All posts by El Rob Hubbard

CAPSULE: RUPTURE (2016)

DIRECTED BY:

FEATURING: , Michael Chiklis, Kerry Bishe, Lesley Manville, Andrew Moodie, Ari Millen, Jean Yoon, Jonathan Potts,

PLOT: Young mother Renee Morgan (Rapace) is abducted by a strange group and endures tests and tortures designed to elicit some response they refer to as a “rupture”- but what exactly is that?

Still from Rupture (2016)

WHY IT WON’T MAKE THE LIST: It’s not that weird, though there are some aspects here and there. But it’s certainly odd—those expecting a straightforward piece of “capture/torture porn” will not be pleased. There’s a lot to be intrigued by, if you can run with a variation on the genre.

COMMENTS: Looking at most of the reviews, and the current mainstream arbiter of good and bad films, Rotten Tomatoes, Rupture doesn’t fare well. Fair enough. For this type of thriller, it doesn’t truly deliver in terms of shocks, it’s not nearly as gory as most of its brethren, and most of the events are standard tropes in its genre niche. That said, I think that most of those negative reviewers overlook the interesting aspects of this film, which tips its hand fairly early that it’s not going to be the usual capture/torture story.

For one thing, there’s a subtle humor running throughout the film in the lighting and art direction. There’s Suspiria-style lighting throughout the facility, and one room referencing Kubrick’s The Shining. In the performances, Renee’s captors/tormentors are surprisingly polite and deferential, if extremely focused. There’s also the lack of over-the-top graphicness and the growing realization that despite the fearful goings on, very little of the film orients towards horror. It’s not quite a subversion of the torture/capture scenario, but it’s certainly a side path.

Rupture is a much less graphic Martyrs, with a touch of Invasion of the Body Snatchers as things play out. You can call it a social satire, if you consider current events as having some influence in interpreting and enjoying the arts. Those factors, plus an ending which leaves things open to continue the story, makes it understandable why audiences expecting a taut thriller would be slightly disappointed.

Rupture can currently be viewed on the Cinemax networks and on DVD.

WHAT THE CRITICS SAY:

“…Rupture is worth persevering with as it turns into a tense, claustrophobic and strange experience.”–Katherine McLaughlin, SciFiNow (contemporaneous)

CAPSULE: TWIN PEAKS: THE RETURN (2017)

DIRECTED BY:

FEATURING: , , , Miguel Ferrer, Chrysta Bell, James Belushi, Robert Knepper, , , , , , Al Strobel, Carel Struycken, , David Lynch

PLOT: Picking up twenty-five years after the events of “Twin Peaks” and Fire Walk with Me, life has continued for most of the small town’s residents; but things are afoot which once again will involve the FBI and Agent Cooper and a mystery involving “the strange forces of existence.”

WHY IT WON’T MAKE THE LIST: As noted in the earlier capsule on Twin Peaks, “it’s a TV series“. However, I’d like to put forth the case that the entire Twin Peaks universe—the original 90’s series, the feature Fire Walk With Me, and “The Return”—should be treated as one whole project instead of as separate entities and as such, should be considered as a contender for the List.

COMMENTS: In uncertain times, audiences and institutions like to choose the familiar, which may account for the numerous remakes and “reboots” of successful material from the past (witness the return of “X-Files” and “Will & Grace,” to name just a couple). Most of these are obvious cash grabs, empty and unrepentant. When it was announced in late 2014 that David Lynch and Mark Frost would be bringing “Twin Peaks” back to television, however, speculation was wild and expectation high on what that result would be, especially as it went from a proposed nine episodes to an eighteen-hour “feature film” and Showtime gave Lynch and Frost complete creative control.

It’s evident now that “Twin Peaks: The Return” (Showtime’s marketing title; Lynch and Frost have made it clear that they consider this “Season 3”) was in every way the Major Event that fans and critics had hoped it would be—but it was in no way what anyone expected. As the head of Showtime, David Nevins, told the press in early 2017, it was the “pure heroin version of David Lynch.” We had no idea.

Unfettered by the constraints of network television, instead of bringing fuzzy warm nostalgic memories of the original 90’s show to the forefront, Lynch and Frost opted for a true continuation, and also made it very contemporary to the current times (there is a small amount of nostalgia indulged in as things converge at the end, but it’s very brief). Going even further than he did with Fire Walk With Me, “The Return” is a culmination of tropes Lynch has employed throughout his career, but with an emphasis on his aesthetic post-Lost Highway/Mulholland Drive. Those who were expecting a straight return to the world of “damn good coffee” and doughnuts were thrown immediately, and it drove almost everyone watching from May to September crazy in attempts to “figure out” where the show was heading.

It’s twenty-five years later and characters have aged, and changed. Continue reading CAPSULE: TWIN PEAKS: THE RETURN (2017)

275. THUNDERCRACK! (1975)

“God gave him a calling in life, and that was to make pornography.”–George Kuchar on Curt McDowell

DIRECTED BY: Curt McDowell

FEATURING: Marion Eaton, Melinda McDowell, Moira Benson, Mookie Blodgett, Ken Scudder, Rick Johnson, Maggie Pyle,

PLOT: On a dark and stormy night in the Nebraska hinterlands, several individuals on the road end up taking shelter at “Prairie Blossom”, an old dark house that is the dominion of alcoholic matron Gert Hammond (Eaton). Everyone present has secrets and obsessions that are brought to light, and pair off in various combinations for sexual liaisons. The group also finds itself trapped inside the house by a gorilla rampaging outside.

Still from Thundercrack! (1975)

BACKGROUND:

  • Producers John Thomas (who briefly appeared as country singer Simon Cassidy) and Charles Thomas were film students of Thundercrack! actor/writer George Kuchar, classmates of director Curt McDowell, and heirs to a fortune from the Burger Chef fast food chain, which they used to fund the movie. They also provided a rooms in their home for the shoot.
  • George Kuchar was a legend in the underground film industry, making hundred of short, campy avant-garde films together with his twin brother Mike. Noteworthy titles include Sins of the Fleshapoids and Hold Me While I’m Naked (both from 1966).
  • Actress Melinda McDowell was director Curt McDowell’s sister.
  • Kuchar and McDowell were rumored to be lovers.
  • The movie was shot for $9,000 and $40,000 in deferred costs.
  • Buck Henry used his clout as a judge to set up a (scandalous) screening at the 1976 Los Angeles Film Festival.
  • The original negatives disappeared and only five 16mm prints of the film were struck. One print was seized by Canadian authorities and three had been edited in an ineffectual attempt to make the film more marketable. The badly-damaged but uncut fifth print was primarily utilized for the transfer of the 40th anniversary Blu-ray release by Synapse Films.
  • El Rob Hubbard’s[1] Staff Pick for a Certified Weird movie.

INDELIBLE IMAGE: Among the various obvious (and mainly pornographic) images to choose from, the one that sums up the spirit of Thundercrack! is the publicity photo of Gert and Bing in a melodramatic clinch—Bing in a wedding dress, Gert staring off into the horizon. It’s iconic, yet subversive, and pretty much encapsulates the film’s mood.

THREE WEIRD THINGS: Versatile cucumbers; pickled husbands; amorous bipeds

WHAT MAKES IT WEIRD: The collision of several elements: the lurid melodramatics along with the hardcore action, the visual stylization and the complex wordplay, all combine to make a film much more engaging and—dare I say it—innocent than one would expect from a mid 1970s hardcore sex parody film. Or, is it a parody film with porno elements? You decide…


Brief scene from Thundercrack!

COMMENTS: “What the heck is going on here—some sort of communal therapy group? Is that what this is?!!”—Bing

That’s probably a fair assessment of Thundercrack!, Curt McDowell’s Continue reading 275. THUNDERCRACK! (1975)

  1. Fun Fact: actress “Maggie Pyle” and her husband (one of the crew members) were my landlords for a short time in San Francisco in the early 90’s. []

LIST CANDIDATE – BLUE SUNSHINE (1977)

DIRECTED BY: Jeff Lieberman

FEATURING: , Robert Walden, Mark Goddard, Deborah Winters, Ann Cooper, Ray Young, Charles Siebert, Richard Crystal, Alice Ghostley, Stefan Gierasch, Brion James

PLOT: A plague of victims go bald and turn into psychotic killers; the one common factor appears to be a variety of acid, Blue Sunshine, taken during their college days.

Still from Blue Sunshine (1977)

WHY IT MIGHT MAKE THE LIST: Blue Sunshine usually gets classified as a horror/thriller with a brilliant premise behind it, but it’s also a twisted satire about what would later come to be known as “The Big Chill Generation.” It’s a lot tougher and less self-flattering than The Big Chill turned out to be. Maybe if The Big Chill had an unhinged leading man and psycho killers… but Blue Sunshine is the next best thing.

COMMENTS: “Did you ever hear the words ‘Blue Sunshine’… ?”

If it had come from grindhouse producers, a good alternate title for Blue Sunshine would have been Bad Acid, Dead Hippie,… well, make that Dead Ex-Hippie. Sort of a social satire within the parameters of a horror movie (which is pretty much Jeff Lieberman’s career in a nutshell, come to think of it), Blue Sunshine benefits from a clever premise: what if all those drug-scare films were right? It was just the right film at just the right time to skewer the Sixties generation, who were turning from lives of idealism and awareness towards materialism and narcissistic self-examination.

Even though there’s enough knowing laughs to keep the audience entertained, there’s also enough to keep them unsettled and on edge, mainly with the intense performance of Zalman King, whose protagonist might indeed turn out to be as unhinged as the Blue Sunshine victims. The violence, while relatively tame by today’s standards, also is unsettling. People get incinerated and children are threatened with knives. And there’s the minor game of guessing who might be affected and who isn’t. One clue: watch the hair.

Blue Sunshine first hit DVD as a Special Edition release from Synapse Films, which was transferred from a surviving print as the negative thought to be lost to time. In 2016 it got an upgrade to Blu-Ray from FilmCentrix, after the negative was discovered and restored.

LINKS OF INTEREST:

The Ringer – Lieberman’s first film, a pseudo-PSA that’s actually effective, but probably not in the way its sponsors realized.  A clear, scathing look at ‘Youth Culture’.

Trailer for Blue Sunshine.

FilmCentrix promo for the Blu-Ray HD release.

WHAT THE CRITICS SAY:

“Much of Blue Sunshine plays like a freakout version of The Crazies (1973)… All this is helped by the (deliberately?) stilted dialogue and wide-eyed performances, amping up the paranoia by making everything – and everyone – seem just that little bit off.”–Anton Bitel, Filmland Empire (2015 Screening)

CAPSULE: OUT 1: NOLI ME TANGERE (1971)/OUT 1: SPECTRE (1972)

Recommended

DIRECTED BY: Jacques Rivette

FEATURING: Jean-Pierre Leaud, Juliet Berto, Michele Moretti, , Bernadette Lafont, Bulle Ogier, Francoise Fabien, Hermoine Karagheuz, Eric Rohmer

PLOT: Two theatrical troupes: one amateur and one professional, with different artistic approaches, rehearse plays by Aeschylus. Two loners: one male and one female, both scam artists, operate independently of each other. All these players are seemingly connected via a loose conspiracy of “13,” inspired by the work of Honoré de Balzac and .

WHY IT WON’T MAKE THE LIST: The improvisational framework is experimental, but it’s more conventional in its overall form. Rivette’s follow-up feature, Celine and Julie Go Boating, which is indebted to Out 1 in its production and concept, is closer to “weird.”

COMMENTS: Out 1 was long hyped as “the Holy Grail of modern French cinema,” and that was not mere hyperbole. After French television turned the project down, a four-and-a-half-hour cut, Spectre, was edited to screen in theaters (with an intermission). The original version thirteen-hour version, Noli Me Tangere (Don’t Touch Me) was screened only once in workprint form in the early 70’s. A re-edited version followed in the late 80’s, and a “finished” version turned up on German and French television in the early 90’s.

At first, watching the complete, restored Out 1 may seem a daunting enterprise, but in a world of binge viewing, it seems very contemporary, while simultaneously presenting a time capsule of France in the early 70’s. Out 1 explores the role of art (specifically theater) in society, interpersonal relationships, and secret societies/conspiracies, all in a way that is very entertaining—much more than the words “experimental feature” would suggest.

Looking at it 45 years later, one thing that helps give Out 1 some perspective are the events of May ’68, which is the hub from which the story revolves around. After a brief period of revolution and the hope of all things possible, we pick up two years later; and while the revolutionary spirit is still alive in the efforts of the troupes, everyone involved is disillusioned with their current reality to some degree. The passing of a note to Colin (Leaud) by an unknown woman—seen as one of the actors in one of the troupes—stirs him to investigate the concept of the “13,” and its effect ripples out among the characters. Is there indeed a conspiracy? Or is the conspiracy merely an abstract concept of a fleeting ideal that may never be obtained, but should always be pursued?

The Noli Me Tangere version, presented over eight episodes, anticipates such shows as “Lost” with its canvas of characters and a central mystery at the core. However, while that mystery provides dramatic momentum, it is not the primary focus; in fact, it isn’t until Episode 5 that it begins to coalesce. A substantial portion of each episode focused on the exercises and rehearsals of both troupes, and their succeeding analyses. It’s a detailed look at theatrical process, and while some may find these sections maddening, they’re an important part of the whole: “acting”  and “performance” are the main subjects, after all. The characters’ interactions with each other at many points are performances, especially the outsiders Colin and Frederique (Berto), whose scams are another form of improvisation. And the entire enterprise is a performance by everyone involved. The Spectre version keeps this basic frame intact, yet at four hours, much is condensed. Scenes are rearranged, some tangents are dropped, and the “Conspiracy of 13” aspect is center stage.

BLU-RAY/DVD INFO: In 2016, Carlotta released a region free box set in North America of both versions of Out 1 on Blu-ray and DVD, featuring a 2K restoration. Also included in the set is a documentary, The Mysteries of Paris: Jacques Rivette’s OUT 1 Revisited, which is extremely informative, and a 120 page booklet with essays and notes. For those in the UK or with region free players, Arrow UK issued the box set “The Jacques Rivette Collection” which includes Out 1, and the additional Rivette features Duelle, Noroit and Merry-Go-Round.

LINKS OF INTEREST:

Order of the Exile – Jacques Rivette website

Introduction to Rivette – Jonathan Rosenblum essay on Rivetter

Out 1 And Its Double – Jonathan Rosenblum’s essay from the box set release

WHAT THE CRITICS SAY:

“Uniquely ambitious, Rivette’s film (technically a serial) spends nearly 13 hours stitching paranoia, loneliness, comedy, and mystical symbolism into a crazy quilt big enough to cover a generation.”–Ignatiy Vishnevetsky, The A.V. Club (Blu-ray)

CAPSULE: MODESTY BLAISE (1966)

DIRECTED BY: Joseph Losey

FEATURING: , , Dirk Bogarde, Clive Revell, Harry Andrews, Rossella Falk, Michael Craig

PLOT:  Master thief Modesty Blaise and her associate, Willy Garvin, are enlisted by the British Government to protect a diamond shipment to a Middle Eastern sheik from a heist ring overseen by Master Criminal Gabriel.

WHY IT WON’T MAKE THE LIST: It certainly is strange, even for a comic book film, but in very much the spirit of its time.

COMMENTS: The current craze of adapting comic-book characters for the screen isn’t just a recent phenomenon. It’s only the consistent box-office success that’s relatively new. But, as Modesty Blaise proves, satisfying the preexisting fan base has ALWAYS been the fly in the ointment.

Purist fans of the British “Modesty Blaise” strip (which at the time was more known internationally than in the U.S., and still is) have long complained that the film doesn’t truly represent the source material. Not being familiar with the strip, I’ll leave it to those with more knowledge of the character to make those criticisms. What is evident, from what can be seen onscreen, is that director Losey, previously known for dramas such as The Servant and These Are the Damned, was going POP in the largest way possible.

The photography (by Jack Hilyard) and design (by Richard MacDonald and art director Jack Shampan) take precedence over anything else in the movie. In retrospect, that might not have been an altogether bad thing. The script—by Evan Jones, based on an original story and script by “Modesty” creator Peter O’Donnell and an uncredited pass by Harold Pinter(!)—appears to be a mess, though the flaw may be in its execution.

The 60’s Pop-art fascination with the comics had its basis in camp. Losey’s approach is no different, going for an arch, self-aware tone, most blatantly during a scene where Modesty, while searching a friend’s apartment, comes across her own comic strip. The movie’s Modesty also can change her wardrobe and hair color at the snap of a finger. Camp also explains the (horribly sung) duets she and Willie have at two points in the film, the last during the final confrontation with the bad guys. The camp isn’t quite as broad as what would soon be seen on television’s “Batman” series; Losey’s approach is more intellectual and narrow, as if channeling  directing a comic book spy film.

The main complaint about the film from purists is Monica Vitti, who in no way resembles the character as drawn. For the film, however, she’s more than perfect, bringing with her the ennui from her roles for Antonioni. Terence Stamp does a serviceable job in his role, basically a pretty boy-toy. The supporting cast (Clive Revell, Harry Andrews) is good, but it’s Dirk Bogarde who runs away with the film as the villainous but fey Gabriel, followed closely by Rossella Falk as his sadistic wife (and beard), Mrs. Fothergill.

Modesty Blaise is not an especially good a comic adaptation, or very weird. Barbarella and Danger: Diabolik both hew closer to their sources and go even more over the top. As an example of mid-60’s cinema Pop Art, however, it is good on its own terms.

DVD INFO: In 2002, Fox released a DVD that was fairly decent at the time—widescreen and anamorphic, although there were no extras. This past summer (2016) brought a Blu-ray upgrade from Kino-Lorber. It includes a commentary by film historian David Del Valle and director Armand Mastroianni which is entertaining—although Del Valle mistakenly credits camera operator Gerry Fisher as the DP. Also in the release are featurettes with first assistant director (and Joseph Losey’s son) Gavrik Losey; writer Evan Jones; and assistant art director Norman Doane. An image gallery and a trailer round out the special features.

252. POSSESSION (1981)

AKA The Night the Screaming Stops

Recommended

“…Viktor Shklovsky wrote about how the job of the artist was to come up with a device that made the familiar seem strange. The ‘strangeness’ sets our brain a challenge, and the process of dealing with it is engaging – not just on an intellectual level, but an emotional one too… In Possession, Żuławski made a marital breakdown ‘strange’ by showing ‘the horror’ – this was not Scenes from a Marriage – it was something else.”–Daniel Bird

“Nothing wants to bite anymore – they want to lick.”– Andrzej Zulawski, from the Possession commentary track.

DIRECTED BY:

FEATURING: , , Heinz Bennent, Margit Carstensen, Carl Duering, Shaun Lawton

PLOT: Mark, an agent for some unspecified agency, returns home to his wife, Anna, and son in Berlin only to find that Anna has taken a lover. She splits her time between her home and her lover; however, Mark still wants her, causing extensive conflict between them. He uncovers a previous affair with a man named Heinrich, but she also left him for another—and finding the identity of her current lover leads to mayhem and a rising body count.

Still from Possession (1981)

BACKGROUND:

  • Andrzej Zulawski conceived Possession in the wake of several events—the collapse of his marriage to actress Małgorzata Braunek after being allowed to return to Poland from exile after the international success of 1975’s The Most Important Thing Is To Love, and the subsequent production and shutdown of On The Silver Globe and his second exile from Poland.
  • Zulawski originally pitched the film to Paramount Studio head Charlie Bluhdorn, calling it “a movie about a woman who f**ks an octopus.” They passed.
  • The film played at Cannes and Isabelle Adjani won “Best Actress,” sharing the award for her roles in both Possession and Merchant/Ivory’s Quartet.
  • The final film was chopped up by distributors. The U.S. release was notorious for being a total misrepresentation of the movie: the distributor removed about 40 minutes, reshuffled scenes, and added optical effects to play up and sell it as a horror movie. The Australian version made similar cuts. It wasn’t until 2000 that the original version was available to be seen in the U.S.
  • Possession was briefly released in the UK, but on videotape it was later banned as a “video nasty,” a classification intended for extreme horror films with no artistic merit.

INDELIBLE IMAGE: In a film with many memorable images, mainly close-ups of the characters in various stages of mania, the one that sticks is of Adjani’s Anna being serviced by something coiled around her… and writhing.

THREE WEIRD THINGS: Pink socks; subway miscarriage; Anna’s lover

WHAT MAKES IT WEIRD: It starts out as a domestic drama turned up to 11, which then goes up to 15. The intensity is compelling, especially when most other relationship films at the time went for quiet decorum. Possession throws all that right out the window. And then at the midway point, it drops the bottom out of expectations with the introduction of the Creature.


Possession international release trailer

COMMENTS: There seems to be no major disagreement about Possession joining a list of “weird” anything. The fur begins to fly in the Continue reading 252. POSSESSION (1981)

LIST CANDIDATE: ON THE SILVER GLOBE (1977/1988)

Na Srebrnym Globie

DIRECTED BY:

FEATURING: Jerzy Trela, Andrzej Seweryn, Iwona Bielska, Grazyna Dylaq, Jerzy Gralek, Krystyna Janda, Elizabeth Karkoszka, Maciej Goraj, Leszek Dlugosz, Jan Frycz

PLOT: An expedition crash lands on a planet, and the surviving astronauts establish a tribe and a religion explaining their origins. After a recording of the crash is found, another astronaut, Marek, is sent to investigate and is received as a messiah whose arrival has been prophesied. He becomes involved in a struggle against the planet’s original inhabitants, a birdlike race called the Sherms.

Still from On the Silver Globe

WHY IT MIGHT MAKE THE LIST: One of the few science-fiction adaptations that can earn the adjective of “epic,” and not only in terms of not dumbing down its ideas in favor of effects. The Polish government attempted to kill it, and end its director’s career. Despite it being only 80% of a finished film, there are images that will remain in the mind long after.

COMMENTS: In the best of all possible worlds, On the Silver Globe would be more widely known for the epic saga it is intended to be rather than as an unfinished curiosity, and it would’ve been the blueprint for science-fiction cinema to follow, rather than George Lucas’ Star Wars. Or possibly not. After all, its source material, “The Lunar Trilogy” written by Jerzy Zulawski (Andrzej’s great-uncle), which Stanislaw Lem acknowledged as an influence on his own writing, STILL has never gotten an English translation, making it unknown in the U.S. and other English speaking countries. This is one of the few films where its backstory is as fascinating as the actual film.

To wit: after the success of The Most Important Thing Is to Love, the exiled Zulawski was allowed to return to Poland to work. It was at this time that his marriage collapsed and his wife left (we’ll get to that later on…), and he chose to adapt his great uncle’s trilogy. Two years of work went into the enterprise, with most of the shooting done in 1976 and 1977, until the Deputy Minister of Culture and Art, Janusz Wilhelmi, saw some of the footage and in June 1977, ordered the production to shut down. Props, scenery and costumes were warehoused and/or destroyed; Zulawski was once again persona non grata in Poland, couldn’t get any work, and was again forced to leave home. (Out of this experience came the cult favorite Possession). Wilhelmi died in a plane crash the following year (1978), but despite several attempts to resurrect the project, authorities refused to release the existing material; some of the crew members managed to save what they could, but to no avail. By 1986, the regime in Poland had collapsed, but it was too late—too much material had been lost, several actors had died, and cinematic sci-fi was by then firmly caught in the throes of Star Wars‘s aftermath. However, what was left of the film could indeed be presented in some Continue reading LIST CANDIDATE: ON THE SILVER GLOBE (1977/1988)

CAPSULE: L’ IMPORTANT C’EST D’AIMER (1975) [THE IMPORTANT THING IS TO LOVE]

DIRECTED BY:

FEATURING: , Fabio Testi, Jacques Dutronc, Roger Blin, Claude Dauphin,

PLOT: Nadine Chevalier (Schneider) is an actress on the verge of being ‘over the hill’ and acting in films far beneath her talent. Servais Mont (Testi) is a freelance photographer who also shoots pornography for a local crime lord (Dauphin), paying off a debt. They meet on a film set and a definite connection is established and acknowledged; however, Nadine is married to Jacques (Dutronc), a film buff and dreamer, and is still devoted to him.

In love, Servais helps her by anonymously backing a play with a part for her, borrowing the money from a crime lord. But things do not work out as hoped, ending with violence and suicide—and a glimmer of hope at the end.

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WHY IT WON’T MAKE THE LIST: Compared to Zulawski’s previous two films and the two to follow, this would probably be considered his first “normal” film, a romantic melodrama. However, no Zulawski film could be considered “normal”—the intensity is still there, but it stays within the confines of the real world the film establishes, rather than spinning off into its own universe. Plus, it has Klaus Kinski. The Important Thing Is to Love may not be full-on “weird,” but it’s worth a look on its own terms.

COMMENTS:  After the Polish Government effectively banned Diabel and kicked Zulawski out of Poland, he went back to France where he had studied and worked earlier before becoming a director. He worked as a script doctor and appeared in some films before being approached with this project, based on a novel by Christopher Frank, “La Nuit Americaine.”

At heart, the movie is a love story—well, a love triangle—but there’s plenty of room for some of Zulawski’s usual concerns: the cause of Art over Commercialism; the corruption and loss of innocence; friendship and betrayal. Also present is the use of doubling (note the open and close of the film); references to classical works (Shakespeare’s “Richard III” in this case); and, of course, staircases.

The best available release is Mondo Vision’s DVD, which comes in a special and a limited edition (the limited edition including an expanded booklet and a CD of the acclaimed score by Georges Delerue). The DVD also features a commentary by Zulawski and Daniel Bird, along with an interview with Zulawski. Audio is in the original French language, along with English and German dubs and English subtitles.

L’ Important C’est D’aimer was the second Zulawski film to get exposure in the West when it was featured on L.A.’s Z-Channel (as can be seen in Xan Cassavetes’ documentary Z-Channel: A Magnificent Obsession).

That Most Important... 1

WHAT THE CRITICS SAY:

“Though the films of Andrzej Zulawski are known for their boisterous energy and feverish excesses of sex, violence and the bizarre, his third film L’important c’est d’aimer (The Important Thing Is to Love) is tempered by a richly humanistic story and a shattering performance by Romy Schneider, which she considered to be (and many critics agree) her career zenith.”–Tim Lucas, Sight & Sound (DVD)

LIST CANDIDATE: HIGH-RISE (2015)

DIRECTED BY:

FEATURING: , , Sienna Miller, Luke Evans, Elisabeth Moss, James Purefoy, Sienna Guillory

PLOT: Dr. Robert Laing (Hiddleston) moves into an upscale high-rise tower block, designed by noted architect Anthony Royal (Irons), who also resides in the tower. The top floor houses society’s upper crust; the lower floors are where the more commonplace residents live (usually families). Laing resides in the middle. The tower has every convenience—pool, gym, a school and a supermarket—to meet residents’ needs, making it unnecessary for anyone to venture out into the outside world. When trouble develops with the building’s services, violence escalates as the residents form tribes to battle for resources.

high-rise-social

WHY IT MIGHT MAKE THE LIST: Being based on one of J.G. Ballard’s seminal works alone might qualify it, though admittedly, there’s nothing weird in terms of presentation… in fact, it might be the most approachable Ballard adaptation since Empire of the Sun.  It’s warmer than ‘s Crash, but in terms of the subject matter, it’s just as unflinching.

COMMENTS: At first glance, Ben Wheatley’s adaptation of High-Rise may appear to miss the mark, being too focused on recreating period detail (Amy Jump’s script sets it firmly in the 1970’s, when Ballard’s novel was first published), but those who stick it out will find it an extremely faithful—and blackly funny—adaptation.

Nailing the time and place to a specific period helps establish the film as a cautionary tale, not unlike something that might be seen on television at the time (like a literary “Play for Today“), but also helps to achieve some of the distancing effect found in Ballard’s prose. It also sets the stage for the use of a certain well-known pop song of the time, first used ironically in a string quartet arrangement, then returning as a sad elegy.

Wheatley and Jump are very respectful to the source material, while also fleshing out things that weren’t quite as explicit in the book. There’s some attention paid to the women and children (the period setting explains the sexism and misogyny shown by some male characters), and while there is no direct explanation of the cause of the mini-society’s devolution, there is a strong hint that it could be a social experiment running its course. As the film ends with a broadcast of a Margaret Thatcher speech, there’s a political dimension as well, which some might scoff at. The recent Brexit vote might cause one to rethink that.tom-highrise1

NOTES:

  • “The Ballardian” interviews Ben Wheatley about the film.
  • Portishead did the elegaic version of Abba’s “S.O.S.” for the film. It was not intended for a separate single release, although the band did approve a video in honor of recently murdered British politician Jo Cox.
  • Producer Jeremy Thomas has spent over 30 years attempting to bring J.G. Ballard’s High-Rise to the screen. After projects with and , fell through, he finally hit paydirt with Ben Wheatley.

WHAT THE CRITICS SAY:

“A wonderfully weird oddity with moments of genius, just not quite enough of them.”–Alex Zane, The Sun (contemporaneous)