Category Archives: Certified Weird (The List)

289. WOOL 100% (2006)

“I will not let the non-knitters of the world decide how normal I am.”–Stephanie Pearl-McPhee, “At Knit’s End: Meditations for Women Who Knit Too Much

DIRECTED BY: Mai Tominaga

FEATURING: , Kazuko Yoshiyuki, Ayu Kitaura

PLOT: A pair of packrat sisters have their perfectly dis-ordered world turned upside-down by the arrival of a mysterious girl. Dubbed “Knit-Again” by the sisters, she is caught in an obsessive cycle of wrecking their home, knitting a large collection of red yarn into a massive shroud, and unraveling her creation and beginning anew. Their attempts to rid themselves of Knit-Again lead the sisters to reconsider an event from their shared past.

Still from Wool 100% (2006)

BACKGROUND:

  • Wool 100% is director Tominaga’s first feature. Her previous works were animated short films.
  • Kyôko Kishida is probably best known for portraying the title role in Woman in the Dunes. This was her final film; she died the same year as the film’s release in Japan.

INDELIBLE IMAGE: Waves of knitted red yarn, filling the screen and undulating like blood, as two young women try to knit a romance (and a baby) into being.

THREE WEIRD THINGS: “I have to knit again!”; living scrapbook; rooftop dollhouse fire

WHAT MAKES IT WEIRD: Wool 100% is the purest kind of fairy tale: unsettling and unforgettable images of characters caught in fantastically unusual circumstances. You might knock it for ultimately following a retroactively logical progression, but the journey there is perplexing, and the final explanation is just as surprising as the quixotic tale that precedes it.


Original Japanese trailer for Wool 100%

COMMENTS: I’ve called Wool 100% a fairy tale, and I stand by that. Continue reading 289. WOOL 100% (2006)

288. REFLECTIONS OF EVIL (2002)

Weirdest!

“At this point I had realized that Damon’s film was like a Zen riddle. The more you tried to understand it with rational thought, the more it’s true meaning eluded you. I’d learned just to sit back and enjoy the experience.”–Thad Vassmer, “The Making of Reflections of Evil

DIRECTED BY: Damon Packard

FEATURING: Damon Packard, Nicole Vanderhoff

PLOT: Bob is a grossly overweight man trying to make a living peddling watches on the streets of present-day L.A. In flashback, we learn that his sister Julie died of an overdose in the 1970s. Julie’s spirit seeks out Bob with an important message from beyond the grave, which she eventually delivers to him at Universal Studios theme park.

Still from Reflections of Evil (2002)

BACKGROUND:

  • Packard self-funded the film with an inheritance he received—one source estimated it at $500,000. He spent everything on the film and was broke immediately afterwards.
  • Packard sent out over 20,000 original DVDs he paid to have pressed for free, sending many to celebrities. He published some of their reactions on the movie’s now-defunct official website.
  • Reflections of Evil encountered serious distribution problems because of its unlicensed use of copyrighted material (such as Crosby, Stills & Nash’s “Wooden Ships”). Packard recut the film in 2004 to avoid these issues (we review a different cut here).
  • Per the end credits, Universal Studios “permanently banned” Packard (presumably due to his guerilla shooting on their property).

INDELIBLE IMAGE: Bob’s massive, angry face seems to fill about every third or fourth frame. You’d be safe picking any one of the many warped camera tricks Packard uses to make his own bloated visage appear even more grotesque.

THREE WEIRD THINGS: Young Spielberg’s death set; the Golden Guru; Schindler’s List: The Ride

WHAT MAKES IT WEIRD: Hiding behind the generic title Reflections of Evil (presumably chosen because Fat Guy Goes Nutzoid was already taken) is one of the most personal and peculiar movies ever made: a  homemade mélange of bizarre editing, black helicopters, vintage 1970s commercials, angry L.A. street people, barking dogs, a barking watch salesman, a ghost in a see-through nightgown, and so much more. Repetitive, abrasive, grotesque, and intermittently brilliant, Reflections will shatter your mind, leaving you wondering whether you’ve just watched the magnum opus of a crude genius or a the manifesto of a genuine madman.


Trailer for Reflections of Evil

COMMENTS: Although there is a loose story to Reflections of Evil, if Continue reading 288. REFLECTIONS OF EVIL (2002)

287. L’INHUMAINE [THE INHUMAN WOMAN] (1924)

“At each screening, spectators insulted each other, and there were as many frenzied partisans of the film as there were furious opponents. It was amid genuine uproar that, at every performance, there passed across the screen the multicoloured and syncopated images with which the film ends. Women, with hats askew, demanded their money back; men, with their faces screwed up, tumbled out on to the pavement where sometimes fist-fights continued.”–Jaque Catelain, in his biography of Maurice L’Herbier

Recommended

DIRECTED BY:

FEATURING: Georgette Leblanc, Jaque Catelain, Philippe Hériat

PLOT: Claire Lescot, a celebrity opera singer, hosts a soirée at her modernist mansion for her many male admirers and suitors. Among these is the young engineer Einar, whom she toys with and eventually scorns. When Einar commits suicide, it causes a scandal and Claire is castigated for her callousness; but is there more to his mysterious death than meets the eye?

Still from L'inhumaine (1924)

BACKGROUND:

  • Maurice L’Herbier started his career as a writer; his fascination for cinema partly developed when he was assigned to the French Army’s Cinematographic Service, where it was his job to document the horrors of WWI.
  • Star Georgette Leblanc, an opera singer, put up 50% of the production cost. L’Herbier offered her a script which she deemed too noncommercial, and he had it rewritten according to her suggestions.
  • The production design was divided among several leading international avant-garde artists, each of whom was responsible for creating a different set. These artists were all featured in the influential 1925 Exhibition of Decorative and Industrial Modern Art, for which L’Herbier was also a member of the jury.
  • Extras in the 2,000-strong audience that boos Claire included Pablo Picasso, Erik Satie, James Joyce, and Ezra Pound. To set the mood, dissonant composer George Antheil played piano as the opening act.
  • The original score by Darius Milhaud is lost, although he may have recycled some of the themes for use in later compositions.
  • As was typical for avant-garde performances of the period, fights erupted at the screening.

INDELIBLE IMAGE: There are so many crazed sets to choose from—Claire’s dining room isthmus, her spiky green “winter garden,”  Einar’s disorienting Cubist laboratory—that we were totally confounded at picking just one. Fortunately, we can go with a bizarre costuming choice instead: the masked butlers in short pants with smiles (literally) plastered on their faces.

THREE WEIRD THINGS: Perma-grin waiters; backwards television; riotous resurrection montage

WHAT MAKES IT WEIRD: Too weird for 1924, when screenings prompted fistfights between its few admirers and its many detractors, this interbellum mashup of silent melodrama, heedlessly optimistic science fiction, and bizarre set design is even more singular when viewed through contemporary eyes. This is a case where a film’s advanced age enhances its weirdness—but when watching it you’ll think that it came from not just another time, but another planet.


Blu-ray trailer forL’Inhumaine

COMMENTS: It’s fitting that L’Inhumaine stars an opera star (playing Continue reading 287. L’INHUMAINE [THE INHUMAN WOMAN] (1924)

286. AUDITION (1999)

Ôdishon

It’s a pretty strange script, he must’ve been taking some really bad drugs when he was writing this stuff.”–Takashi Miike on Daisuke Tengan’s Audition script

Must See

DIRECTED BY:

FEATURING: ,

PLOT: Seven years after the death of his wife, Shigeharu Aoyama decides it is time to marry again, but he has no idea how to meet an appropriate mate. His movie producer friend comes up with a plan: they will hold a fake audition for a movie role where the widower can secretly interview dozens of women. Aoyama becomes smitten with shy, mysterious Asami and asks her out; but when she disappears just as things start to heat up between them, he goes on a quest to find her, only to discover that his ideal love may not be the innocent creature she seems.

Still from Audition (1999)

BACKGROUND:

  • Based on a novel of the same title by Ryū Murakami.
  • This was only Eihi Shiina’s second acting role, and her first lead, after a career as a model.
  • Along with than the relatively tame 1998 drama Bird People in China, Audition was Takashi Miike’s breakout film, after specializing mainly in yakuza pictures seldom seen outside of Japan.
  • Audition was ranked #21 in Time Out’s 2016 List of the 100 Best Horror Films. and included in Time’s 2007 Top 25 Horror Films.

INDELIBLE IMAGE: Poster and cover images always feature Asami holding a syringe, a moment that hints at bad things to come. But the weirder images that sticks in my mind are the shots of the mysterious beauty sitting in her apartment, head down, hair covering her face, telephone within arm’s reach. The implication is that she has been sitting there, motionless, in a trance for the entire time she has been offscreen, just waiting for Aoyama’s call. Also, she has something lying in the background. Something wrapped in a burlap bag…

THREE WEIRD THINGS: Thing in the bag; disembodied tongue; torture hallucinations

WHAT MAKES IT WEIRD: Takashi Miike’s most accomplished film, Audition initially shocks because of how normal it seems, before the director slyly pulls the rug from under our feet and launches us headfirst into a nightmare of pain. Fortunately, a perfectly positioned 13-minute hallucination sequence gives this movie the surreal hook (meathook, as it were) needed to elevate this master of the perverse’s best-made movie onto the list of the weirdest movies ever made.


Trailer for Audition

COMMENTS: Audition‘s broad outline is this: an older man falls for a Continue reading 286. AUDITION (1999)

285. DEAD LEAVES (2003)

“A guy with a TV for a head and a girl with a panda-like mark on her face find themselves naked on Earth with no recollection of how they got there. After attempting to violently acquire food and clothes, they get arrested and sent to the Lunar prison Dead Leaves… and things get weirder from there.”–Dead Leaves synopsis from the listicle “15 Bizarre Anime That Make You Wonder ‘Wtf Did I Just Watch?’

DIRECTED BY: Hiroyuki Imaishi

FEATURING: Voices of Takako Honda, Kappei Yamaguchi, Amanda Winn Lee (English dub), Jason Lee (English dub)

PLOT: Pandy, a woman with mismatched eyes, and Retro, a man with a television for a head, awaken naked with no memories and immediately go on a crime spree. Quickly arrested, they are sent to Dead Leaves, a prison housed on what remained of the crumbling moon, where they have sex and then arrange a prison break. Pandy grows pregnant and comes to term in a day, and faces a giant caterpillar monster with the help of her precocious newborn son.

Still from Dead Leaves (2003)

BACKGROUND:

  • The directorial debut of Hiroyuki Imaishi, who had worked as an artist on many animes, including the TV version of “Neon Genesis Evangelion” and it’s bizarre theatrical incarnation.
  • Released as an OVA (original video animation, a common direct-to-video release strategy in Japan).
  • Dead Leaves was made with the American and European secondary markets in mind. The English dub was made contemporaneously with the Japanese version.

INDELIBLE IMAGE: Dead Leaves‘ images, while carefully painted, streak by almost too fast for the eye to register, leaving an impression of havoc rather than focusing on particular images. Since the main characters—especially monitor-faced Retro—appear most often, it’s their faces that stick most in the memory.

THREE WEIRD THINGS: TV-headed Retro-reprobate; penis drill; inexplicable psychedelic caterpillar

WHAT MAKES IT WEIRD: Dead Leaves moves so fast and makes so little sense that it’s the equivalent of putting an ultraviolent manga in a high-speed blender and trying to read it while the pieces swirl around. The plot is nearly incomprehensible, but somehow involves mutant clones and a psychedelic caterpillar. Weird? Hell yes. Recommended? Well, definitely not to epileptics. Even for older folks with a healthy neurobiology, the breakneck pacing is as likely to induce a headache as an adrenaline rush. It’s definitely one-of-a-kind, though, and as an experiment in compressing as much berserk and illogical anime flavor as possible into as short a running time as possible, it’s worth a look.


Short clip from Dead Leaves

COMMENTS: Although the director advised the audience at Dead Continue reading 285. DEAD LEAVES (2003)

284. BATMAN RETURNS (1992)

“Being the Batman fan that I am, I pretended to like the film. I passionately defended it to my ‘non-Batman’ friends who found it ‘weird’ or ‘dumb.’ But eventually, I gave in to the fact that this film plain sucked. This macabre, morose, dark abomination was a Batman film in name only. Frankly, I felt screwed by Warner Brothers and Mr. Burton.”–Bill “Jett” Ramey, “Batman on Film”

“It’s human nature to fear the unusual.”–The Penguin, Batman Returns

Recommended

DIRECTED BY:

FEATURING: , Michell Pfeiffer, Danny DeVito,

PLOT: The film sets Batman against three new villains: Oswald Cobblepot, a deformed outcast who lives in the sewers and adopts the name “the Penguin”; “Catwoman,” former secretary Selina Kyle turned feminist avenger after a near-death experience; and Max Shreck, a wealthy retailer who wants to build a power plant opposed by Gotham City’s mayor and by Batman’s alter-ego, billionaire Bruce Wayne. With differing agendas and shifting loyalties, the three form a plan to run Cobblepot for mayor and to frame Batman for the city’s crime problem, while Bruce and Selina pursue a romance, not realizing that they are sworn enemies. After the superhero foils the initial plot, the Penguin pulls out a more elaborate, apocalyptic plan.

Still from Batman Returns (1992)

BACKGROUND:

  • Tim Burton, who had scored a blockbuster with the original Batman (1989),  was reluctant to produce a sequel. Warner Brothers convinced him to helm the film by giving him almost complete creative control. Heathers‘ Daniel Waters was brought in to shade Sam Hamm’s too-sunny original script. It was a move the studio came to regret (the film was profitable, but not as big a hit as its predecessor, and parental complaints that it was too violent/sexy/weird for kids spooked the suits). Neither Burton nor star Michael Keaton returned for the third movie in Warners’ Batman franchise, which went in a lighter, more family-friendly direction under Joel Schumacher.
  • Angry parents boycotted McDonalds for (unwisely) including Batman Returns action figures in Happy Meals, complaining that the movie was too violent for kids.
  • Oscar-nominated for Best Visual Effects and Best Makeup. Also nominated (unjustly, in our opinion) for a “Worst Supporting Actor” Razzie for Danny DeVito.

INDELIBLE IMAGE: I’m going to go with the army of penguins equipped with missiles striped like candy canes (remember, this is a Christmas movie).

THREE WEIRD THINGS: Kitty corpse revival; poodle with a hand grenade; missile penguin army

WHAT MAKES IT WEIRD: Let loose with a budget of $80 million and almost complete creative control in 1992, Tim Burton smuggled weirdness into the cineplex in the guise of a superhero sequel. The resulting picture has as many excesses as you can possibly sneak into a blockbuster: suggestive S&M duels between sexually repressed loners clad in fetish gear, a carnival-themed gang who unleash their surreal clown fury on Gotham at Christmas, and an army of penguins led by a deformed sociopath.


Original trailer for Batman Returns

COMMENTS: Earning over 260 million simoleons at the box office—although some ticket buyers probably asked for a refund—Batman Continue reading 284. BATMAN RETURNS (1992)

283. THE TINGLER (1959)

“Now please don’t fool with that stuff alone, Warren, it can produce some pretty weird effects.”—Lab assistant warning Vincent Price against taking LSD in The Tingler

Recommended

DIRECTED BY: William Castle

FEATURING: Vincent Price, Judith Evelyn, Darryl Hickman, Patricia Cutts

PLOT: Scruple-challenged scientist Dr. Warren Chapin discovers that a creature called “the Tingler” lives within the human spine. This creature grows when the host experiences fear, and shrinks when they scream. When an extracted Tingler escapes, Chapin and his assistant must race to re-capture the beast before it unleashes its terror—maybe right here inside this very movie theater!

Still from The Tingler (1959)

BACKGROUND:

  • Director/producer Castle, master of publicity-grabbing gimmicks, applied several such techniques to The Tingler, including hiring actresses to play nurses to stand outside the theater, and planting audience members to scream and faint at key moments in the picture. The most notorious gimmick in his oeuvre, however, was undoubtedly “Percepto.” For the theatrical release, Castle arranged for a handful of auditorium seats to be wired with war-surplus electric airplane de-icing engines. At a key moment during the film’s climax, the projectionist would activate the zappers, buzzing unsuspecting (or eagerly-hoping) viewers with a jolt of electricity, thereby breaking the fourth wall in a way 3-D never could.
  • Although best known for his B-movies, Castle’s resume is not exclusively low-budget shockers. He was an as assistant director on The Lady from Shanghai, and produced ‘s horror classic Rosemary’s Baby. (He has a cameo as a man wanting to use Mia Farrow’s phone booth.)
  • Price’s self-administered LSD experience was reportedly the first ever cinematic acid trip. Castle was so eager to clue in the audience to what was going on that he printed the name of the scientific monograph Price is reading on the back of the volume.
  • Directors and John Waters included The Tingler in their Top Ten lists for the Sight and Sound 2002 poll of the greatest films of all time.
  • Shane Wilson’s Staff Pick for the Certified Weird list.

INDELIBLE IMAGE: A blank projection screen, onto which ambles the shadow of a large rubber insect puppet, followed immediately by blackness, the sound of audience members shrieking their heads off, and the unmistakable command of Vincent Price: “Scream! Scream for your lives! The Tingler is loose in this theater!”

WHAT MAKES IT WEIRD: Even without the electrified seats, The Tingler is an odd little enterprise. Between the confident pseudoscientific explanations, the wildly shifting tone, and the utter commitment to the absurd and goofily executed premise, it’s a strange and silly cinematic experience. But “Percepto” ups the ante considerably. Whereas previous auditorium gimmicks were content to merely startle theater patrons and to play upon their emotions, The Tingler was now actively threatening the audience with physical harm. By bringing the actual audience inside the film, Castle’s gimmick becomes a means to shatter the fourth wall completely, paving the way for the interactive experiences viewers treasure so much now.


Original trailer for The Tingler

COMMENTS: Let’s not kid ourselves. The Tingler is very silly. Consider that the entire premise of the film is based on literalizing the Continue reading 283. THE TINGLER (1959)

282. DEMENTIA [DAUGHTER OF HORROR] (1955)

“Do you know what madness is, or how it strikes? Have you seen the demons that surge through the corridors of the crazed mind? Do you know that in the world of the insane you’ll find a kind of truth more terrifying than fiction? A truth… that will shock you!”–Opening narration from Daughter of Horror

Recommended

DIRECTED BY: John Parker

FEATURING: Adrienne Barret, Bruno VeSota, Ed MacMahon (voice in Daughter of Horror cut)

PLOT: A nameless woman awakens from a nightmare and makes her way out onto the city streets. She meets a wealthy man and agrees to go with him, and imagines a bloody family drama enacted in graveyard while riding in his limousine. Later, she stabs the man and throws his body off his penthouse balcony; she is then pursued by a cop with the face of her father, who chases her into a jazz club.

Still from Dementia (Daughter of Horror) (1955)

BACKGROUND:

  • The film contains no dialogue, although it’s not technically a silent film as some sound effects can be heard.
  • Director John Parker has only Dementia and one short film (a dry run for this feature) in his filmography. We know little about him except that his parents were in the film distribution business.
  • Star Adrienne Barrett was Parker’s secretary, and the film was inspired by a nightmare she related to Parker.
  • Co-star and associate producer Bruno VeSota is perhaps better known for his work as a character actor in numerous pictures, including a memorable turn as a cuckolded husband in Attack of the Giant Leeches. VeSota later claimed to have co-written and co-directed the film (no director is listed in the credits).
  • Cinematographer William C. Thompson also lensed Maniac (1934) and Glen or Glenda? (1953), making him the rare craftsman to serve on three separate Certified Weird movies (all for different directors).
  • Dwarf (Freaks) plays the uncredited “newsboy.”
  • The score was written by one-time bad boy composer George Antheil, whose career had plummeted into film and TV scoring after having once been the toast of Paris’ avant-garde with “Ballet Mechanique” (1924).
  • Dementia was submitted to the New York Censor’s board in 1953, and refused a certificate (they called it “inhuman, indecent, and the quintessence of gruesomeness”—which they didn’t mean as praise). It was approved in 1955 after cuts. (Reportedly they requested removal of shots of the severed hand). The film was banned in Britain until 1970 (!)
  • After failing to find success in its original dialogue-free form, Dementia was re-released in 1957 with narration (from future late night talk show sidekick Ed McMahon) and retitled Daughter of Horror.
  • Daughter of Horror is the movie teenagers are watching in the theater when the monster strikes in The Blob.

INDELIBLE IMAGE: Our protagonist (the “Gamin”) surrounded by faceless onlookers, who silently and motionlessly stare at her victim’s corpse. (Daughter of Horror‘s narrator unhelpfully informs us that these unearthly figurants are “the ghouls of insanity”).

THREE WEIRD THINGS: Precognitive headline; graveyard memories; throw on a dress

WHAT MAKES IT WEIRD: A skid row nightmare, Dementia dips into post-WWII repression and exposes the underbelly of the American night. It’s a boozy odyssey through a netherworld of newsboys, flower peddlers, pimps, murderers, and hot jazz, with our heroine pursued by cops and faceless demons. It’s noirish, expressionist, and nearly silent, except when Ed MacMahon interrupts the proceedings with pulpy purple prose. Perhaps it was not quite “the strangest motion picture ever offered for distribution,” as Variety famously claimed, but, warts and all, it’s like nothing else you’ve seen. It was too much naked id for its time, taking the spirit of Allen Ginsburg’s “Howl” and channeling it into a guilt-drenched B-movie dream.


Original trailer for Daughter of Horror

COMMENTS: The first thing the Gamin sees when she wakes from Continue reading 282. DEMENTIA [DAUGHTER OF HORROR] (1955)

281. HUGO THE HIPPO (1975)

Hugó, a Víziló

“If you accept a strange story told to you as true,

Then a certain enlightenment comes to you.”

Hugo the Hippo theme “It’s Really True” (as sung by Marie Osmond)

Recommended

DIRECTED BY: Bill Feigenbaum, József Gémes

FEATURING: Voices of , Burl Ives, Ronnie Cox, Robert Morley

PLOT: The Sultan of Zanzibar kidnaps a herd of African hippopotami and relocates them to Arabia to defend his harbor from sharks. After the shark menace is ended and the city prospers, the citizens forget about the hippos, until one day the hungry herds’ excursion to eat local farmers’ crops leads the Sultan’s evil Vizier Aban-Khan to organize a slaughter of the beasts. Only the youngest, Hugo, escapes; he flees to Dar es Salaam and makes friends with the local children, but Aban-Khan continues to hunt him out of pure malice.

Still from Hugo the Hippo (1975)

BACKGROUND:

  • The story is inspired by an actual hippo nicknamed “Hugo”, who ate farmers’ crops before being adopted by the real Tanzanian city of Dar es Salaam.
  • The film was a Hungarian/U.S. co-production. All of the animation was done on the cheap in Hungary. It was released dubbed into both languages.
  • Hugo the Hippo is co-writer/director Bill Feigenbaum’s only film credit. József Gémes went on to direct many Hungarian animated features.
  • Young Marie and Jimmy Osmond perform most of the songs on the soundtrack, along with two songs by Burl Ives and two numbers by jazz/funk session bands.

INDELIBLE IMAGE: It has to be something from the wild vegetable hallucination montage: the apple samurai? Jorma and Hugo climbing onto the space butterfly and sailing through the fruity cosmos? We selected the Dalí-esque shot of three massive monolith potatoes triangulating and transfixing our heroes with the magical beams that shoot from their literal eyes as our take-home image.

THREE WEIRD THINGS: Cigarette-smoking shark; cloud massacre; sliced apple ninja

WHAT MAKES IT WEIRD: Hugo the Hippo was released to widespread indifference. Contemporary reviewers were bored and strangely dismissive, failing to catch the undercurrent of weirdness here, but a generation of youngsters scarred by the hippopotamus massacre kept Hugo‘s underground legend alive. The combination of kitschy songs, psychedelic animation, bizarre plotting, tone shifts, hallucinatory episodes, and the inimitable Paul Lynde as an evil hippo-hating vizier blend to create a children’s film gone awry in all the most delightful ways.


Short clip from Hugo the Hippo

COMMENTS: We might adopt the lyrics from the opening Continue reading 281. HUGO THE HIPPO (1975)

280. DESPERATE LIVING (1977)

“By the time I made Desperate Living, the era of midnight movies was over, so at the time it was the least successful of all my films. Weirdly enough, it now does really well on video and college campuses. And I’m not quite sure why.”–John Waters

Recommended

DIRECTED BY:

FEATURING: , Susan Lowe, Liz Renay, Jean Hill, , , “Turkey Joe”

PLOT:  With the help of 400 pound maid Griselda, suburban housewife Peggy accidentally murders her deceptively bucolic husband and goes on the lam. A cop directs the fugitives toward a Pleasure Island for criminals called Mortville. Things go south with the village’s fascistic matriarch, until there’s a mutiny in the ramshackle town.

Still from Desperate Living (1977)

BACKGROUND:

  • was originally intended for the role of Mole McHenry (eventually played by Susan Lowe), but could not back out of an alternate commitment. Desperate Living is the only film Waters made during Divine’s lifetime in which the hefty transvestite did not appear.
  • Waters did not cast regular for the film due to the latter’s drug use. Lochary died soon after Desperate Living was released, either from a PCP overdose or from bleeding to death during an accident that occurred while he was tripping on PCP (reports differ).
  • The tagline was “It isn’t very pretty”—a radical understatement.
  • Budgeted at $65,000, this was Waters’ most expensive film to date. 1974’s Female Trouble had a budget of $25,000, while 1972’s Pink Flamingos cost a mere $10,000.
  • The extras of Mortville were homeless residents from the Baltimore skid row, bused in for a single day’s shoot.
  • According to Waters, lesbian groups in Boston protested the film, forcing its cancellation in Beantown.

INDELIBLE IMAGE: The opening credit scene of a dead rat served on expensive china, salted, and eaten at a swank dinner party. It sets the table for what’s to come.

THREE WEIRD THINGS: Cross-dressing cop; toddler in the fridge; scissors self-castration

WHAT MAKES IT WEIRD: Waters outdoes Multiple Maniacs“cavalcade of perversion” in this grunge fairy tale that includes systematic lesbianism, cross-dressing, odious hippie sex scenes, cannibalism, necrophilia, bat rabies, copious facial warts, and gap-toothed queen Edith Massey sexually serviced by leather-bound Nazis.

Opening credits for Desperate Living

COMMENTS:  The finale in John Waters’ “Trash Trilogy,” Desperate Continue reading 280. DESPERATE LIVING (1977)