one can get away with, Renn no longer cares about the rules that restrict him from gaining a competitive edge in the erotic marketplace. His “ethical” stance is flawed. If compared to McLuhan’s concept, Renn has perverted the idea regarding art. For Renn, this is simply business.

Enter the oddly moralistic world of David Cronenberg. Sexuality is a lure that Cronenberg utilizes to pull the audience into his latest exploration in psychological horror. The use of sex is both titillating and perverse. In many ways, Videodrome is Cyber-Punk Horror that dares to call our erotic desires into both cinematic provocation as well as an almost moral judgement.

Cinematic Provocation. A strange group of people can only find sexual pleasure/release at the time of self-inflicted car collisions take place. The scars become more erotic than the body upon which they inflict.
Rosanna Arquette
CRASH
David Cronenberg, 1996
Cinematography | Peter Suschitzky

I stress almost because Cronenberg is expertly exploiting/selling sex as much as he thrusts our prurient interests to a questionable level. This was not the first time nor was it the last that this skilled filmmaker would use sexuality in a perplexing duality of human nature. There is always a strangely moralistic tie in all of Cronenberg’s films. Even in his adaptation of JG Ballard’s CRASH, he would tease the audience with subversive and perverse sexuality to arouse not only very dark eroticism, but to illicit a perverse joy in turning it back on the audience.

One of our first opportunities to understand this character is when we see him as a guest on a local channel chat show. The chat show host is clearly uncomfortable discussing the ever-expanding level of sexual explicitness on television, but she grins and bares it. Max is one of three guests. The second guest is Nicki Brand, played with a gleeful level of subversion by Cultural Icon, Debbie Harry. Nicki, like Max, sells sex. She is selling herself as a sort of Post-Feminist erotic answer to the “outmoded” concepts of Feminist Theory formed by Betty Friedan and Gloria Steinem. Her mode of medium is talk radio in which she dishes out pseudo-pop-psychology sexualized advice.

“What about it, Nicki? Is it socially positive?”
“Well, I think we live in overstimulated times. We crave stimulation for its own sake. We gorge ourselves on it. We always want more, whether it’s tactile, emotional or sexual.”
Feminist Theory gets a kink-reboot with Debbie Harry as Nicki Brand.
Videodrome
David Cronenberg, 1983
Cinematography | Max Irwin

Debbie Harry, at her own erotic prime and fame is the perfect actor for this role. At once intellectual and also a rather edgy erotic tease, she is like cat-nip for Max Renn. As the chat show host pulls them into a debate about the dark side of eroticism to the masses, it becomes clear that Nicki Brand isn’t really looking to counter-point Max Renn as much as to simply admit that she is fully aware of the “dangers” but not that concerned with falling prey. As she informs the host, “We live in over-stimulated times.” As Max begins to openly flirt with Nicki, the host is left in an even more comical unease.

She then turns away from her two sex-fueled guest to her scientific expert who refuses to appear on any other media than the television. Taken to a truly literal perspective, Professor Brian O’Blivion appears on a TV sitting on a coffee table by the host. As the increasingly nervous host attempts to interview O’Blivion it quickly becomes apparent that he is not going to fully connect with her.

Marshall McLuhan deconstructed: Dr. Brian O’Blivion only seems to respond…
Videodrome
David Cronenberg, 1983
Cinematography | Max Irwin

He seems to be watching her other two guests, but moves into a sort of intellectual rant about the powers of television media: He begins to offer an almost religious sort of speech that television will soon replace “our” reality. Completely ignoring his host, he begins to almost preach through the screen of his own TV image:

“The battle for the mind of North America will be fought in the video arena: the Videodrome. The television screen is the retina of the mind’s eye. Therefore, the television screen is part of the physical structure of the brain. Therefore, whatever appears on the television screen emerges as raw experience for those who watch it. Therefore, television is reality, and reality is less than television. The television screen is the retina of the mind’s eye.”

David Cronenberg was very clear that his created character of Dr. Brian O’Blivion is based soley on Marshall McLuhan and the esteemed Media Sociologist’s ideas. McLuhan’s teachings, ideas and concepts are all brought to the forefront of this highly entertaining and often disturbing film. While Cronenberg lays it all out in literal and visceral visual terms, nothing actually strays too far from the recently departed McLuhan.

James Woods’ Max Renn develops an odd itchy rash as he watches…
Videodrome
David Cronenberg, 1983
Cinematography | Max Irwin

Played with simultaneous sexy swagger and icky slimed confidence by James Woods, Max deals with the European Erotica Market as well as underground networks of slightly harder-edged porn from Asia. We catch glimpses of the new work he is considering for his channel. From his European connection, the work seems innocently decadent. From the seemingly illegal importation from Asia, the work seems to be a sexualization of ethnic stereotypes that are pushing toward sadistic erotic pleasures. For Max, these new erotica films might offer a bit more in the way of erotic explicitness and controversy — but they are not enough. He is looking for something more “dangerous” and “risky.”

Enter Max’s pal and tech wiz, who manages to catch a Malaysian signal of what appears to be very realistic torture porn. So realistic in presentation, there is a suspicion that what Max is seeing may be a true filming of snuff human cruelty. It is never fully clear to us if Max is fully “OK” with what he sees on a show that seems to be called Videodrome, but it is clear that the sadomasochistic is most definitely turning him on.

In 1983, it was shocking when Debbie Harry is suggested to supply a little bit of BDSM to get Max’s changing body stimulated. In 2015, this medium of BDSM has already become passively engrained within the cultural mind.
Videodrome
David Cronenberg, 1983
Cinematography | Max Irwin

He pushes his tech engineer to find the true origin of the Videodrome signal which turns out to be coming from Pittsburgh, Pennsylvania. Comforting himself by insisting that what he is seeing is a “pretend” electrically-charged clay wall and orange/red floors upon and against which acts of brutal sexual assaults and murders are carried out in realistic but fake ways. Max essentially threatens his libidinous European contact to find the creators of Videodrome to help him secure a deal to air their show. Soon later, his contact tries to soft talk him out of the idea. She advises that what he has been seeing is more than erotic entertainment.

She leans in as informs him that Videodrome has a philosophy. Videodrome is real.

At first Max refuses to believe it. His sexual relationship with Nicki is one linked to pain and punishment. It is all-the-more-hightened by a viewing of Videodrome. In a clever bit of Surrealism, Max and Nicki’s sexual blood-letting morphs out of Max’s condo and onto the wet red floor of the Videodrome set. Hallucinations give way to very real altercations in which Max’s body seems to be changing to fit into the psychology of Videodrome.

“Open up, Max. We have a tape we have a tape we need to play…”
Videodrome
David Cronenberg, 1983
Cinematography | Max Irwin

In one of the film’s many mind-bending special effects, Max begins to develop an itch resulting from what appears at first to be a an enflamed vertical line traveling down his “happy trail” that quickly emerges into a yon-like flesh entry point. Wet and wanting to be fed, this vaginal sort of “wound” becomes a portal in which Max and insidious Bad Guys place guns and breathing-infected videotapes. The pain of this “fleshy slit” also seems to deliver a source of uncomfortable pleasure. Eventually this body morphing develops teeth.

David Cronenberg’s Videodrome is a repulsive, intense and surreal Art Horror masterpiece that must be experienced to fully understand and enjoy. With each scene, the Videodrome transmissions seem to infect Max’s psychology, perception and ultimately his body.

A new point of entry to Max Renn… Body Horror taken to a whole new level.
Videodrome
David Cronenberg, 1983
Cinematography | Max Irwin

The ultimate body horror show, Max must either destroy the evil that is Videodrome and accept the new flesh it has created and take it forward to the next logical step. Many viewers interpret the film in different ways — particularly it’s apocalyptic ending. But it seems to me that David Cronenberg is pushing Marshall McLuhan’s ideology in very literal way. Fully infected by media’s disease, Max must refuse to submit to a vile corporate plan. He must take back what the medium has communicated into his very being.

“Death to Videodrome! Long live the new flesh!”

The Medium turns against you…
Videodrome
David Cronenberg, 1983
Cinematography | Max Irwin

David Cronenberg has not only gotten away with creating a powerful and lasting work of film art, his horror film navigates the audience into a whole different sort of human universe. Video/Analog may have given way to HD/Digital, but the message of the medium is still every bit as worrying to us in 2015 as it was in 1983. The power of media is inescapable now more than ever. Paranoia and the threat of disease is at all time high.

Vidoedrome is far more than a Cult Horror Film Classic, it is a very warped, twisted and disturbing cinematic philosophy not to be be forgotten.

“Death to Videodrome. Long live the New Flesh.” Now, come to Nicki…
Debbie Harry
Videodrome
David Cronenberg, 1983
Cinematography | Max Irwin

Matty Stanfield, 9.28.15

Banging on the Piano or Defending Ken Russell’s Insane Lisztomania

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rock on.

Matty Stanfield, 9.25.2015

Yes, but is it Art or Lost and Forgotten Films

There are so many films out there that have been forgotten and or lost.

Carnal Knowledge
Mike Nichols, 1971

As we enter the 21st Century, the choices applied by major studios and various production companies often appears to have no grounding in logic.

For instance, Mill Creek Entertainment has US/Canada home distribution rights for such major players as Sony, Universal, Warner Brothers and Buena Vista. These studios and major distributors have historic catalogs of cinema. Yet, Mill Creek is more interested in re-mastering such films as Barnet Kellman’s painful 1992 Straight Talking in which Dolly Parton is romanced by James Woods!

Miami Rhapsody
David Frankel, 1995

They also were very quick to get such “cinematic classics” as Another Stakeout, The Legend of Billie Jean, Old Gringo, Playing God, Color of Night and Miami Rhapsody.

Cruising
William Friedkin, 1980

This isn’t some little “deal” that Mill Creek Entertainment has established, it is major. This company works with Sony and Warner Brothers who tend to be the cheapest and most difficult of the major studios when it comes to their respective back catalog. However, Mill Creek has never shown any sort of interest in distributing the films that many would like to see remastered and available.

Who’s Afraid of Virginia Woolf?
Mike Nichols, 1966

Were it not for smaller film distribution labels like Olive Films, Twilight Entertainment, Shout Factory and most importantly The Criterion Collection many an iconic film would still be sitting fading away in the shelf of some disorganized storage area.

Girlfriends
Claudia Weill, 1978

As it is, Twilight Entertainment has managed to get a foot in by agreeing to a limited printing. This means that less popular, but far more artistically valid films that Sony and Warners have denied other offers find a way to a limited restoration and release.

But when Twilight is limited to only 3,000 pressings, the cost jumps up to $30 retail.

Andy Warhol’s Dracula
AKA Young Dracula or Blood for Dracula
Paul Morrissey, 1974

And films like Woody Allen’s Love and Death, Purple Rose of Cairo and Crimes and Misdemeanors immediately push close to selling out. Same goes for Steel Magnolias or François Truffaut’s The Bride Wore Black or the iconic Sidney Pollack teaming of Streisand and Redford in The Way We Were. These films are sold for $30 for a few weeks before they start going for as high as $60 or more on Amazon from other sellers. Amazon does not sell Twilight directly.

Pink Floyd The Wall
Alan Parker, 1982

So, why does Mill Creek Entertainment prefer Mike Binder’s Holy Matrimony to The Bride Wore Black or The Way We Were? The knee-jerk answer is that Mill Creek can crank out 500,000 pressings of mediocre comedies to sell via Walmart, BestBuy or Amazon for as low as $5 to $10 a pop.

Apparently, when shoppers see a Blu-Ray featuring any movie star they recognize, they will pay $8 without a second thought. Easy profits. But that is not always the case.

Blowup
Michelangelo Antonioni, 1966d

Reasons can range from obscure licensing challenges for piece of music that Warners or Sony is not willing to negotiate and that Mill Creek doesn’t want to have to pay. Or, from time to time, there is often a more sinister element going on: Woody Allen, Robert Redford, Warren Beatty, Barbra Streisand and Jane Fondas’ movies will be even more profitable after each’s respective death.

And sometimes it amounts to insecurities about stirring up old wounds of the filmmakers themselves. These wounds can be gushing blood after decades or can be so minor it can be puzzling.

Shampoo
Hal Ashby, 1975

But more often than not, the reason that films are forgotten or lost is because no one in positions of power ever think of them.

In recent years Warner Brothers has started their DVD-R printings of more obscure movies under their Warner Archive. This is cool, but limited. A vast number of Warner Brothers films remain unavailable — and many of the ones that are available by order are poorly re-mastered.

Nasty Habits
Michael Lindsay-Hogg, 1977

Anyone curious to see the infamously failed film version of Portnoy’s Complaint will discover a muddy pint in which everything within the image has been stretched up/down so that Karen Black and Richard Benjamin are cartoon thin. The entire raunchy movie is there, but presented in a manner reminiscent of pre-cable late night shows when no one knew how to translate big screen films to fit onto TV screens. When Warners does take the time to press a few buttons and get the film to an acceptable aspect ratio, they do not bother to remaster.

Up The Sandbox
Irvin Kershner, 1972

A classic example of Warner Brothers Archive Collection logic is found in the recent release of Tony Scott’s iconic and Cult Film Classic, The Hunger. A movie that features the likes of David Bowie, Catherine Deneuve and Susan Sarandon as well as sleekly applied style and some great music from Bauhaus and Iggy Pop has been transferred to Blu-Ray using an even lesser quality transfer than MGM used for the initial DVD release.

Lisztomania
Ken Russell, 1975

Don’t be fooled, Warner Archive did not bother to get the aspect ratio correct. You are not seeing the full picture. And I’m not certain, but I don’t think there has even been a 2K restoration here. The picture quality is not bad, but it is far from great. Worse yet, the audio is lousy. The old MGM DVD sounded better. Of course my DVD died several years back. I was stuck with the Warner released DVD which was actually a bit better than their new Blu-Ray.

They did a similar job with Nicolas Roeg’s co-directing debut, Performance. Yet, for reasons unknown they did actually bother to do a 2K restore for John Schlesinger’s Far From The Madding Crowd to Blu-Ray. It has yet to sell as well as either Performance or The Hunger.

Women In Love
Ken Russell, 1969

Despite all sorts of grass-roots pushes and a an uncountable number of Film Historians, Film Production/Distribution companies and the request of an entire nation — Yes, Great Britain and the highly valued and respected British Film Institute reached out — Warner Brothers continues to refuse the release of Ken Russell’s original cut of The Devils.

No reason has ever been given.

Britain and the BFI fared best, however they were presented with an inferior quality and edited version of the film which they were only allowed to release in a UK region restricted limited pressing. While Warners did give BFI the choice to issue to Blu-Ray, BFI declined and limited the release to DVD as the quality of what Warner Brothers gave them was too poor to merit the Blu-Ray treatment.

The Devils
Ken Russell, 1971

As The Devils is an historic part of British Film History and an important work of art, BFI wanted to have a full copy of the film secured in their registry.

However, the print that Warners gave had to be returned.

So BFI now has a restored copy of a copy of an edited version of The Devils.

“Birdshit!”
Brewster McCloud
Robert Altman, 1970

In the upcoming several months a number of films are being re-evaluated for restoration and re-distribution. Who knows if any of this which is largely connected to the Film Festival Circuit will have any impact. However if one of these film matters to you, the best thing to do is review the film on Rotten Tomatoes or IMDB.

Oddly, sales from the Warner Archive do not seem to have much if any bearing on whether or not a movie will be restored. But folks who sign up for Amazon.com wait lists have initiated restorations. This was how Warner Brothers came to issue The Hunger to Blu-Ray and the two factors that have made Twilight Time embark on films like The Way We Were and Yentl.

Petulia
Richard Lester, 1968

A not so great transfer of Roeg’s odd cult film, Track 29 staring a young Gary Oldman, sold very well. This has caused a current “re-visit” of this infamous cinematic error as a possible film for restoration. Yet, the inferior region-free DVD’s of Ken Russell’s The Devils constantly sell out. Warner Brothers does not budge.

Another mystery with Warner Brothers is the poor quality and refusal to restore and re-distribute KLUTE. A film that has a large following, remains valid and of interest. Something similar was going down with Blowup, but that issue might have finally been resolved. Fingers-crossed. Another very popular film which is in theory no longer in print would be Richard Lester’s Petulia. As well as John Schlesinger’s Darling which shot Julie Christie to fame.

Both remain unrestored.

Tell Me That You Love Me, Junie Moon
Otto Preminger, 1970

And, then there is the interest in Otto Preminger’s ill-advised 1970’s Tell Me That You Love Me, Junie Moon which features a young Liza Minnelli facing deformity and trying to find a place among those whom society has labeled misfits. The film is flawed, but there are many a film fan who wants to own this odd cult film. Yet, no restoration or distribution is in sight. But Preminger’s far worse movie, Skidoo, was restored and issued to Blu-Ray. So who knows?

Track 29
Nicolas Roeg, 1988

But it would appear the most valued currency for film consensus may be moving over to Letterboxd. Register. Review and “Like” reviews of the film or films you want to see restored. Register and make comments on The Criterion Forum.

The Criterion Forum Org

Believe it or not, this information is monitored. All of this might seem futile, but it isn’t.

Welcome To L.A.
Alan Rudolph, 1976

Alan Rudolph’s early work is being “re-visited.”

This is how we got Rosemary’s Baby, Moonrise Kingdom, The American Dreamer, Cat People, The Werner Herzog Collection, Safe, Black Moon, The Night Porter, Pillow Book, Audition, The Telephone Book, Seconds, Dressed To Kill, The Bitter Tears of Petra von Kant, Two-Lane Blacktop, Harold & Maud, The Rose and All That Jazz restored and re-distributed to Blu-Ray and HD.

Often Paramount and Fox are easier for boutique labels to secure deals because the licensing with these studios tends to be a bit less restrictive. A great number of their films were actually independent films that were picked up for distribution. As an example, Paramount had the rights for distribution for Rosemary’s Baby, but it was limited. The film technically belongs to Robert Evans and Roman Polanski.

KLUTE
Alan J. Pakula, 1971

And of course there is the very much available for restoration and re-distribution film of legend, BOOM!, just waiting for Shout Factory or Vinegar Syndrome.

Keep the faith.

Matty Stanfield, 9.22.15

What Doesn’t Kill You Makes You Stronger or Not

When I hear or read “What doesn’t kill you makes you stronger!” I want to curl myself into a cataclysmic ball of rage and explode. No. The horrors and challenges in life that do not kill you do not really make you stronger. In reality they make you cynical, confused, damaged and tired. When discussing the survival of child abuse trauma we enter a whole new realm of fresh Hell.

Jean-Luc Godard
Editing “Weekend”
Paris, 1967
Photographer | Unknown to me

For me this saga continues. It isn’t like I’m not fighting like hell to resolve it. But as I’m so tired of hearing: “There is no time limit on these things.” or “Let’s just take it day by day and further develop coping skills” or worse yet, “But you are getting better!” But I push onward and forward as best I can. I don’t know, maybe I am stronger because of what I endured or survived. However, I can’t help but thing I’d be more effective had I not had to survive such things. I suspect I’d still be strong. Who knows? It is hardly worth considering. As much as I hate this phrase, it does hold true: “It is what it is.”

And sometimes we just don’t have the ability to change “it.” The “it” just sits on us as we try to understand exactly what “it” needs or wants so that we can be free of the weight. Damage is impossible to avoid. If you are 30 and have not been seriously damaged in one way or another – you are most likely not actually living life. You are probably avoiding it. Sadly, some damage is more significant than other types.

And this brings me to Film Art.

And chaos reigns. Surrealistically, Willem Dafoe and Charlotte Gainsbourg are working through some of life’s cruelest turns.
Antichrist
Lars von Trier, 2009
Cinematography | Anthony Dod Mantle

Much to the bewilderment of my love, my family and my friends — I often find “comfort” in the darkest of film. Steve McQueen’s Shame is especially important to me. As is Christophe Honre’s Ma Mere or Darren Aronofsky’s Requiem for a Dream or Lars von Trier’s Anitichrist.

These are very bleak and almost apocalyptic movies. Yet, each one seems to offer me a chance to escape into someone else’s personal horrors and remind me that not only am I not alone — but it could be ever so much more worse. These films also offer resonation and catharsis.

Sugar-sweet brain candy cinematic manipulations tend to annoy me. I find no means of escape within them. If one is particularly good, such as Mel Brook’s Young Frankenstein — if I’m in the right mood I will love watching it over and over again.

Persona
Ingmar Bergman, 1966
Cinematography | Sven Nykvist

But if one of those toxic waves crash into me I’d much prefer to watch Ingmar Bergman’s Persona or David Lynch’s Earaserhead. Another couple of films that provide me with escape is Luis Bunuel’s Belle de jour, Robert Altman’s 3 Women and Ki-duk Kim’s Pieta. As well as David Cronenberg’s Naked Lunch, Nicolas Roeg’s Don’t Look Now or Godard’s Weekend. All of these movies project complex ideas and themes that require the mind to focus and think about what is being shown (or often not shown) — therefore, I find a way to temporarily escape my problems.

I jump into the problems and horrors examined in these dark films.

A serial killer roaming through the canals of Venice are the least worries facing Julie Christie as she and her husband face the despair, grief, isolation, guilt and tragedy of loss.
Don’t Look Now
Nicolas Roeg, 1973
Cinematography | Anthony B. Richmond

The resonation most likely comes from the one actual gift of survival: The ability to understand. While I do not suffer with Sex Addiction or an inability to connect beyond the sexual, I do feel an understanding and empathy for those who suffer with it. When life teaches one that his/her’s worth is tied to sexuality, it leaves that individual with every limited abilities to connect and encage. If ever mankind is haunted by demons, they are manifestations of Self-Loathing, Isolation and Loneliness. The two characters in Shame roam about a blue-toned Manhattan lost, unsure, impotent and desperate.

“We’re not bad people. We just come from a bad place.”
Michael Fassbender
Crushing under the weight of human damages
SHAME
Steve McQueen, 2011
Cinematography | Sean Bobbitt

Neither knows how to escape their respective prisons. The actors, Michael Fassbender and Carey Mulligan do not even need much dialogue. So strong are these talents, they can convey more with a glance, a gesture or most powerfully for Mulligan — in the singing of a song. Mulligan’s deconstruction of the standard, New York, New York, belongs on a pristine shelf of the perfect actor moment.

“If I can make it there…”
Carey Mulligan
SHAME
Steve McQueen, 2011
Cinematography | Sean Bobbitt

In her hands and voice, the infamous anthem becomes a defeatist glimpse into grief and regret.

In Ki-duk Kim’s dark and angry, Pieta, we are stolen into a world of injustice, cruelty, betrayal and vengeance. Min-so Jo plays “the mother” to Jung-jin Lee’s “son.” Both navigate with minimal use of words. Contrary to what one might expect from the often soap-opreaish work one normally sees these two actors in, here they are both given the freedom to fully explore the veins under the skins of their characters.

Ki-duk Kim’s film is a set-up for both the viewers and the two leading characters. There is nothing holy to be found in this Pieta. The catharsis of vengeance comes with a price that I can only believe is absolute truth. While one might fantasize of extracting vengeance, the reality is far removed from the pleasure we might expect.

Jung-jin Lee opens the door to the parent, Min-so Jo, who abandoned him with a knife at the ready…
Pieta
Ki-duk Kim, 2012
Cinematography | Young-jik Jo

Being a survivor, I often find myself imagining what I would do to my attacker if I could and how very happy it would make me. However, being a survivor has also taught me how to examine the tragedy from all sides.

There would be no happiness or pleasure in securing vengeance even if I could. My attacker has long since died. The bitter truth is that we humans are complicated animals. The reality is a child not only needs the love of his parent, he requires it. No matter how cruel a parent might be, there is something in us that needs to be able to love that person who gave us life. And while I have no children, I’m mature enough to know that a parent can feel great love for a child and still manage to deeply harm him/her.

It is a set-up. Despair, Grief & Anger turn to Vengeance.
Min-so Jo
Pieta
Ki-duk Kim, 2012
Cinematography | Young-jik Jo

The insanity that drives the parent to such acts in many ways has nothing to do with the love they might feel for the child. It is a tricky proposition to understand and requires a great deal of emotional logic to place this in the appropriate context, but often a victimizing parent is a victim themselves. The strange and very twisted truth is I know my father loved me. I know this to my core. I also know that he damaged me in ways beyond repair. Despite this, when he died I felt no relief. I only felt grief. A grief far deeper than I had ever felt before or since. So much unresolved and so much confusion. As the characters in Pieta secure their “need” for revenge — there is no turning back. They reduce themselves to the level of the victimizer. The “victory” comes at a price too strong to bear.

It is interesting and very telling that I seem to avoid films which tackle the subject of fathers raping, harming and emotionally abusing their sons. Perhaps this is too dark for even me. When I see a film addressing this it rings too close to my own horrors and confusions related to my late father. It is as if I need a bit of distance. These kind of conflicts involving a mother and a son are distanced enough from my life that I’m able to find something to gain.

Perhaps the most confusing film in which I find escape is Christophe Honre’s controversial and often banned film, Ma Mere.

“Wrong isn’t what we’re about to do. Wrong is wanting to survive it.”
Ma Mere
Christophe Honre, 2004
Cinematography | Hélène Louvart

Very loosely adapted from the infamous and posthumously published George Bataille novel which intended to shock as a way of both societal and cultural commentary — Christophe Honre had something a bit different in mind. Honre is very intellectual filmmaker. He is almost cliched French. He will stubbornly create a grim musical that refuses denial by a culture which seems to hold little value or appreciation of film musicals. He likes to force his hand. With the great Isabelle Huppert as his leading lady, Bataille’s novel is transferred to the modern day Canary Islands. We are expected to already know that this beautiful place has long succumbed itself to serve as both a tourist destination and a location for anything goes morality. Public sex, sex workers and fringe-dwellers litter the beaches and fill the after hours bar-hopping mall where the characters wonder about in the film’s first act. Honre does not care to focus his attention to that.

“The pleasure only begins the moment the worm is in the fruit.”
Isabelle Huppert and Louis Garrel
Christophe Honre, 2004
Cinematography | Hélène Louvart

In the film version of Ma Mere, he seeks to tell the very complex, grim and perverse relationship of damaged mother to her damaged son. This is not a sexy movie, but it is very much about sexual experimentation, humiliation and a vexingly profane philosophy that the mother is hellbent on searing into the mind of her barely adult child. Louis Garrel has been raised by his strict Catholic grandmother — a family decision to “protect” him from his depraved parents who have long been exiled to The Canary Islands far from their families. We learn a great deal about the family history in the most casual of ways. Isabelle Huppert’s performance is a below the belt gut punch of realism over what must have appeared as absurd in script form.

Yet as Isabelle Huppert delivers a stream of profane and almost comical ideas, it is never funny. It feels real.

As Garrel’s “son” grapples with his own torn feelings about the loss of his Grandmother and her faith, he is also pulled toward this cruel version of a mother. While he may be technically adult, he is an innocent. He desperately craves the love and acceptance of his mother. He is unable to filter this need.

As she leads him into her confused and brutal world of psychological cruelty, BDSM and most certainly sadomasochistic rituals, the son becomes a sort of pawn with which his mother cannot decide to crush or love.

Victim turned Victimizer
Isabelle Huppert and “Friend”
Ma Mere
Christophe Honre, 2004
Cinematography | Hélène Louvart

We learn that her marriage to his father was born of statutory rape. Most likely he himself is the result of this rape. The film goes farther than it needs, but it is clear that the mother’s abuse is a conflicted result of anger, insanity and love.

As I watch these two almost surrealist characters perform their tragic dance, I do feel a worrying reality to it all. And of course this is the point of Ma Mere. We love our mothers. Our mothers love us. It does not mean they are not capable of inflicting cruelty beyond measure. The mother could just as easily be replaced with a father and a daughter for the son. But Mon Pere would be even more controversial and serve the idea of the film in an even more complex way.

Even his early childhood nanny can’t seem to stop the son from desperately seeking the love of his mother…
Dominique Reymond and Louis Garrel
Ma Mere
Christophe Honre, 2004
Cinematography | Hélène Louvart

Most importantly, Christophe Honre’s film never seeks to eroticize or celebrate the profane actions of its characters. It also does not seek to judge them. It doesn’t need to. As Ma Mere grinds into its abrupt and deeply disturbing end, the tragic implications of human damage are clear. Worst yet, they seem to be on-going.

“Maybe now you know desire reduces us to weakness.”
Isabelle Huppert
Ma Mere
Christophe Honre, 2004
Cinematography | Hélène Louvart

While none of the above is my experience, I relate enough to feel the resonation of the art. It acts as a catharsis. I take a great deal of solace in knowing that I caught and understood what I “survived” soon enough to ensure that the abuse stops here with me. But in an all too clear way, what I survived has not made me stronger. The tragedy of what happened to me follows me constantly. And like the son in Christophe Honre’s tragically forgotten film, the implications seem on-going.

Matt Stanfield, 9.20.2015

An Adam Sandler

Never Mix Never Worry or The Brilliance of Sandy Dennis

There will ever only be one Sandy Dennis.

When Broadway still mattered. Sandy Dennis, the star in the $7 dress.
TIME Magazine, 1967
Illustration | Boris Chaliapin

A truly unique visionary of an actor graced with an undeniable charisma and presence that was solely her own, once you’ve seen her in action — you will not be able to forget her. At times her instinctively odd take on realism and her characters could be grating. A good example of this for me would be her odd turn in Alan Alda’s The Four Seasons or Mark Rydell’s The Fox. Other times her work was truly transformative as in Mike Nichol’s cinematic masterpiece, Who’s Afraid of Virginia Woolf? or Robert Altman’s slow-burn human psyche horror show, That Cold Day in the Park or his off-beat film of Ed Graczyk’s Come Back to the Five & Dime, Jimmy Dean, Jimmy Dean.

“Yes, but I chose to rise above the attitudes of this small town, while you chose to lay spread over a gravestone and take them inside you.”
Sandy Dennis
Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean
Robert Altman, 1982
Cinematography | Pierre Mignot

Owen Sound has a great MUBI list site regarding the late American Actress.

https://mubi.com/lists/let-me-tell-you-about-sandy-dennis-there-should-be-one-in-every-home

It is from his list I pull the following quotes:

“Sandy was a marvelous actress. She was so gifted she made every part look easy…and she didn’t choose easy parts. It was a great pleasure to work with her.” – Gena Rowlands

“Sandy Dennis is so special, so unique – an incredible woman and artist.” – Elliott Gould

“Sandy was the most amazing actress: spellbinding. The audience would hang on her every pause. And as we all acknowledge, her characterizations were miraculous; no one can say then nor now from where her profound inspirations came. But there they were, for herself and for all of the world, forever.” – Karen Black

Sandy Dennis
Head Shot
NYC, 1964
Photographer unknown to me.

While her actual first big screen role was in the iconic Elia Kazan’s 1961 Splendor in the Grass, it would be several years later before she would be given a real role. Opposite the truly iconic Taylor & Burton as the mousy housewife for which she would win the coveted Academy Award.

Introducing to the Big Screen: Miss Sandy Dennis
“I peel labels!”
George Segal, Sandy Dennis, Elizabeth Taylor
Who’s Afraid of Virginia Woolf?
Mike Nichols, 1966
Cinematography | Haskell Wexler

Film and Stage critics adored her as much as they often scorned her. Often their darling, Roger Ebert famously summed up his respect for Sandy Dennis when he reviewed her performance in 1967’s Up The Down Staircase:

“We need more films that might be concerned, even remotely, with real experiences that might once have happened to real people. And we need more actresses like Sandy Dennis.”

The New York Times’ Bosley Crowther would write:

“Sandy Dennis is engagingly natural, sensitive, literate, and thoroughly moving vivid performance…”

It is rare to run across many negative reviews of her stage craft. Having studied under Uta Hagen and a strict Method Actor, Sandy Dennis’ stage work is a thing of legend. She received two Tony Awards. While she had many on Broadway and off-Broadway roles, the one for which she is most known is the lead in Any Wednesday. It is of note that actors still speak of this apparently amazing performance.

Sandy Dennis received the second of two Tony Awards for her infamous Broadway performance.
Any Wednesday , 1964

However, in the world of film acting her often odd take on character and line readings could illicit the most cruel of critical commentary. The New York Times‘ controversial Vincent Canby was seldom kind to female actors who failed to fit into his limited idea of female beauty. He once said the following:

“Miss Dennis, mugging outrageously and badly, gives the kind of performance that, 40 years ago, would have sent her to bed without her supper. It’s rude, show-offy and, worse, it’s incompetent. Watching her do a double-take is like watching a small tug trying to work the QE2 into her Hudson River berth in a gale. It’s long and boring.”

Interestingly, this particularly nasty review was alone as other film critics rallied her performance in the film to which his acid comic critique was offered. Actually her comic delivery in Michael Lindsay-Hogg’s surprisingly subversive and funny satire of the Nixon Administration within the walls of Catholicism and a convent remains second only to Glenda Jackson’s leading role.

Sadly forgotten satire of Nixon and the Watergate Scandal. They won’t have Sister Agnes to kick around anymore!
Nasty Habits
Michael Lindsay-Hogg, 1977

Perhaps the most respected American Film Critic of her day, Pauline Kael, was seldom a fan of Dennis. She famously wrote, that Dennis had “made an acting style of postnasal drip.”

This criticism was labeled as “valid” when Sandy Dennis herself stated that she agreed and that she needed to find a way to move in a different direction. As her career continued many of her biggest Film Theory supporters would complain of her consistently nervous interpretation of character.

Sandy Dennis was never able to completely abandon her ticks, mannerisms and phrasing. For her this was an element of humanity that seemed to draw her like a moth to flame. A self-admitted loner, she would say and write that she really didn’t enjoy people. She preferred her cats. However the psychology of the human condition fascinated her deeply. In most women she saw a culturally-infused sort of insecurity. The fragileness of the human condition was something key in her interpretation of character. She was often thought of as a seemingly fragile person, but this seems to be more a reaction to her work than herself.

Not too many people seemed to get into her private life. She preferred a bit of distance. Her love was found in animals. There almost seems to have been a thought forming in her head that we should be in the cages at the zoo. Humans were the ones to be studied and watched. Non-human animals were more open to love. This is just my read on what I’ve read and heard about this great artist. I also must point out that this does not hold entirely true. To those whom she did let in, she was much loved. And that love was returned.

Poor Miss. Frances Austen. She tries not to look, but she seems to live in a house of mirrors. And they are no longer reflecting “reality”
That Cold Day in the Park
Sandy Dennis / Michael Burns
Robert Altman, 1969
Cinematography | László Kovács

Those who knew and loved her, felt she was a strong and often staunchly independent person. In the very early 1980’s when Robert Altman convinced her to take to the Broadway stage for Ed Graczyk’s unusually quirky Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean she found herself working with an untrained pop superstar, Cher. Cher did not encounter a fragile person. Cher has stated that Dennis was quick to point out her “bad reading” of her role. Cher, no fragile person herself, pushed harder until she earned Dennis’ respect.

Despair, rage, delusion and regret. Sandy Dennis brings it forward with Karen Black and Cher
Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean
Robert Altman, 1982

At that time a supporting player, Kathy Bates, was more than eager to work with both Altman and Dennis. After Sandy Dennis died she commented:

“Sandy was the great peacemaker of the group when we were doing Come Back to the Five and Dime Jimmy Dean, Jimmy Dean. She was the solid one with her feet on the ground, which was interesting to me at the time, because she had such an ethereal quality as an actress. I also remember her wonderful sense of humor and her gorgeous hair. I think she was still seeing Eric Roberts at the time and we were all very jealous.”

Also at the time of Ms. Dennis’ death, Sean Penn’s full commentary offers a great deal:

“Sandy Dennis never met an unpredictable instinct she didn’t like. She was an actress and woman with beautiful idio-syncrasies and gentleness. There’s never been anyone like her. And me and movies miss her a lot. I directed the movie that turned out to be her last, The Indian Runner, which we shot in and around Omaha, Nebraska. I was honored to work with her and I’m pleased to know that she’s being honored by her own.”

Frail, tired and dying Sandy Dennis gave her all in what would be her final performance.
The Indian Runner
Sean Penn, 1991

But looking back when Sandy Dennis fully entered the world’s pop culture chart as Edward Albee’s “Honey” in Mike Nichol’s brilliant film adaptation — Dennis’ portrayal goes far deeper than what “we” were used to seeing in 1966 cinema. This is not a surface performance. It is naturalistic and brutally real. And yet, there is something deeply odd about it. The oddness is what Dennis’ is able to sneak in with awkward pauses, drunken lapses of self-restraint and intoxicated epiphanies.

Who’s Afraid of Virginia Woolf?
Mike Nichols, 1966

There is a strange new sort of presence on the screen. Both Burton and Taylor are pitch-perfect in their perverse roles. When the door is opened to reveal their after-party guests appear to be exact opposite of who they are. George Segal is also brilliant and bland as the good-looking former jock now tied in what is most likely a loveless marriage. Sandy Dennis’ “Honey” appears to be a reserved, polite and friendly middle class wife. Before long this mouse takes on a level of dark sorrow and fear that is both tragic and scary. In a strange way, thanks to Dennis’ delivery, “Honey” surprisingly game participant in her hosts’ sick game.

“I peel labels!”
George Segal, Sandy Dennis, Elizabeth Taylor
Who’s Afraid of Virginia Woolf?
Mike Nichols, 1966
Cinematography | Haskell Wexler

As she confusingly takes her place in this twisted domestic game, “Honey” reveals something that only seems like a memory in the faces and actions of the other three characters: she is human and she is breaking under the weight of her life and this demented game.

There is something almost inexplicably raw and powerful in Sandy Dennis’ fragmented and almost stuttering method of speaking. Her lines come out like twitches and spastic after thoughts. While the other actors deliver with venom, gusto, pain and grief — Sandy Dennis subverts Albee’s words to the introspection of human psychology.

While the other actors seem to be absorbing the characters into their very pores, Dennis seems to be doing the opposite. She is absorbing into the pores of her fictional character. A sort of distorted version of self into fiction. Or at least this is how it feels. Dennis took a supporting role and amped it into the heretofore unbreakable personas of two of the biggest movie stars of all time. A supporting performance is seldom this transformative.

Never mix. Never worry.
Sandy Dennis
Who’s Afraid of Virginia Woolf?
Mike Nichols, 1966
Cinematography | Haskell Wexler

No one would ever dare argue that there was any other choice to receive that Oscar but Sandy Dennis. No one had ever seen a woman do this. Marlon Brando had done it, but here Sandy Dennis is free of censorship. It would be a couple of more years before Marlon Brando would turn it all upside down in Last Tango in Paris.

With an Oscar under her arm, Sandy Dennis was primed for movie stardom. Or was she?

Warner Brothers recognized the talent and everyone was aware of the acclaim she had achieved on Broadway in Any Wednesday, but they simply could not imagine “Honey” managing to play the “kept girl” of that play. I mean, aside from Streisand’s turn in Funny Girl, this was the most talked about stage performance of the day. No. Jane Fonda would be cast in the film version. At the time more than a few actors were upset.

Warner Brothers’ consolation prize to Sandy Dennis for not casting her in the film of “Any Wednesday.”
Sandy Dennis and Anthony Newley in
Sweet November
Robert Ellis Miller, 1968

However Warners had a plan. They loved the play, Sweet November, but didn’t feel that Barbara Harris had “movie star potential” so the same film director, Robert Ellis Miller, who would direct Fonda in Dennis’ original role would also direct Denis in Harris’ role.

Both casting decisions were ill-advised.

Jane Fonda gave it her best, but she wasn’t yet able to achieve what the part required.
Any Wednesday
Robert Ellis Miller, 1966
Cinematography | Harold Lipstein

Jane Fonda had not yet fully gained access to her voice. And the director was in way over his head trying to “tame” Dennis’ style of acting to blend in with Anthony Newley’s “hammy” approach. Any Wednesday is only worth watching for the fashions. But despite all of the flaws, Sweet November, does offer a good deal of uneven entertainment. And while it all gets far too corny to believe, Sand Dennis does manage to retain some of the plays bittersweet charm. In the end the film almost works.

She would also secure the lead role in Robert Mulligan’s acclaimed 1967 film, Up The Down Staircase. Her performance is solid here as the teacher who wants to effect change for her students but doesn’t know how. This was a bit of ideal casting.

“When I finally get the chance, the first few precious minutes to talk to them about something I want them to understand, and I find that I am some kind of enemy. The butt of some enormous joke.”
Sandy Dennis
Up The Down Staircase
Robert Mulligan, 1967
Cinematography | Joseph F. Coffey

This success was met with controversial failure when Mark Rydell cast her opposite both Anne Heywood and Keir Dullea in a modern take on DH Lawrence’s The Fox. A soft focus haze of timid eroticism with Anne Heywood in full-on glam, Keir Dullea aiming for full-on handsome male lead — Sandy Dennis’ realistic spin as Heywood’s long time lesbian lover is far too-grounded to make sense as Heywood and Dullea seem to be dancing on air and Dennis walks about suspecting both.

“Maybe you need a man around the place.”
D.H. Lawrence comes to the screen…
The Fox
Sandy Dennis, Anne Heywood and Keir Dullea
Mark Rydell, 1967

It does not work. Only Dennis is credible here, but mismatched to both of the other more Hollywood-aligned actors.

It was shortly after the mistake of Sweet November that Sandy Dennis would once again receive a great film role. This time it was an Independent Canadian film by Robert Altman. Director and actor were equally interested in each other and Altman seemed to have an interesting short-hand with Dennis. His way of communicating worked perfectly in reigning in Sandy Dennis’ often eccentric take on her characters.

Neurosis morphs into sociopathic horror with Sandy Dennis as Miss. Frances Austen in
That Cold Day in the Park
Robert Altman, 1969

In the case of Altman’s That Cold Day in the Park, she didn’t need to bring any more eccentricity as the role of Miss. Frances Austen could easily be blown off the charts and into camp. This is not what Altman was after and it was certainly never be the intention of Sandy Dennis. However her’s was an often untethered sort of talent. Altman managed to assist her in containing it.

Sandy Dennis plays her character like only Sandy Dennis can, but with an elite and elegant level of restraint. She is a wealthy but lonely virgin spinster. She lives a seemingly mundane life among older people. It is never clearly articulated, but thanks to Dennis’ performance we receive several clues that something is wrong with “Miss. Frances Austen.” Actually, we are almost certain something is very much wrong.

Poor Miss. Frances Austen. She tries not to look, but she seems to live in a house of mirrors. And they are no longer reflecting “reality”
That Cold Day in the Park
Sandy Dennis / Michael Burns
Robert Altman, 1969
Cinematography | László Kovács

When she notices an apparently homeless, mute and handsome man sitting alone on a park bench in the park, Miss. Frances Austen breaks convention and insists the “helpless” boy come to her swank home to warm up and have some food. She sends her cook and butler away. Why does she even have a cook and a butler in such a small but nice condo? It is never clear.

This film was mis-judged by film critics at the time of its release. It is an appropriate bookend to Altman’s interest in the psycho-sexual thriller. A few laters, Altman would pursue this genre again in Images — a film which received more acclaim than I think it deserved. Here, in TCDITP Altman more precisely and effortlessly slips into a woman’s damaged psyche.

Much of the credit is deserved to Sandy Dennis. The film is short and fast-paced. Yet it is filled with fairly uncomfortable and realistic scenes between Dennis and Michael Burns as the handsome young man. As Miss. Frances Austen begins to open-up to the mute mostly nude young man who is unable to speak either with/to her — things start to take an oddly warped vibe. Clearly, Miss. Frances Austen (and her name bears repeating) is a virgin and dealing with a whole lot more than sexual repression.

“I’m not going to get under the covers or anything. I’ll just lay on top. I have to tell you something. If you feel that you want to make love to me, it’s all right. I want you to make love to me. Please.”
Sandy Dennis on the verge of something…
That Cold Day in the Park
Robert Altman, 1969
Cinematography | László Kovács

The “twist” does not come as a “surprise” or even a device in a very smart move by Robert Altman. We know what is coming. This handsome mute boy is “playing” Miss. Frances Austen. He is using her for his own twisted fun and grift. The actually unexpected “twist” comes shortly after the “expected” one.

Just because it says “Exit” doesn’t mean it is a way out.
Sandy Dennis
That Cold Day in the Park
Robert Atman, 1969
Cinematography | László Kovács

After this twist is delivered, the viewer is likely to chuckle and feel reasonably entertained by this strange little movie. The thing is — Robert Altman and Sandy Dennis had just pulled-off a great cinematic trick. The final turn of the movie isn’t going to leave your mind. What seems comical gradually takes on the sinister and disturbing. There are no jokes, camp or “bad” moments. Altman’s That Cold Day in the Park is near perfect and horrifying.

Sadly, this film was probably a little too “out there” at the time it was released. Appreciation for this film has really only taken hold in the last decade. Much credit should be given to Bruce LaBruce and his very Independent and very Queer-Core re-working of Altman’s film in his 1991 experimental and controversial cult film, No Skin Off My Ass. This movie helped bring Altman’s forgotten film back into discussion. A discussion and re-evaluation which finally led to Olive Films doing a 2K restoration for blu-ray release. That Cold Day in the Park continues to claim its rightful place in cinematic history.

“Oh My Goooood!”
Sandy Dennis & Jack Lemmon
The Out of Towners
Arthur Hiller, 1970

Oddly enough, Sandy Dennis would soon be cast in her most mainstream success opposite Jack Lemmon in Arthur Hiller’s 1970 adaptation of Neil Simon’s The Out of Towners. Filmed on location in a decaying 1969 NYC, Hiller’s film is as silly as it is insightful as a glimpse into what appears to be a truly dying city. Lemmon and Dennis play off of each other brilliantly. The film is blessed with some genuinely comic moments. Sandy Dennis’ “read” of “Oh my God” is hysterically funny. The film was a box office hit.

When they take you for an out-of-towner, they really take you.
Sandy Dennis & Jack Lemmon
The Out of Towners
Arthur Hiller, 1970

While the money made was probably a great thing, Sandy Dennis never seemed to be particularly comfortable with success. She quickly retreated to the theatre and teaching at The Actor’s Studio. She would continue to take roles in movies but these were more often more “off the grid” type of films. An exception was 1977’s smart satire from Michael Lindsay-Hogg’s Nasty Habits.

This clever film featured an incredible cast with Glenda Jackson (think Richard Nixon as a Mother Superior) in the lead. The supporting players as corrupt nuns (all the equal to someone involved in the Watergate Scandal) included Sandy Dennis (in a truly goofy turn as the nun equal to Nixon’s John Dean), Melina Mercouri, Geraldine Page, Anne Jackson, the great Anne Meara, Jerry Stiller, Eli Wallach and Rip Torn. Sadly the film failed to find an audience. There is hope that someone will resurrect this film soon. It is almost impossible to even find stills from this film.

A seemingly lost classic…
The Watergate Scandal for Nuns.
Geraldine Page, Sandy Dennis, Glenda Jackson and Melina Mercouri
Nasty Habits
Michael Lindsay-Hogg, 1977

When Robert Altman called again, Sandy Dennis agreed to come aboard for his return to the Broadway Stage. This would eventually be filmed into a strange but potent film, 1982’s Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean. The film failed to register at the time of it’s release, but it appreciation for this film has grown into a solid following.

Karen Black and Cher look through the mirror of time at Sandy Dennis’ “Mona”
Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean
Robert Altman, 1982
Cinematography | Pierre Mignot

After this it seems the roles she chose were largely based on requests from fellow-artists she respected (Alan Alda, Woody Allen, Larry Cohen, Bob Balaban and Sean Penn) or ones that provided a quick and easy paycheck (976-EVIL, the 80’s reboot of Alfred Hitchcock Presents and an odd appearance on The Love Boat)

Her supporting role as Millie Dew in Bob Balaban’s odd and very demented 1989 satire, Parents, is a stand-out. Sicker than sick, often disturbing but always darkly comic — Sandy Dennis is clearly having some fun and adds a great deal to an already impressive cast. Miss. Dew stands out. For more than a few reasons. If you’ve seen it, you will know to what I refer. This is a brilliant little movie that deserves to be revisited.

“This will be delicious!”
Randy Quaid and Mary Beth Hurt have very different plans for their son’s guidance counselor, Miss Millie Dew played to the hilt by Sandy Dennis.
Parents
Bob Balaban, 1989
Cinematography | Ernest Day / Robin Vidgeon

Her final performance was for Sean Penn and his directorial debut, The Indian Runner. Even though she was unable to complete the film, she made a memorable impression. It is a sigh of relief to know that she exited the stage with such a great role in a great film.

Sandy Dennis was a fairly private person. Perhaps more so, she simply did not enjoy the company of people. She had been in a decade long term relationship with Gerry Mulligan, an essential American Jazz artist. And she had a four year relationship with actor, Eric Roberts. While this was clearly far more than just a romance, Dennis opted to end it. There was no scandal, they remained friends. She was never bothered with rumors of her bi-sexuality. Eric Roberts had publicly discussed that she had shared her sexual experiences with other women to him and close friends. Even though she wrote her memoirs, there is much about her that is largely unknowable.

Aside from her work and esteemed professional reputation, the strongest testament of who Sandy Dennis was remains in the clearly beloved memories of her close friends, students and colleagues. Perhaps her two closest friends were Brenda Vaccaro and Jessica Walter. Equally respected and well-liked, it speaks volumes that these two women were her dearest friends.

She had been battling cancer for sometime. She passed away in her home surrounded by her life’s true joy: her cats. She was only 54 years old.

I really like something that fellow actor and a friend, Ian McKellen, wrote in 2004:

“Had she lived, by now she would have been a veteran actor of formidable powers or perhaps, eschewing work, she would simply be an animal-lover at home, smiling indulgently at the craziness of the world around her.”

Sandy Dennis with one of her beloved cats.
Sandy Dennis
1937 – 1992
RIP
Photograph | © Michael Tighe, 1991

A foundation was started in 2012 in her hometown of Hastings, Nebraska. There is a great deal of information to be found here about the legendary actress. The goal of the foundation has never been clear to me, but contact information can be found there should you want to pursue.

The Sandy Dennis Foundation

Matty Stanfield, 9.18.2015

The Last Tango in Warsaw or The Dark Side of God

By 1995 Communist Poland was long gone. The state no longer restricted the artist or oppressed it’s people. Capitalism was to be embraced. Along with this sudden shift in economy and freedom came many challenges. For the Film Artist, there seemed to be a freedom. A cinema without restriction.

In reality, the entire Polish infrastructure was unstable. The state no longer funded the arts. Film had to be funded privately. However, there was no real film studio or film producers wiling to fund much beyond silly comedies, biographies and other projects that criticized the former Communist regime. When Andrzej Zulawski returned to Poland to film Szamanka (She-Shaman), he had to secure funding from France and Switzerland in order to bring his vision to the screen.

Szamanka
Andrzej Zulawski, 1996
Art | Jean-Philippe Guigou

Those of you reading this most likely know who Andrzej Zulawski is, but despite his genius and success he remains a largely marginalized film artist. Best known and accepted in France, he obtained some degree of success there. In the US and the UK he is best known for leading Isabelle Adjani and Sam Neil into the dark, disturbing, twisted and innovative cult film, Possession. If that controversial and infamous 1981 film is his most personal work, where does that place Szamanka?

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

This might be one of his more philosophical films, but it is unquestionably his most sexually obsessed film. Looking at the movie from a strictly surface perspective (a mistake when it comes to the films of Andrzej Zulawski) this could be interpreted as a frantically impulsive sexual relationship between a wounded and angry Anthropologist and a clearly disturbed young woman. A sort of demented take on the battle of the sexes. However, this is far too simplistic a way to watch or understand this erotic film that hinges on apocalyptic horror.

Passion, love, madness or taming evil?
Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

If you’ve not heard of Szamanka or seen it, it is likely due to the fact that upon its release it faced an incredible amount of rage from the Polish Catholic Church. Censorship by the State of Poland may have ended, but a new form of repression had sprung up in the form of Post-Communist Catholic Poland. This tale derived from the ideas of Polish writer, Stanislaw Przybyszewski and his controversial coining of the phrase, Naked Soul and Zulawskis’s desire to wake up the Polish masses with his own sort of “Santanic Antidote” to his two contemporaries of Polish Cinema. While both Kieslowski Krzysztof and Zanussi Krzysztof were both brilliant filmmakers, from the ideology of Zulawski were playing into some spiritual idea to which he took exception.

Who is the Sadist? Who is the Masochist? Or, is this demonic possession?
Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Filled with contradictory ideas around Catholicism, good, evil, sexuality and love this film faced a whole new level of censorship that Zulawski had never faced. Communist Rule was tough, but the unbridled adherence of Religion truly knows no bounds. The film is so graphic sexually that it probably would have been banned anyway, but the controversial ideas of this philosophical, mystical and erotic journey remain blasphemous. The Polish community almost immediately began to call this film The Last Tango in Warsaw. Even though they had not seen it, this was and remains the oft-mentioned joke about Szamanka.

The film has been compared to Lars von Trier’s controversial, Antichrist, in that it depicts a male who suffers the wrath and sexual rage of his female wife. Antichrist plays with ideas around cultural misogyny and grief in equal measure. Like Lars von Trier, Zulawski has been accused of misogyny. The problem with this accusation is that it doesn’t hold up when one watches Szamanka with some knowledge of where it’s maker is coming from and where the film ultimately takes us. It is also important to note that the screenplay was written by Manuela Gretkowska, a young Feminist and acclaimed writer who played a key role in founding The Polish Women’s Party. Certainly Andrzej Zulawski pushes forward his own agenda, but he never veered far from Gretkowska’s script.

Rumors that this was real and not simulated sex has earned the film the nickname of “The Last Tango in Warsaw”
Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Boguslaw Linda was an established Polish movie star when he was cast as Michal, the unhappy and profoundly conflicted anthropologist who has just come into the job of investigating the rarest of anthropological finds. There are more than a few stories about the casting of the female lead. Zulawski was not known to work with “unknowns” or “untrained” actors, but something about Iwona Petry’s beauty and presence deeply fascinated Zulawski. She was just barely twenty years of age when he saw her ordering a cup of coffee. Described as a bit eccentric and a strict vegetarian, Zulawski convinced her that she was meant to be his star and to play the role of Wloszka / The Italian.

An unforgettable cinematic presence and debut which would be her final turn in front of film cameras.
Iwona Petry as Wloszka AKA “The Italian”
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

While Szamanka was a huge critical and commercial failure in Poland — largely because the Polish Catholic Church. Honestly, the film was never even given a chance to screen much at all due to protests and the ultimate banning of the film. However the film scored incredibly well in Italy and France. It was expected that Petry would be a major and perhaps first true Polish female movie star. She didn’t. In fact she has become a huge part of this movie’s infamy. During production the Polish media had a frenzy in reporting that Zulawski was manipulating, forcing and abusing the young woman. Rumors ranged from beatings to forced sex to psychological torture.

Looking back at the situation, it would seem that Zulawski’s dark sense of humor had some fun playing with what were clearly rumors. When the film finally screened to great acclaim at the 1996 Venice Film Festival, Zulawski answered the charges with his typical blunt intellect. There was no truth to any of it. Yet another ploy to set the film up by the oppressive Polish Catholic Church.

Religious symbology and Mysticism loom constantly around these two rage-filled lovers.
Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

However, Iwona Petry failed to show up for the premiere. She actually went missing for a short while. Apparently exhausted from the tough shoot and terrified by the media attention she took her money and ran off to India. In 1998 she gave a few interviews and admitted that the sudden brush with fame was far more than she had bargained. A roll of eyes to the rumors that continue in Poland to present day. She returned to university and is now a published fiction writer. She has no interest in returning to the world of acting.

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

This is a shame as her performance in the film is quite impressive. Iwona Petry had the presence of a movie star and she played the role of the She-Shamen with an almost insane level of erotic energy. One hardly has time to notice the well-trained middle-aged Boguslaw Linda. When Petry is on screen, it is she you watch. And, no. She is not nude the entire time. It is an interesting and terrifying performance. Once you see this odd film, you will never forget her.

Most importantly, you will never forget Szamanka.

The anthropological find of a lifetime: a nude mummified Shaman covered in mystical tattoos and a pouch of ancient hallucinogenic mushrooms
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Boguslaw Linda’s Michal is a frustrated scientist about to marry a woman for whom he feels no love or passion. During an unseen excavation with his students, a mummy is discovered. It is determined that this mummy is close to 2,000 years old. Michal’s interest in this mummy goes far beyond the academic or scientific when he discovers this is the body of a Shaman.

Touching, connecting and trying to merge with God
Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

The body is incredibly well preserved. Covered in mystical tattoos, they also find a pouch full of what turns out to be hallucinogenic mushrooms. While Michal and his team try desperately to understand the cause of the Shaman’s death, there is only one clue: the back of the Shaman’s skull is crushed. This does not signal the cause of death but an ancient pagan ritual in which after death, the Shaman’s skull is opened to release the potent spirit free.

Andrzej Jaroszewicz’s camera seems to be drawn to offering us views of the Shaman’s rather pronounced penis. And Michal is unable to hold back. He breaks protocol and touches the Shaman with his bare hands. Clearly there is a sense of connection for Michal, but the reason for this is not entirely clear to us or him. It is as if he wants to find a way to truly connect with this ancient dead being. This need verges toward the sexual.

What secrets and powers are hidden in the Shaman mummy?
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

The Anthropologist and his mummy are a a constant subplot of the film. The main interest is on the strange young woman who captures the lustful attentions of the scientist almost as strongly as the mystical-pull of the Shaman. A rude and socially inept, but beautiful woman. We first see Petry’s The Italian as she lunges and plunges her way along a buffet of food which she shovels into her mouth and down her throat as if her hunger can never be satisfied.

Erotic desire beyond reason…
Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

She is to rent an apartment owned by Michal. The modest flat was formerly occupied by his brother. The Italian wants the apartment. The deal is done, but signed with a frantic and brutal sort of sex that feels as angry as lust-driven. Like the mummy, Michal seems to want to somehow merge more into this beautiful girl than sexual penetration will allow. And like with her food, The Italian’s erotic desire seems to be unhinged and impossible to satisfy.

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Between the ever-mounting frenzied levels of brute force, kink, domination, submission, pain and pleasure, Michal attempts to communicate with this woman of his sexual dreams. She, however, seems more concerned with her consuming passion and seeks more to “commune” than communicate. She is obsessed with him and seems to ache to form a possession of his desires. Not articulate, but psychical in her nature.

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Michal is becoming more and more obsessed with her. He attempts to discuss philosophy with her but to not ready interest. He discusses religion with disdain. Here she seems a bit more interested, but it always comes down to sex. Our Anthropologist suspects his fever-pitched lover might be no more than a beautiful idiot. The Italian seems unable to offer him nothing more than hot sex. He wants more.

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

“You see, that’s why there are common saints, just God’s morons with a soul. No brains.”

This sort of comment seems to cause a pulse within the ever-sexually-rabid woman. And as hard as Michal seems to want to walk away from her, he simply can’t. She mystifies him. Occupies his thoughts. Drives him to rage-fueled sexual encounters. The sex becomes desperate. Yet for her, the sex is almost magical. A sort of erotic ritual.

Michal watches his sleeping lover. Or is she something less or more?
Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

He finds himself more miserable with her than he had been with his loveless marriage potential. The mummy no longer holds the power over him. This crude, intolerant, polymorphously perverse, tyrannical and hysterical woman seems to offer an inexplicable power over him.

This is not just unrestrained passion, this is something sinister.

Or is it possibly something that offers our Anthropologist a meaning to his existentially challenged existence. He no longer fits in. Poland offers opportunity, but it seems a false promise. His mummy holds no answers. But there seems to be something bleakly powerful in these cruel sexual encounters. The Italian becomes transformed. Already beautiful, during sex she seems to become transformed to the level of sexual goddess. But the orgasm appears to be more like gasoline tossed on some spiritual fire.

There is no pay off or hope in this sex.

Defile.
Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

And as this deeply odd but impossibly fascinating Art House film pulls us deep into this mire of confusion, identity crisis, sexual obsessions, perversions and religious conflict. It is also as the film enters it’s third and final act that Zulawski and Manuela Gretkowska push us into the dark theatrical thinking of Stanislaw Przybyszewski and his outright Satanic symbolism.

For Przybyszewski there is no such thing as “love,” it is nothing but a magical illusion. When Michal meets The Italian he his helpless. There can be no free will here. Michal cannot turn away from his She-Shamen even when he seems to realize this girl’s insanity is something of a mystical and most-likely demonic nature. He is rendered to the state of the somnambulistic when it comes to this darkly magik lover who seems to have access to fully influence him to the very core of his being. This “love” is truly apocalyptic. It does not seem to matter if the She-Shaman influences for good or evil. If her ritualistic sex is served for healing or wounding. For Michal has no choice in the matter.

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

And, here is the clear separation from the Nihilistic turn of Lars von Trier’s Antichrist. Unlike the husband in that film, Michal is not meeting a mere symbol of angry female energy oppressed by centuries of human cruelty, Michal has fallen prey to a demonic sort of force. He is nothing more than a sort of life-force for the She-Shaman. He is one of those common saints. He has been deceived. His nothing more than brains for the She-Shaman‘s food.

As Stanislaw Przybyszewski might have appraised it, for this man survival is not an option. He must submit to the illusion and power of love. In a strange way, this intellectual is taking part in a consensual murder. In this odd bit of socially conscious cinema, everything is fucked.

God, Faith, Spirituality, and Hope looks down…
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

Without love. Without hope. Szamanka must be satisfied.

Even to write about this true cinematic anomaly makes one feel a little loopy. By the time Andrzej Zulawski’s grim film comes to it’s conclusion the viewer is left spent and more than a little dazed.

The folks at Mondo Vision have done an outstanding job at restoring this deeply weird but exceptional film. Sadly, there are no plans to issue it to VOD or Blu-Ray format. It is only available from them on region free DVD. But they have loaded it with extras. If you’ve an interest in Eastern European cinema or the work of Andrzej Zulawski, you really can’t afford to miss it.

You can find it, and several of Zulawski’s titles here: http://www.mondo-vision.com/szamanka.php

Matty Stanfield, 9.15.2015

Iwona Petry & Boguslaw Linda
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

God, Faith, Spirituality, and Hope looks down…
Szamanka
Andrzej Zulawski, 1996
Cinematography | Andrzej Jaroszewicz

A Dystopian World Without Sound: The Tribe

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

The Tribe
Miroslav Slaboshpitsky, 2014
Cinematography | Valentyn Vasyanovych

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

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

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

The impact is almost without measure.

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

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

Welcome to the world of “The Tribe.”

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

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

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

The Tribe
Miroslav Slaboshpitsky, 2014
Cinematography | Valentyn Vasyanovych

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

The Tribe
Miroslav Slaboshpitsky, 2014
Cinematography | Valentyn Vasyanovych

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

The Tribe
Miroslav Slaboshpitsky, 2014
Cinematography | Valentyn Vasyanovych

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

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

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

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

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

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

Matty Stanfield, 9.13.15

My Favorite Films of 2015 Thus Far

As there are less than three months of the year left, I find myself thinking of the films that had the biggest impact on me. In other words, my favorite films of the year. My list is not finalized and could easily change as we move into January. There are more than a few films I’ve not yet seen that will be coming out within the next three months are so. This views are my own and should not be attached to any other person or entity but me.

Uh, oh. This might present more fright than you expect…
Mark Duplass
CREEP
Patrick Brice, 2015

There are a few things that come to my mind as I look over my list of favorite films:

I’ve never noted so many “horror” films to make my list.
The salary gap between female and male actors has never been so bad, but there have been a number of truly exceptional work by female actors. And contrary to the general tone of what I’ve been reading/hearing, there are a number of amazing performances by women.
The voice of women is most notably strong in my current list. This is wicked cool!
This will read as “crass” but I do not give a shit about Oscars, BAFTAs and the slew of other awards. These are political in nature and most usually always suspect in terms of artistic evaluation.
According to The Oscars, this is THE BEST Film Director of 2012. I content this as one of many reasons to disregard The Oscars.
In my view, there is no such thing as a “best” when it comes to collaborative art. Actually, art in general is subjective. What resonates for me might not register for the person next to me. It is rare that I see one movie or one performance that I feel deserves title of “best.” And usually, when I grow to feel that someone did present “the best” it is a number of years after the fact.
These are just my personal favorite films thus far. No reason to get upset with me.
You might not agree, but if you are like me — when I read the list of another individual’s favorites it often gives me pause to revisit my opinions regarding certain films. It also sends me out to view films I might have somehow missed.
George Miller’s Mad Max: Fury Road is not among my favorite films. Stop! Don’t be flaming me! I didn’t say I hated
Cinematic Masterpiece, Relentless Visual & Audio Assault, Creative but not among my favorite films of the year.
Mad Max: Fury Road
George Miller, 2015

it! Leave me alone. Granted it was an impressive visual and audio assault, but I didn’t see it go anywhere particularly “new.” For me this exorcise in unrelenting violence was of merit, but I didn’t think it particularly “great.” Far from being “bad” but equally far from being “great.” The movie was essentially a smartly executed 90’s metal demolition derby race from one point to another. …Twice. I honestly expected more. Just my opinion.
F. Gary Gray’s Straight Outta Compton had more of an impact for me, but had too many flaws for me to consider it a “great” movie. I thought it was good. But I really wanted to love this movie. I thought it was interesting in the way it opted to depict the women in the N.W.A. history without comment. Also interesting to me was what often felt like a celebration of, in my 1990’s ingrained brain, sees as a sort of corporate appropriation or selling out. In many ways this film is as much about business than Hip-Hop culture or art form. And an interesting culture and art form in which women are relegated to important roles as “holes” of one sort or another rather than fully fleshed out female characters. I am not sure “interesting” is a good thing, but I’m certain it is not altogether “bad.” Straight Outta Compton has as much to not say as it does. This is an entertaining, important and good film.But it did not make my list.
The Safdie Brothers film, Heaven Knows What, refuses to leave my mind.
There can be no denial of this film’s import and power. However, this film verges toward a an uncomfortable line…
Heaven Knows What
Benny Safdie & Josh Safdie, 2015

This effective and disturbingly passive view of young homeless junkies kicked me in the gut. I’m still unsure how I feel about this dark film. It is an ethical issue for me. But I’d be a hypocrite if I didn’t include it on my my list. Arielle Holmes’s story and The Safdie Bros. filming of it is unforgettable to me. But I squirm as I list it. The intention of this film is worrying to me, but the artistic value and what it ultimately presents are far too powerful for me to dismiss. Also, I’m very tender-hearted when it comes to issues relating to mental illness and drug addiction. My feeling about this film may say more about me than the art of the film.
I have seen legal and invited screenings of rough cuts for Rick Alverson’s Entertaiment, Danny Boyle’s Steve Jobs, Justin Kurzel’s Macbeth and Todd Haynes’ Carol. As far as I know only Carol has not been re-edited. Boyle’s film has apparently been completely re-cut and faces more tweaking as it’s official release edges forward. No amount of editing will be able to steal the power that Fassbender brings to the film. He is reason enough to see this film. Trust me.
Tiny rainbow circulates as more editing goes on…
Michael Fassbender IS
Steve Jobs
Danny Boyle, 2015

Maybe the new edit will ease some of the worrying issues with Kate Winslet’s accent — or perhaps explain it if it was intentional. It is my understanding that Macbeth has been shortened (and hopefully some of the far too mumbled/quiet dialogue has been somehow enhanced.) There was a constant struggle to understand what Fassbender and Cotillard were saying.

Wait. What did Lady Macbeth just say? What accent is that? What did Macbeth say? Speak up! But it and they look pretty!
Marion Cotillard
Macbeth
Justin Kurzel, 2015
Cinematography | Adam Arkapaw

I LOVED Alverson’s film, Entertainment, but as it is still in “post-production” I’m not sure it will be the same version that I saw. As for Carol, I thought it was a great art piece. Cate Blanchett was almost flawless in her performance, but the whole of the film felt like a Sirkian-drenched non-ironic soap opera. The movie is beautifully shot but trapped within a box of it’s own design. It feels pretty but false. It was a sort of lifeless film to me. I’ve a feeling I’m going to be alone in my opinion. I do plan on seeing it again when it is officially released.

So Here Are My Favorite Films of 2015 Thus Far In No Particular Order:

The Wolf Pack | Crystal Moselle’s documentary is as much an ode to human survival as it is to the magical power of movies.
Learning and understanding the world from movies…
The Wolfpack
Crystal Moselle, 2015
Love & Mercy | Bill Pohlad’s bio film about Brian Wilson is as realistic as it is surreal in the exploration of a deeply troubled but incredible visionary mind. Deconstructed scene-by-scene, Pohlad’s film is an amazing study of Art and Artist.
A masterful and surprising film that seemed to come from nowhere completely by surprise. Pure Cinematic Magic.
Bill Pohlad, 2015
Turbo Kid | I didn’t expect to even like this movie, but I feel head over heels in love with it quicker than the opening credits could finish. Filled with early 80’s synth music and a gleeful gore-filled energy. This is a smart film.
Welcome back to artistic movie posters. Grab your BMX and be a hero!
TURBO KID
François Simard, Anouk & Yoann-Karl Whissell, 2015

Anouk Yoann-Karl Whissell and François Simard have created a mini-masterpiece of retro Sci-Fi BMX magic.
Queen of Earth | Alex Ross Perry’s experimental and often surrealistic study of an emotional break has stirred up so many heartfelt opinions it’s hardly worth debating it’s impact.
You are the reason there is no escape from indecency and gossip. And, lies.”
Queen of Earth
Alex Ross Perry, 2015

Any work that causes so many conflicted, passionate and opposing reactions is obviously touching a nerve. I love absolutely every aspect of this movie.
Kumiko, the Treasure Hunter | David & Nathan Zellners’ latest film is their best and interestingly most experimental.
“Solitude? It’s just fancy loneliness.”
Rinko Kikuchi
Kumiko The Treasure Hunter
The Zellner Bros, 2015

Taking the concept of “meta film” to a whole new level. This is a fascinating, unique, original film that plays with truth and horror in much the same way that The Coen Bros. did in 1996 with the film that inspired the events that inspired the movie that inspires. Amazing film from all perspective.
It Follows | David Robert Mitchell’s slick horror film plays out like a horrible nightmare.
“You don’t believe me do you?”
IT FOLLOWS
David Robert Mitchell, 2015

The movie flows the audience into a dark, scary and often opposingly beautiful dream. As disturbing as the film is, I always hate to see it end. Like Ana Lily Amirpour’s horror film, Mitchell’s elevates beyond the horror genre in which it resides. It is all the more amazing when you realize how low the budget for this film was. Also worth noting is the way in which David Robert Mitchell plays around with eras. It is impossible to know when this dark tale is taking place — and this is intentional. Since this film’s release, there has been a critical backlash that I find problematic. This is an extraordinary bit of filmmaking. Ana Lily Amirpour’s A Girl Walks Home Alone At Night almost made my list. I quite liked it.
Creep | Patrick Brice’s film took me by complete surprise — in a very good way.
“I got a little surprise for you in there. See ya soon, Buddy!”
Creep
Patrick Brice, 2015

The movie is truly horrifying. You might find yourself laughing, but later as you rethink what Brice and Mark Duplass co-wrote, the strange realism that exists here is unsettling.
FELT | Jason Banker’s film is clearly based on the artwork and traumatic experience of Bay Area artist, Amy Everson. This sleek, twisted and disturbing examination of rape culture from the perspective of a recovering female victim is a polarizing movie. Some hate it, some love it, some consider it flawed beyond redemption and others are simply confused by what Banker presents. I loved it.
“My life is a fucking nightmare.”
FELT
Jason Banker, 2015

True, Amy Everson is not a professional actor and there are limitations as a result. However, she comes through when it matters. And this is a topic that should matter to all of us. It is certainly a risky proposition to make a “horror” film out of a tragedy that so many women face. This movie is nothing if not bold. In my view, the film “discusses” Rape Culture in an acutely articulate manner. The film manages to creatively remind us that we are all playing into this culture whether we realize it or not. The main character of FELT is clearly wrong, but much of what she attempts to communicate is valid. Kentucker Audley is highly effective here as a sort of wolf in sheep’s clothing. I stand by this movie.
Ex-Machina | Alex Garland is not re-inventing any wheels, but he polishes them brilliantly. This is a creative, innovative and brilliantly executed Sci-Fi horror film featuring two great turns by Oscar Isaac and Domhnall Gleeson.
Reality | Quentin Dupieux’s latest film remains tied to Surrealism and Absurdism.
The ever-growing farce of culture…
Reality
Quentin Dupieux, 2015

Here he is exploring the barren wasteland that is quickly taking the place of culture.
The Falling | Carol Morley’s British film is less horror than a sort of lush cinematic poetry fully supported by Maisie Williams who gives an amazing performance. This is Peter Weir territory made with a stronger Feminist viewpoint. A filmmaker to watch. This film seems to have slipped beneath the radar for many. It is more than worth a look.
6 Years | Hannah Fidell’s masterful film has been tragically missed by a majority of film critics and audiences. I suspect this has something to do with the promotion of the film. This is tragic because the promotion was actually rather brilliant in a unique way.
“Look me in the eye and tell me.”
6 Years
Hannah Fidell, 2015

Fidell drenches her film in a sort of idealistic dewy haze intended to capture that amazing powerful feeling of true first love. I suspect that many expected this film to actually be a lush and romantic “chick flick.” This movie is as far from that universe as a film can get. The question Fidell’s film poses is not “Will they be able to make it work?” The question here is “Should they even try to make it work?” As in “real life” – the answer is not simplistic or easy to face. 6 Years explores a relationship from a perspective that few filmmakers have been willing to take. This film isn’t aiming to provoke. It aims to be honest. Taissa Farmiga and Ben Rosenfield both provide brutally realistic performances. The all too serious topic of domestic abuse has never been captured in this way. It is potent and heart breaking. 6 Years is a Must See film. Do not miss it.

*** SABBATICAL | Brandon Colvin’s masterful film is actually from 2013, but it has yet to secure a distribution deal. It is however available for rental/purchase here:

http://sabbatical-mossgarden.com

Robert Longstreet and Rhoda Griffis stand out among several potent performances.

A challenging film virtually flawless in execution remains without a distributor.
Sabbatical
Brandon Colvin, 2013
Poster Design | Jenni Dickens

Aaron Granat’s cinematography and Tony Oswald’s editing like all of the actors involved merge perfectly into Colvin’s Formalist approach which reminds of Robert Bresson, remains firmly unique unto itself. Brilliant and rewarding. I continue to “pimp” this film out to everyone I know in the World of Film Art. I have no choice but to mention it again here.

As for the performances that most resonated for me:

Paul Dano as Young Brian Wilson is incredible.

Paul Dano is the Young Brian Wilson
Love & Mercy
Bill Pohlad, 2015
Cinematography | Robert D. Yeoman

Michael Fassbender’s doesn’t so much play Steve Jobs as he literally seems to become him. Jason Segel almost does the same in his performance as David Foster Wallace in End of the Tour. Ben Rosenberg is brilliant as the torn young man who must make a tough choice in 6 Years.

Everything else aside, the line between “acting” and “reality” feels blurred by the strength of Michael Fassbender.
Steve Jobs
Danny Boyle, 2015
Cinematography | Alwin H. Küchler

James Hebert probably made the most startling film performance in Two Step.

Nothing can quite prepare you for where James Hebert takes his role…
Two-Step
Alex R. Johnson, 2015

And, I’m sorry, but Mark Duplass scared the shit out of me in Creep. In addition, Josh Lucas blew me away in John Magary’s odd experimental character study of two brothers. If you’ve not seen The Mend, you should add it to your list to see.

Josh Lucas, e-cigs, hair balls and rage.
The Mend
John Magary, 2015

Lily Tomlin was so good in Grandma, I didn’t want the movie to end. Chiara D’Anna and Sidse Babett Knudsen deliver clever and complex performances in Peter Stickland’s The Duke of Burgundy that are as intelligent as the are erotic and disturbing.

Searing into your brain.
Sheila Vand as your vampire next door.
A Girl Walks Home Alone at Night
Ana Lily Amirpour, 2015
Cinematography | Lyle Vincent

Sheila Vand is absolutely unforgettable as that girl walking home alone at night. Maika Monroe blew me away as “Jay” in It Follows. She goes well beyond the expectation of the genre. Maisie Williams was equally powerful in her turn in The Falling. Taissa Farmiga proved to be more than up to the challenge of portraying the darker side of insecurity in Hannah Fidell’s 6 Years.

Taissa Farmiga loves Ben Rosenfield into a tight corner.
6 Years
Hannah Fidell, 2015
Cinematography | Andrew Droz Palermo

Cobie Smulders’ work grabbed me twice this year: Andrew Bujalski’s charming Results and Kris Swanberg’s quietly potent, Unexpected. Rinko Kikuchi’s work in The Zellner Brothers’ Kumiko The Treasure Hunter is miraculous performance. Greta Gerwig delivered her charismatic best in Mistress America.

Lily Tomlin owns the show and the road.
Grandma
Paul Weitz, 2015

And, of course, there is Cate Blanchett. She is great as Carol, but Todd Haynes really poses some unexpected challenges for his leading ladies — this is acting in a sort of vacuum. While there are still several key films I’ve yet to see, this is one of those years when one actress stands out in my mind as “the best” — I would be shocked if any artist male or female delivers a more strange, perverse, disturbing and unforgettable turn than Elisabeth Moss in Queen of Earth.

Elisabeth Moss
Queen of Earth
Alex Ross Perry | 2015
Cinematography | Sean Price Williams

Even if one dislikes the film, it would be difficult to dismiss this performance.And Katherine Waterston’s performances in both Queen Of Earth and Steve Jobs are quite worthy. Curiously, I’m still confused about Marion Cotillard’s performance in the rough cut I’ve seen of Macbeth. But as that film has been re-edited I need to wait to actually form a solid opinion. Any way I look at it, 2015 belonged to female actors. This has not been so true in a while.

Well, this is my list for now. To be honest, I’m not all that excited about the final months of 2015 film releases.

The Lobster
Yorgos Lanthimos | 2015

There are a few films I’m quite eager to see: Ben Wheatley’s High Rise offers a great deal of interest for me. Can’t wait. Yorgos Lanthimos’ The Lobster is also a movie of interest, even if it looks a bit too obvious and comedic than what I had anticipated. And Sarah Gavron’s Suffragette might offer more than I’m expecting. She has gathered a mighty force of acting talent! It is one I want to see.

Joseph Gordon-Levitt as Philippe Petit
The Walk
Robert Zemeckis, 2015
Cinematography | Dariusz Wolski

I’m also curious to see Joseph Gordon-Levitt, a very under-rated actor, in both Snowden and The Walk. However, I’ve a great deal of worry regarding the quality of these two films. The mix of Oliver Stone with the topic and issues related to Edward Snowden looks good on paper, but cocaine and paranoia seem to have eroded Stone’s work since 1994. And I don’t think I’ve enjoyed a Robert Zemeckis film since 1992. …And, even then, Death Becomes Her was not altogether good. I’ve also been waiting all year to see Alison Bagnall’s Funny Bunny.

Funny Bunny
Alison Bagnall, 2015
Cinematography | Ashley Connor

Of all these films, this is the one I’m most excited to see.

Of course I am writing about Film Art. It is often unpredictable and surprising. As it turns out, Jean-Luc Godard was not correct. Cinema is not dead. Of course we knew that as his brilliantly perverse and wrong film, Weekend, was not at all a signal of death. It was actually an alarming reminder of the power of cinema.

the death of cinema?
The Weekend
Jean-Luc Godard | 1967

Matty Stanfield, 9.8.15

Wake Up Screaming: Cinematic Imprint or the Genius of Wes Craven

On Monday, August, 31st The New York Times shocked me. It was there that I read Wes Craven’s obituary. Another of the most culturally important American filmmakers was gone.

“Wes Craven, a master of horror cinema and a proponent of the slasher genre who was best known for creating the Nightmare on Elm Street and Scream franchises, died on Sunday at his home in Los Angeles. He was 76.”

It is always sad when someone dies. Family and friends lost someone far more significant than an iconic filmmaker. Mr. Craven was a father, husband and friend. For the rest of us who did not know him, the loss is far less, but all the same impactful sad blow.

A key member of the innovative and creative Film Masters of his generation who managed to lift their cinematic work higher than the genre or audiences anticipated. Wes Craven’s early films appeared to be in line with typical Grind House or Drive-In horror movies of the time, but they offered something far more artistic.

Robert Englund is ready for his close-up
A Nightmare on Elm Street
Wes Craven, 1984
Cinematography| Jacques Haitkin

The goal was to scare us with a degree of cinematic intelligence that was unheard of for low-budget horror at that time. Brian De Palma, David Cronenberg, John Carpenter, George Romero, Argento and Tobe Hooper were also among this group. They made movies to attract this audience base, but with artistic intention that lifted them and the genre of horror to a whole new level.

After reading the shocking news in The Times, I found myself thinking of how Craven’s films had impacted my life and my psyche. And those of my childhood friends and our culture. Despite the fact that art takes up most of our spare time and conversations, all too often we forget just how much art has seeped into our beings.

Walking through a department store a Muzak version of an old pop song plays above us as we navigate toward a register. Even the poor “revisit” of a great song can momentarily transport us back in time. We scroll through movies available via VOD and spot an old film that resonates on multiple levels. These are two minor examples, but so much art is tied to our past, our experiences (individual and shared) and often serve as some cathartic or even healing emotional source. Sometimes there is light to be found in the dark.

The first time I was aware of Wes Craven’s name was in relation to his iconic A Nightmare on Elm Street. Back in 1984 on a crisp November Friday afternoon it opened in my hometown. some friends and I decided to ditch the second half of the school day to make our way to a cinema long since gone. We were off to see a historic movie.

Can you remember when movie posters were still works of art?
A Nightmare on Elm Street
Wes Craven, 1984

This cinema was one of two that was strict on “carding” to follow the “R-rating rule” and not all of us were yet 17. We took a few hits of weed to work up our “courage” and act like we owned the bodies of 18 year olds. It worked. The lady sold each of us a ticket.

We had seen ads for A Nightmare on Elm Street on TV, but none of us really knew what to expect or what we were about to see. This is an aspect of The Film Experience that has long since faded away. It is almost impossible to attend a screening of any movie in the 21st Century without knowing every single aspect of the casting, the production, the plot and an often anticipated idea of how the movie is “supposed” to make us feel. Even before the movie starts we are usually forced to sit through “making of” commercials for new TV shows or upcoming movies.

For those of you too young to know what it was like before social media and 24/7 marketing, going to a movie was often a serious proposition. While all of us worked part time, a $4.75 matinae was a gamble. Of course if the movie sucked, we could always spend an hour or two playing on video games in the lobby. PacMan, Space Invaders, Centipede and pinball were always a fun compensation. (you just needed to have a friend with drilled-string coin and you were golden)

As A Nightmare on Elm Street started it was clear we were in for something different.

Um, your slasher horror movie just took a very strange new turn…
A Nightmare on Elm Street
Wes Craven, 1984
Cinematography| Jacques Haitkin

This was a slasher movie, but it was deeply demented and Surreal in the way it pulled it’s characters to their ends or limits. It also had a very sinister subplot for the monster, Freddy Kruger. This was some sort of paranormal being who had been a serial pedophile rapist and murderer. Despite all of this, the movie was still fun. We jumped, we laughed and teased each other as we left the cinema to head to our respective jobs or homes praying that we would not be caught for skipping school. But that night I could not sleep. For whatever reason, I was haunted by the way Freddy killed “Glen.” The dude had been lying on his bed with his headphones on. I had a whole lot of trouble falling to sleep that night and for several nights to

Glen just wants to chill on his bed with some music. Freddy has other plans…
Johnny Depp
A Nightmare on Elm Street
Wes Craven, 1984
Cinematography| Jacques Haitkin

come. I didn’t know “Glen” was Johnny Depp. That hadn’t clicked on my register yet. This was largely a cast of unknowns which created a somehow more shocking vibe. Back then I had a habit of lying on my bed with my clunky “Radio Shack Realistic” cushioned head phones and listening to music. This was how I feel asleep. At this time that music was usually Pink Floyd, The Who or Led Zeppelin. But all I could think of were those blade fingers grabbing me down into Hell with my blood and guts spewing out all over my room. I believe I changed to Fleetwood Mac for the next week or so. It is funny to think back to that feeling, but it was real to me. My friends had similar reactions. Two others admitted to sleeping with the lights on.

This was the interesting power of A Nightmare on Elm Street. In 1984 it was a completely new approach to horror. It was a horror that came in dreams in a very disturbing way. The cinematic trope of Surrealism was not fully formed in out minds. We were not yet sophisticated enough to notice the admittedly low-fi effects. At that time, they seemed pretty real. It is also important to note that we all laughed throughout the movie. It was funny. But it was also horrifying and intense.

Poor Nancy. She better wake her ass up! The experience of relaxing in the tub was about to change for a while…
Heather Langenkamp
A Nightmare on Elm Street
Wes Craven, 1984
Cinematography| Jacques Haitkin

It worked its way under our collective skin. It was like riding a really dark roller coaster. It was cinematic magic.

In the coming year or so, Freddy Krueger would somehow become a rather disturbing “anti-hero” — the sequels were not of interest to me or most friends. They were more like dark comedies than horror movies. And gradually, A Nightmare on Elm Street would become a sort of twisted comedy.

Watching it now it still amuses me. But I now can see the imperfections of low-fi special effects. “Glen” is now Johnny Depp pre-stardom. Ideas of his later career cloud my ability to access the movie in the same way. The idea of Freddy Krueger has become tainted for me. Children dress up as Krueger on Halloween. This pedophile sadist character has become a sort of family-friendly cartoon that I find more than a little worrying.

But long after the blu-ray has been ejected, replaced in it’s blue jewel box and I’m drifting off to sleep, a creepy thought crosses my mind: “Oh, fuck. I hope I don’t dream of blade fingers pulling me into my mattress!”

Painting the bedroom “Glen”
A Nightmare on Elm Street
Wes Craven, 1984
Cinematography| Jacques Haitkin

That teenage thought still comes up.

Mostly, however, the movie brings me back to a time long gone. This odd, gritty and iconic movie is forever seared into my brain. Like a great rock song, it brings me back to a time in my life when drugs were not a problem, sex was still an idea, all my friends were still alive, my heart had not yet been broken, divorce had not altered my views on life and one could see a movie at the cinema for under $5.

There were of course a great many other horror movies we saw and enjoyed. But Children of the Corn, Splatter University, Fright Night, Pieces, Christine and Sleepaway Camp were all easily forgotten. Nancy her creepy mom (Ronnie Blakley of Nashville fame) and their tormentor has never left my mind. As Freddy snatches up Nancy‘s mom it is both comical and oddly disturbing. Craven was smart enough to tie it into dream logic.

Robert Englund teases before he strikes…
A Nightmare on Elm Street
Wes Craven, 1984
Cinematography| Jacques Haitkin

Craven, De Palma, Carpenter, Romero, Hooper, Argento and Cronenberg created films that will forever hold a place in our collective psyche and memory. Wes Craven was particularly solid with casting and creating situations that tied into the culture of the day. This is not to say that the others didn’t. All of these filmmakers created and create work impossible to forget. But Wes Craven had a unique ability to approach horror with a skewed sense of humor without sacrificing the scare element.

It would be not too long after A Nightmare on Elm Street that I would see Craven’s directorial debut, The Last House on the Left via VHS. The slightly out-of-focus and cropped VHS appearance added a strange sort of disturbing element. Another thing of the past. Though, to be honest, it is nice to not wonder what was lost in those non-anamorphic versions.

“To avoid fainting…”
The Last House on the Left
Wes Craven, 1972
Cinematography | Victor Hurwitz

I first saw it at a friend’s house while his parents were out of town. There were about five of us. Once again, we really didn’t know what to expect other than this film was from the same director as A Nightmare on Elm Street.

We had no idea how dark and grim this mean little movie would be, but we soon found out.

Set 1972 upstate New York, this movie presents two pretty high school girls off to the city to see a rock concert. Their paths cross with four sociopaths who lure, brutally rape, torture and kill both. The special effects are low-fi, but this film was truly shocking to our eyes at the time. We were all kind of stunned at what we were seeing. None of us said anything. We simply watched in silence as the brutality took place. When the film’s main protagonist manages to say a prayer and slip into a lake, the leader of this gang shoots her dead.

It is not “scary.” It is horrible.

This is not a horror film, this is a film about horror…
The Last House on the Left
Wes Craven, 1972
Cinematography | Victor Hurwitz

Craven didn’t stop there. The atrocities committed by these vile people are about to be met with an untethered parental vengeance that knows no bounds. Their vengeance is not cathartic. It is actually as bleak as what has been done to their daughter and her friend.

The film ended. The FBI warning on the VHS tape came up.

I’m not sure any of us actually discussed the film beyond the basic “Holy shit!” “What the fuck?” kind of reactions we would normally shared.

The truth is we were not scared, we were horrified. None of us knew how to even articulate what we had just seen. One friend commented, “Man. That was some hardcore shit.”

This must have been in 1985. I had not yet become the full-throttle film snob I am today. But I knew a good deal about movies even then. It was clear to me that this low-budget Grind House movie was a very warped retread of Ingmar Bergman’s tragically beautiful, The Virgin Spring. And it was also clear to me that this film had an agenda.

The Last House on the Left
Wes Craven, 1972
Cinematography | Victor Hurwitz

Comparing Craven’s film to The Virgin Spring is a futile effort. There was nothing “beautiful” about The Last House on the Left. Most importantly, there was no hope. I can remember wanting to point this out, but opting not to do so. This was Beaumont, Texas. Having knowledge of foreign film was not exactly cool in this circle of stoners.

Not too long ago I saw Craven’s The Last House on the Left again. This must have been shortly before the lame “remake” was released. Unlike A Nightmare on Elm Street, The Last House on the Left still carries the same gut-punch as it did when I saw it in 1985. It is a bleak and disturbing vision. Wes Craven pushes the envelope just far enough without the film turning into a perverse celebration of human cruelty. It remains a brutal depiction of just how horrible human nature can be.

This angry little movie is neither cautionary or drenched in cultural commentary. It is what it is: a study in human cruelty.

As in life, this film presents a story in which the human capacity for inhumanity knows no bounds. It may not be a fun viewing, but it is a very powerful one. The Last House on the Left is a deeply disturbing and important film of note.

Craven never stopped making great movies. 1988’s The Serpent and the Rainbow still stands it’s surreal and creepy ground.

“There is no escape from the grave.”
The Serpent and the Rainbow
Wes Craven, 1988
Cinematography | John Lindley

Around the time of David Lynch’s iconic TV series, Twin Peaks, Craven would make borrow two of Lynch’s more memorable supporting cast members for The People Under the Stairs. A darkly funny horror film which is really a comment on racism.

His Scream franchise would reach a whole new generation of viewers.

Drew Barrymore is given yet another iconic screen moment…
Scream
Wes Craven, 1996
Cinematography | Mark Irwin

Mixing comedy with horror like only he could. Drew Barrymore’s small role is every bit as unsettling now as it was then. I think it is worth mentioning that Craven even ventured into the more “respectable” when he directed the successful Music of the Heart staring Meryl Streep for which she and the film’s music received Academy Award nominations. I didn’t care for this film, but it speaks a great deal to Craven’s skills that he could so seamlessly move into an entirely different genre with such success.

Wes Craven is gone, but his work will continue to live, inspire, be copied, remade and scare the hell out of someone at any given time.

Freddy snatches up Nancy’s Mom.
Ronee Blakley
A Nightmare on Elm Street
Wes Craven, 1984
Cinematography| Jacques Haitkin

Wes Crave

1939 – 2015, RIP

matty stanfield, 9.4.2015