Tag Archives: 2015

366 UNDERGROUND: MANOS: THE RISE OF TORGO (2015)

“I made Rise of Torgo following what I call ‘Hal’s Rules’: very few takes, no shots over 30 seconds, shoot without sound and pay no one up front. There’s no way to copy what Hal Warren did, so I set out to make a film that is a sibling to the original, similar yet different.”–David Roy, 2016 interview with 366 Weird Movies

DIRECTED BY:

FEATURING: Jackie Neyman Jones, Joe Warren, Danny McCarty, Elizabeth Redpath, Matt Rogers

PLOT: In this prequel to the notoriously bad cult film Manos: The Hands of Fate, we learn the origin of iconic characters the Master and Torgo.

Still from Manos: The Rise of Torgo (2015)

WHY IT WON’T MAKE THE LIST: Rise of Torgo is an often-striking addition to the Manos world, with several inventive and unique aspects that had potential, but ultimately its slavish devotion to the original and a plodding pace prevent it from being a satisfying prequel. It’s not good enough to be great and not terrible enough to be an entertaining “bad” film, falling somewhere between competent and ordinary.

COMMENTS: Manos: The Rise of Torgo faces two major concerns from the outset: one, it follows up an iconic cult film fifty-something years after the fact; and two, it purposefully sets out to make a “bad” movie. The first concern is similar to the dilemma faced by the recent follow up to 1982’s Blade Runner, Blade Runner 2049, which I though was plagued by the weight of its highly influential predecessor and was most successful when it strayed from the source material. Similarly, Rise of Torgo is most engaging when building its own mythos, and least successful when recreating or reusing elements of the original film. Obviously there’s no comparison between the two franchises (Blade Runner vs. Manos) in terms of production value or popular success; I mention it only because of the comparable uneven mix of old and new elements, the considerable lengths between installments, and because both films feature actors from the original franchise.

The second concern arises when a competent filmmaker attempts to recreate the errors of people with no concept of how to turn out a polished, coherent product. The errors often feel forced or labored, and the schadenfreude derived from witnessing genuinely misguided filmmaking is replaced with boredom and irritation. The great “terrible” films like Plan Nine from Outer Space (1959), Troll 2 (1990) or The Room (2003) were made by genuinely misguided filmmakers, outsiders like or who seem removed from ordinary human experience and can only write dialogue and cut footage together from their own strange impulses. They show instincts devoid of even the slightest knowledge of how ordinary human beings communicate, or of how filmmakers arrange footage to create meaning and coherence.

The original Manos brimmed with the kind of odd editing choices and bizarre dialogue that truly defines bad cinema. It featured twenty second shots of Torgo stumbling around with luggage, accompanied by his own music cue, alongside his tremulous delivery of lines like, “I meant no harm, Madam, I’ll protect you… I’ll protect you.” Director Harold Warren had no formal film training, and it shows, especially when a shot of the clapperboard is featured in scenes with the kissing couple. The amateur nature of the production is stamped throughout the exasperating length of the film.

Rise of Torgo’s auteur, David Roy, is clearly no slouch at film making. His shots are well composed, the color grading enhances elements for effect, and there are even special effects (admittedly cheesy ones, probably designed as such to fit the Manos universe). This is a capable filmmaker attempting to make a bad film, and as such a lot of the fun is taken out of the picture. What we get instead are elements of garbage woven through a competently produced picture.

Rise of Torgo gets off to a good, campy start, with an introduction to the Master and the God Manos (represented by Jackie Neyman Jones, the little girl from the original), presented as a floating head, like the ghost of Mufasa in The Lion King. We then learn the origins of Torgo’s birth, involving twin midwives (who later turn out to be his grandmothers) and a blessing from a cross-eyed gypsy. She is promptly jettisoned from the rest of the film and her presence never explained. All original and amusing “bad filmmaking” choices so far. A woman in the woods inexplicably sings about her love for goats, and given Torgo’s hinted-at satyr nature in the original film, we might even expect the two to meet and develop a romance. Sadly, at this point in the film Manos “call-backs” take over. The girl merely becomes a victim of the Master’s original caretaker, and an otherwise fresh, surreal characteristic goes unutilized.

The “Them” Torgo’s Mother speaks of is an interesting aspect thrown into his psychology, but ultimately becomes pointless in his transformation into the Master’s slave. That transformation arises from a combination of bullying and the power of Manos. The twin Grandmothers speak and move in sync, an interesting feature that remains merely a curiosity and fails to inform the story in any significant way. It’s a device that had potential, but ultimately falls to the necessity of sticking to the elements of The Hands of Fate. The film occasionally even fails to satisfy this requirement: Torgo doesn’t have the same quavering, tremulous voice as the original, not even after his transformation by Manos.

WHAT THE CRITICS SAY:

“If you enjoyed the original Manos, you’ll probably find this to be a worthy sequel, in the sense that it strives to stylistically be as similar as possible. If campiness is your thing, you’re in for a fun ride.”–David Gelmini, Dread Central

Manos: The Rise of Torgo Facebook Site

305. THE LURE (2015)

Córki Dancingu

“Our mermaids don’t look like sweet mermaids from Disney. We wanted to kill Disney.” –Agnieszka Smoczyńska

Recommended

DIRECTED BY:

FEATURING: Marta Mazurek, Michalina Olszanska, Kinga Preis, Jakub Gierszal

PLOT: Two mermaid sisters, Silver and Golden, wash up on the shores of Warsaw. They hook up with a family synth-pop band, joining their act in a seedy nightclub. Their voices bewitch everyone around them, but Golden’s carnivorous appetite and Silver’s infatuation with a young bass player lead to horror and heartbreak.

Still from The Lure (2015)

BACKGROUND:

  • Screenwriter Robert Bolesto was inspired by his friends Zuzia and Basia Wrońska and their childhood growing up around a nightclub in the 1980s. Director Agnieszka Smoczyńska had had a similar childhood experience, and decided to create a horror-fantasy allegory with that setting. The script was initially conceived as a straightforward biography of the sisters, but both the Wrońskas and Smoczyńska felt it was too personal, so the characters were changed to mermaids. Because mermaids are known for singing and the setting was a nightclub, the film easily evolved into a musical.
  • The Wrońska sisters form the Polish-language synth pop band Ballady i Romanse. They composed the music for The Lure. They appear at the end of the film in the wedding scene.
  • Much of the visual style pulls from the art of Aleksandra Waliszewska, who paints twisted, adult fairy tale scenes, as well as photographer Nan Goldin, known for her seedy images of the New York club scene and queer subculture in the 80s.
  • Though it was praised at its Sundance debut, in its native Poland the film received a mixed response. According to Smoczyńska, Poland doesn’t have a tradition of musicals (The Lure has been called Poland’s first musical) or horror. Those elements weren’t advertised at all, so incoming audiences did not realize what they were in for.

INDELIBLE IMAGE: Smoczyńsky addresses the reality of mer-people anatomy by showing a mermaid-human transplant. Shot from above, a mermaid lies on ice in a long metal gurney and sings sadly, while a surgeon saws through her torso and then stitches on a pair of human legs (taken from an anonymous woman lying on ice next to her). It is at once clinical, tragic, and sweet, made all the more memorable for being part of a low-key musical number.

THREE WEIRD THINGS: Merman punk rocker; breastfeeding mermaids; fish labia

WHAT MAKES IT WEIRD: Though working with some familiar source material, the film manages to feel fresh and strange. The visceral effects and gore matched against the upbeat synth tunes; the fantasy characters in a grimy, all-too-real world; the loss of chronology in the narrative; the sense that nothing is quite what it seems, that there is something under the surface of it all: no single element makes it weird, but rather a host of assorted factors.


Brief musical scene from The Lure

COMMENTS: A simple description of The Lure seems impossible. It’s Continue reading 305. THE LURE (2015)

THE WITCH & IT FOLLOWS (2015)

With the release of The Witch and It  Follows, 2015 was an exceptional year for the horror genre. The Witch, Robert Egger’s directorial debut  proved to be the more provocative of the two; not surprising, given that Puritan oppression as horror strikes close to home. Even more predictable is the expansive hatred for such an original film by formula horror fans. They’re a tribe of Neanderthals, too obtuse to recognize one of the ballsiest film of the last decade.

The Witch‘s subtitle tells us it’s “A New-England Folktale,” set in the mid-seventeenth century. It opens with family patriarch William (Ralph Ineson) banished from this Puritan paradise for unclear reasons. Like Adam and Eve, William and his wife Katherine (Kate Dickie) are forced to flee to the wilderness, a forest setting that recalls numerous fairy tales. With them are their children, Thomasin (Anya Taylor-Joy), Mercy (Ellie Grainger), Jonas (Lucas Dawson),  Caleb (Harvey Scrimshaw), and the infant Samuel.

Like most evangelical sects, William’s religion practices a type of anti-ritualism (setting them apart from liturgical competitors); but, as we see from his dialogue with Caleb, a ritualistic anti-ritualism ritualism sets in. Caleb is a willing subscriber.

Along with the rituals comes Puritan oppression, and a superstitious anti-superstition soon rears its horrific head. Thomasin, left in charge of Samuel, entertains him with a game of peekaboo, but on the fourth uncovering of her eyes, Samuel has vanished.

Still from The Witch (2015)Did a scarlet witch abduct Samuel? Or, is Thomasin guilty of witchcraft herself? Initially, each family member professes guilt over the disappearance of Samuel, but true to the tenets of Puritanism, the antagonists—or imagined antagonists—take feminine forms.

In sharp contrast, Caleb, the male child, is his father’s candidate for godly martyrdom. The proof is in the pudding when Caleb’s holy innocence is tested, aroused by Thomasin’s cleavage. Taylor-Joy and Scrimshaw lead a cast that gives stunning performance, restoring our faith in acting.

The film is replete with beautifully horrifying imagery, including a blood-spurting black goat and one of the most unnerving finales in recent memory; straight from bowels of a Goya canvas. Eggers’ sense of period detail, as impressive as it is, is topped by his finding the pulse of the Puritan mindset. The eye of his hurricane is Taylor-Joy who, abandoned by God and family, spans a range in a single film that most actors can’t accomplish in an entire body of work.

It Follows is the second feature effort from director David Robert Mitchell, who impressed with his debut film, The Myth of the American Sleepover (2011). Teen Jay (Maika Monroe) has sex in the back seat of her car with current beau. Since the setting is the horror genre, we all know from the much-quoted Scream (1996) that this means certain death. Sort of.

Many commentators have honed in on the sex and death equation and see It Follows as a parable about STDS. Sort of.  Cool and kinetic, It Follows revels in its paradoxes. When Jay’s boy toy copulates with her, he passes on a stalking demon that can take any form. It’s slow but lethal, and the only way to rid oneself of this shape-shifting ogre is to copulate with someone else before it turns you into beached leg of lamb. Sort of. There’s a catch, of course. If your victim doesn’t pass it on, It will return to Follow you.

and Howard Hawks were mightily offended by Carl Foreman’s script for High Noon (1952), which depicted a narcissistic community refusing to help their neighbors. In response they made Rio Bravo in 1959, then remade it twice. It Follows has it both ways. To prevent her own demise, Jay has to play the narcissist, but she does so reluctantly, and depends on her community of friends for help (parents are out of the question, as it should be).

Still from It Follows (2015)Mitchell chooses his predators smartly, ranging from a child to a naked old man perched on a roof. He clearly has fun pulling from a bag of personality types, embracing the genre tropes, and playing with them like silly putty. References to Val Lewton and ‘s Cat People (1942) abound, along with John Carpenter (including Rich Vreeland’s score) but, like Lewton, Mitchell is not content to merely repeat the past. He’s too progressive for that, and for conservative horror geeks.

CAPSULE: TAG (2015)

DIRECTED BY:

FEATURING: Reina Triendl, Mariko Shinoda, Erina Mano, Yuki Sakurai, Ami Tomite

PLOT: A Japanese schoolgirl finds herself shunted through many different realities, all of which want to kill her and her companions.

Still from Tag (2015)

WHY IT WON’T MAKE THE LIST: At an earlier stage of this project’s development, Tag might have been shortlisted. This quintessentially Japanese mix of exploitation and surrealism will hit the sweet spot for fans of smart splatterpunk, Sono-style, but doesn’t go far enough above and beyond to merit consideration for the List, considering the shrinking number of available slots.

COMMENTS: There’s no denying that Tag‘s opening gambit, featuring two busloads of schoolgirls sheared in half by unseen forces, is one of the more memorable opening statements in recent movie history. If the rest of the movie never quite catches up to that level of excitement, it still leaves one hell of an impression on the viewer. It leaves quite an impression on lone survivor Mitsuko, too. In silent shock, she wanders into her schoolyard, where everyone is going about the day normally and treats her as if she‘s the one who’s insane, blubbering about a killer wind. Everyone, that is, except for her girlfriend nicknamed “Sur” (for “surreal”), who explains about alternate realities and the butterfly effect. This sophomore-level philosophy gains some credibility when the school’s teachers pull out machine guns and start mowing down their students (in a sort of nasty reversal of the final scene of If…. ). Mitskuko is again the lone survivor, fleeing the carnage into yet another, equally dangerous version of reality…

Fun Tag drinking game: take a swig every time a male actor appears onscreen. Tag is so female-centric that, despite the fetish schoolgirl uniforms and the ample panty shots, = it’s hard not to see it as Sono’s feminist statement. What form that statement takes isn’t one-hundred percent clear, but it would seem to involve something about the various (limiting) roles females are forced into in Japanese society (by males) and the resulting anxiety that engenders in young women trying to establish their own identity. The ending revelation, which seems intended to tie everything together and reveal a hidden logic, is underwhelming. A lot still remains unexplained when the curtain falls—for example, the pig-man. In the end, I suppose you just have to take Sur’s advice: “Stay strong. Life is surreal. Don’t let it consume you.”

Tag‘s gore effects are provided by another 366 fave, (Tokyo Gore Police).

WHAT THE CRITICS SAY:

“…another feather in the highly idiosyncratic cap of Japanese helmer Sion Sono. This cavalcade of carnage set in a bizarre parallel world where women are chased and slaughtered by all manner of human and supernatural forces hits the sweet spot where grindhouse meets arthouse.”–Richard Kuipers, Variety (contemporaneous)

(This movie was nominated for review by Sir Exal. Suggest a weird movie of your own here.)

SATURDAY SHORT: TARBOZ (2015)

Artist and musician Chad VanGaalen labored for two years to create a long-form improvised animation, and in the process learned, “why you should get into something with a clear idea in mind”. To the right person, this lack of clarity is actually among the short’s strengths. It’s less about a hero’s journey, and more about space-traveling aliens doing who knows what.