Tag Archives: Black and White

1955 DRIVE-IN DOUBLE FEATURE: BRIDE OF THE MONSTER AND PHANTOM FROM 10,000 LEAGUES

Coming Attractions:

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The Violent Years. See what happens behind locked doors of a pajama party! Teenage killers fearing no law! Thrill Girls of the highway! Girl gang terrorists! Untamed girls of the pack-gang! Adolescent gangsters taking their thrills unashamed! Terrifying realism clawing at your unbelieving mind! See The Violent Years.”

It’s Showtime!

Bride of the Monster was ‘s most financially successful work, which of course isn’t saying much. It’s success may lie in its attempts to meet mainstream genre expectations, and the fact that it’s Wood’s only film to actually feature a star performance from. (In Glen or Glenda, Lugosi was a bizarre narrator. Plan 9 from Outer Space infamously used a few seconds of Lugosi footage, shot mere days before his death, making it a brief, posthumous non-performance which many Lugosi filmographies don’t even list). Rather than pursuing his own twisted muse, Wood, a Lugosi fanboy, attempts to fulfill what he imagines 1955 audiences want from a film starring Bela Lugosi, and therefore Bride of the Monster doesn’t reach the levels of inspired lunacy of the pair’s other collaborations. However, Ed Wood can only be Ed Wood and, in his defense, he’s deprived of good taste—which numerous artists have rightly observed is the enemy of great art. Wood made some of the greatest naïve art of all time. Thankfully, Bride of the Monster was produced before booze, poverty, and obsessive kinkiness grabbed poor Eddie by the throat and took him down, which means it’s charming as hell. Adding to its goofy grace is Lugosi’s last starring performance (he had what amounted to a mute cameo in Reginald Le Borg’s The Black Sleep in 1956), which features a beautifully mangled speech that serves as an almost perfect swan song for the horror star.

Still from Bride of the Monster (1955)Lugosi fans (and they are legion, or at least once were) are hardly apt to admit it, but their object of adulation was one of the genre’s worst actors, due in no small part to his clear disdain for the English language and astoundingly poor career choices. With damned few exceptions (notably, Ygor in Son of Frankenstein), he was a one-note performer. Even had more range (although according to peers and biographers, both actors were a tad slow on the uptake Continue reading 1955 DRIVE-IN DOUBLE FEATURE: BRIDE OF THE MONSTER AND PHANTOM FROM 10,000 LEAGUES

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)

CAPSULE: THIS NIGHT I’LL POSSESS YOUR CORPSE (1967)

Esta Noite Encarnarei no Teu Cadáver

DIRECTED BY:

FEATURING: José Mojica Marins, Nadia Freitas, Tina Wohlers, Antonio Fracari, José Lobo

PLOT: “Coffin Joe” returns to town in the hopes of nabbing himself a perfect bride to match his perfect self so that they might together create a perfect son; trouble ensues when he kidnaps six townswomen and then later seduces the daughter of a local bigwig.

Still from This Night I'll Possess Your Corpse (1967)

WHY IT WON’T MAKE THE LIST: Marins has cleaned up his technique since At Midnight I’ll Take Your Soul (1964), the first movie in the Coffin Joe series, but trace amateurism still does This Night no favors. Admittedly it’s a close-run thing: the bridal spider-test, Nietzchian diatribes, and a colorful visit to Hell are among a number of memorable bits of weirdness. But this is avowedly a straight “horror” movie—that’s no bad thing, it just makes it, in this case, no weird thing.

COMMENTS: Coffin Joe is at it again. His eyesight restored after a bout in the hospital and his freedom granted after a hearing at the local courthouse, he returns to his home village to terrorize the dismayed locals as he continues his quest to father a son. José Marins neatly resurrects his signature character in This Night I’ll Possess Your Corpse for another round of ominous behavior and philosophical ranting at no one in particular. Armed with the experience gained from making his first horror movie (At Midnight I’ll Take Your Soul), Marins now offers his audience more of the same, with a finer polish. Not being saddled by any other precedents (he was the only Brazilian horror filmmaker in the market), the director continues fashioning the yardstick by which Brazilian horrors would be measured.

Coffin Joe starts his machinations immediately, without any fear of the law or God. With his signature chapeau, charismatic beard, grotesquely long fingernails, and his hunchback henchman, Bruno (José Lobo), Joe captures six women and holds them in his funeral parlor, testing their mettle by releasing a swarm of fuzzy tarantulas on them as they sleep. One woman, Marcia (Nadia Freitas) passes this test, but alas for the would-be lucky lady, she ultimately doesn’t cut the mustard. A second (pregnant) kidnappee curses Joe before her snake-y demise. Undaunted, he lays eyes on the daughter of a local grandee. She is immediately smitten by the long-clawed mortician. Once again, Joe goes too far, and the peasants get a hankering for a lynching.

This Night I’ll Possess Your Corpse is a technically superior outing to the comparably long-titled At Midnight I’ll Take Your Soul. Smoother editing, marginally superior acting, and more memorable sets (whipped up in an abandoned synagogue); all come together for a more professional feel than that which plagued (blessed?) Marins’ first outing. However, this works against This Night‘s weird qualifications, as far as we’re concerned. The film has a number of things going for it, but now that the director has started walking the fine line between amateur and professional, he abandons his beginner’s luck. In short, This Night is just a smidge too well made to have the flash of weirdness that a novice’s efforts might have provided. Still, a popcorn-snow Hell, spider-eroticism, and Joe’s Übermensch stance all make it a close call.

Marins reinvented horror for his homeland of Brazil, and makes a decent start. As remarked in the At Midnight review, he’s got the best character in town, and one who can hold his own among the other greats of horror film history. There is an undeniable charm (of sorts) to a diminutive undertaker who obviously relished the Cliff Notes of “Beyond Good and Evil” in school. Marins doesn’t go full tilt enough, however, to make This Night I’ll Possess Your Corpse so mind-blowing or unsettling to bring it into the weird canon. Further investigation of this anti-hero may come, though, so there’s a chance José Marins’ brain-child may at least achieve the immortality that 366 Weird Movies can furnish.

WHAT THE CRITICS SAY:

“The movie itself has a real sense of surreal and jarring horror, but its main problem may be its lack of subtlety; the themes come across as blatantly obvious and a little too self-consciously articulated.”–Dave Sindelar, Fantastic Movie Musings and Ramblings (DVD)

277. INDECENT DESIRES (1968)

“[Wishman] seemed genuinely surprised, even skeptical, that anyone could find her work worthy of study, probably because at first glance her films often reveal such trademark low-budget production values as dodgy lighting and interiors resembling rundown motel rooms. Yet behind her economically deprived visuals lie a wealth of imagination: wildly improbable plots, bizarre ‘method’ acting and scripts yielding freely to fantasy.”–“Incredibly Strange Films

DIRECTED BY:

FEATURING: Sharon Kent, Michael Alaimo, Trom Little, Jackie Richards

PLOT: A nebbishy pack rat finds a ring and a blonde doll in a trash can; soon after, he sees secretary Ann walking to work, then sees the image of the doll overlaid on Ann’s body. Returning to his dingy apartment, he puts on the ring and gropes the doll, and Ann feels invisible hands on her as she stands by the water cooler. The stalker follows Ann home after she leaves work, discovers she has a steady boyfriend, and takes out his jealousy on the doll.

Still from Indecent Desires (1968)

BACKGROUND:

  • Doris Wishman, who had worked in film distribution, began her directing career after her husband died at a young age as a way to keep busy. She originally began working in the brief nudist camp genre, movies that rushed to exploit nudity after a New York judge ruled that stories set within the nudist lifestyle were not per se obscene. After the fad for nudist films, and the “nudie cutie” sub-genre that grew out of them, died out, Wishman moved into the production of “roughies,” a sexploitation genre with less actual nudity but more violence and kink. She was one of the only women directing such films at the time. Indecent Desires comes from the middle of this period, which lasted roughly from 1965’s Bad Girls Go to Hell to 1970’s The Amazing Transplant.
  • Wishman’s 1960s movies were mostly shot without sound. Dialogue was dubbed in later. She often directed longtime cameraman C. Davis Smith to focus the camera on ashtrays,  potted plants, or an actress’ feet instead of the person speaking in order to make the sound syncing easier later. This technique initially confused audiences, but later became recognized as a Wishman trademark.
  • Like most of her work of this period, Wishman used “Louis Silverman” as her directing pseudonym and “Dawn Whitman” as her writing pseudonym.
  • Terri McSorley‘s Staff Pick for a Certified Weird movie.

INDELIBLE IMAGE: The image of the blonde trash can doll superimposed over Ann as she walks to work. This sight is the closest thing to a special effect to ever appear in one of Wishman’s movies.

THREE WEIRD THINGS: Doll-groping transient; Babs makes out with herself; nude leg lifts

WHAT MAKES IT WEIRD: Doris Wishman made sleazy sexploitation movies marked by their strange camerawork, unsynced sound, grimy settings, amateur acting by curvy models in lingerie, odd plots, burlesque house jazz soundtracks, and a weird, pervasive sense of erotic guilt. Indecent Desires features her usual shenanigans delivered in one of her most inexplicable stories: a tale of a symbiotic relationship between a stalker, a doll, and a beautiful woman that is so context-free it serves as a fill-in-the-blank sexual parable. It’s perhaps her strangest and most disconnected plot, which makes it the perfect item to represent Wishman on the List of the Weirdest Movies of all Time.

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Short clip from Indecent Desires

COMMENTS: Whatever her filmmaking talents, or lack of same, Continue reading 277. INDECENT DESIRES (1968)

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. []

CAPSULE: SCREAMPLAY (1985)

DIRECTED BY: Rufus B. Seder

FEATURING: Rufus B. Seder, , Katy Bolger

PLOT: Young Edgar Allen comes to Hollywood to make it as a screenwriter and settles in at a fleabag motel; he incorporates his revenge fantasies into his murder-mystery screenplay, but finds that the killings he writes about occur in real life.

Still from Screamplay (1985)

WHY IT WON’T MAKE THE LIST: It’s an oddball tongue-in-cheek horror melodrama, but there’s nothing tremendously weird about it.

COMMENTS: In his introduction to the DVD edition of Screamplay, calls Rufus B. Seder the “ of Tromaville.” While that’s more than a bit of a stretch, it’s true that this classic horror homage, distributed (but not made) by Troma just before they stumbled onto the lucrative Toxic Avenger formula, is extremely highbrow by the company’s gore-comedy standards. Aside from the minuscule budget, it’s unlike anything else in their catalog. It’s far enough outside the mainstream that George “Sins of the Fleshapoids” Kuchar took on a rare acting role outside of his own productions (he’s wonderfully sleazy here as the heavy).

The story is simple: a series of murders among the dregs of Hollywood—would-be writers, actresses, agents, and producers—holed up in a low-rent motel are linked to a script being churned out by an eager but naive young screenwriter. The style, however, is more impressive. Rufus B. Seder’s influences are obvious: from the Expressionistic shadows of Nosferatu to the cheap B-movies of the 30s and 40s that vainly but valiantly tried to exploit that atmosphere (there’s even a sly nod to Plan 9 from Outer Space when a cop absentmindedly scratches his face with his revolver). Most of the time Screamplay looks like a 30s period piece you might catch on the Late Late Show, complete with a scratchy public domain quality transfer, but there are moments that would not be out of place in a Guy Maddin movie—or an early draft of Barton Fink as done by a poverty row studio. Seder’s performance seems to be at least partially modeled on Bill Woods’ wild-eyed mugging in Maniac—his innocent expression darkens and his eyes turn insane at the drop of a plot point. The ganja-inspired hallucination with a pair of murderous hands appearing in a cloud of pot-smoke also recalls ‘s maniacal epic.

The sets are very basic, but with overdramatic lighting, they achieve a melodramatic budget Expressionism. The blocky motel stairs leading to nowhere reach a minimalist sort of Surrealism, as does the police station set—basically just a raised podium reading “Hollywood Police Dept.,” flanked by Greek pillars with light bulbs on top. The story is set in no time in particular; the style recalls the 1930s, naturally, but occasional anachronisms like a roller-skating transvestite mugger add another layer of absurdity. Overall, it’s an impressive triumph of style over budget. Still, unless you’re obsessed with 20s and 30s horror, I wouldn’t recommend rushing out and trying to find Screamplay; but, if you do, I’d be willing to bet you won’t be disappointed.

Rufus B. Seder never made another movie after this one; he went into the production of holographic murals instead (examples of his work are included as a special feature on the DVD). It’s a shame, because Seder has clear talent and may have been able to make a truly great weird movie down the line had he stuck with it. He seems to have gotten movies out of his system with this project, but at least he found a niche for his creative impulses.

WHAT THE CRITICS SAY:

“…possibly the best Troma movie you’ve never heard of… with very few exceptions, [it] would feel right at home on a double bill with the classics from the twenties, thirties, and forties it so lovingly homages.”–James Lasome, Horrorfreak News (DVD)

(This movie was nominated for review by “ShaneWreck,” who characterized it as “[a] bizarre, expressionistic satire on Hollywood.” Suggest a weird movie of your own here.)

265. THE SARAGOSSA MANUSCRIPT (1965)

Rekopis Znaleziony w Saragossie

“Simultaneously erotic, horrific and funny… This is one mother of a film.”– on The Saragossa Manuscript

Must See

 

DIRECTED BY:

FEATURING: Zbigniew Cybulski

PLOT: During a battle in Saragossa during the Napoleonic Wars, a soldier wanders into a house and discovers a large book which enthralls him (and his captor). In it, he reads the story of the Walloon captain Alfons Van Worden, who meets, and is seduced by, two princesses while sleeping at a haunted inn, only to wake up under a gallows between two hanged men. Van Worden’s further adventures include meeting a hermit, a cabalist, a gypsy leader, and other colorful characters, each of whom have tales to tell—often leading to stories inside of stories.

Still from The Saragossa Manuscript (1965)

BACKGROUND:

  • The Saragossa Manuscript is a mostly faithful, if necessarily abridged, adaptation of Jan Potocki’s massive 19th-century novel “The Manuscript Found in Saragossa” (occasionally translated as “The Saragossa Manuscript: A Collection of Weird Tales”). Potcoki was a fascinating character, worthy of his own novel. A Count, adventurer (he was the first Pole to fly in a hot air balloon) and polymath, he published The Manuscript Found in Saragossa in fragments during his life. Legends revolve around his spectacular 1815 suicide: he shot himself with a silver bullet he made himself, and which he had blessed by his castle chaplain beforehand.
  • Noted fans of the film include and David Lynch.
  • The restoration, which included the addition of about an hour’s worth of material cut from previous prints, was initially financed by The Grateful Dead’s Jerry Garcia, who died before it was completed in 2001. Filmmakers  and (who included it in his series “Masterpieces of Polish Cinema”) took up the cause after Garcia’s demise.

INDELIBLE IMAGE: Near the film’s climax, Van Worden stares out through an gap in a castle wall and sees a vision of himself receding into the distance with the two princesses, headed towards a poster bed standing alone in the middle of a desert. The only other features in the landscape are a cow’s skull and a dead crow half buried in the sand. There’s a wonderful trick to the shot, indicative of the film’s obsession with misdirection and game playing.

THREE WEIRD THINGS: Between hanged men; incestuous Islamic princesses; five levels of flashbacks

WHAT MAKES IT WEIRD: The Saragossa Manuscript winds through a Gothic journey replete with gallows, ghostly seductresses, duels, occult symbols, Inquisitors in bondage gear, and more, an epic tale told in the ever-receding stories-inside-of-stories style that Guy Maddin would later adopt (in a more fetishistic fashion) for The Forbidden Room. Wojciech Has’ 3-hour adaptation of Jan Potocki’s grandiose novel is storytelling in its purest form; it’s a world cinema classic that has been unfairly neglected, out-of-print in the USA for far too long. The film’s design unfolds slowly, wandering through a disorienting labyrinth of stories that eventually resolve, only to dissolve again in a mystical finale in the Spanish desert.


Re-release trailer for The Saragossa Manuscript

COMMENTS: “All that has made me confused,” complains Captain Continue reading 265. THE SARAGOSSA MANUSCRIPT (1965)