Here’s some background noise to turn on while you’re beginning to view yourself in third-person.
FEATURING: , , Adrian Brody
PLOT: Three brothers, each at a personal crossroads, reunite for a spiritual quest through India.
WHY IT WON’T MAKE THE LIST: The Darjeeling Limited comes from Wes Anderson’ mid-to-early period, where he flirted with stangeness in airy, slightly dreamy features like Life Aquatic with Steve Zissou and this before floating back to Earth for the family-friendly Fantastic Mr. Fox and the Oscar-friendly The Grand Budapest Hotel. He never became quite untethered enough from the bounds of indie movie reality and character-based comedy to soar all the way to the vertiginous heights of the weird, though he did aim high enough to make movies of this period worthy of some scrutiny by fans of unusual films.
COMMENTS: “How can a train be lost? It’s on rails,” Jack sensibly asks after the trio of brothers have been asked to disembark from the title vehicle mid-trip. The “off the rails” joke seems intended a wry, self-aware comment from Anderson about the shaggy dog nature of his story, but it’s not really accurate. For better or worse—I’d say better—The Darjeeling Limited never deviates from the path it sets. This director is known for his tight formalism, revealed in his immaculate set design—every swatch of geometric wallpaper, every piece of matching luggage covered in palm trees suggesting a proper Old World elegance—and in the distant, detached stiffness he enforces on his actors.
The Darjeeling Limited is a quintessential Wes Anderson movie: carefully composed visuals (with a stunning turmeric and saffron color scheme), quirky characters with muffled emotions, a mildly absurd plot. It’s perfectly capable of absorbing you in its off-center but oddly believable universe. Owen Wilson (as the ringmaster brother swaddled in bandages from his recent near-death accident) and Jason Schwartzman (as the womanizing writer brother) are old hands for Wes; lanky Brody, not known at the time for his comic performances, fits into the ensemble surprisingly well., naturally, has an amusing sad sack cameo, and old hand turns up in a small role, too. These three brothers are allegedly off on a spiritual journey, but their quest turns out to be more about coming to grips with the legacies of their parents than discovering nirvana. A Wes Anderson protagonist is typically an upper-middle class (i.e., bourgeois) man focused on a peculiar obsession (Rushmore‘s Max and his crush on an older woman, Steve Zissou’s quest for vengeance), whose narcissism is deflated when he comes to realize that the universe will go its own way without yielding to his desires. These characters’ lenses gradually widen to compensate for their myopia, and they end up not with redemption, but with the resigned wisdom that comes from accepting disillusionment. Here, the realization comes in triplicate. Perhaps there is a legitimate spiritual lesson there, after all.
The Criterion disc includes “The Hotel Chevalier,” a short film starring Schwartzman (alongside) that describes an incident just before the beginning of Darjeeling Limited. It screened before the feature in some theaters. It carries the same sense of whimsical melancholy as the main feature, but, despite plot connections to the main story, it isn’t necessary to enjoy or understand Darjeeling.
WHAT THE CRITICS SAY:
(This movie was nominated for review by “bill,” who said it was “not as overtly strange as some of the movies on this list however there is a certain surreal aspect to the story telling that makes this a masterful cinematic oddity .” Suggest a weird movie of your own here.)
“I hate the irrational. However, I believe that even the most flagrant irrationality must contain something of rational truth. There is nothing in this human world of ours that is not in some way right, however distorted it may be.”–William Reich
FEATURING: Milena Dravic, Ivica Vidovic, Jackie Curtis
PLOT: After a disorienting “overture” hinting at themes to come, WR settles in as a documentary on the late work and life of William Reich, the controversial disciple of Sigmund Freud who came to believe in the therapeutic power of the orgasm and in a mystical energy called “orgone.” Gradually, other semi-documentary countercultue snippets intrude, including hippie Vietnam protesters, the confessions of a transsexual, and some fairly explicit erotic scenes (in one, a female sculptor casts a mold of a volunteer’s erect penis). Finally, a fictional narrative—the story of a sexually liberated Yugoslavian girl seducing a repressed Soviet dancer—begins to take precedence, leading to a suitably bizarre conclusion.
- William Reich was a controversial figure in psychoanalysis; a highly respected disciple of Freud as a young man, his ideas grew more extreme and crankish as he aged. A reformed Marxist, he coined the phrase “sexual revolution” and devised an orgasm-based psychotherapy. His theorizing about “orgone energy” led to promotion of boxes called “orgone accumulators,” which he claimed could cure disease and control the weather. This device got him into trouble with the Food and Drug Administration, and he was eventually persecuted for fraud, then imprisoned for contempt after refusing to stop selling his books and devices. He died in prison.
- The hippie performance artist is Tuli Kupferberg of the Fugs (Fugs songs also appear on the soundtrack).
- The film’s transvestite is Jackie Curtis, the Superstar mentioned in Lou Reed’s “Walk on the Wild Side”: “Jackie was just speeding away…”
- The segments with Josef Stalin come from the Soviet propaganda film The Vow (1946).
- WR was banned in Yugoslavia until 1986. It was either banned (for obscenity West of the Iron Curtain, for politics to the East) or heavily cut in many other countries. The film ended Makavejev’s career as a director in Yugoslavia; all of his future features were produced in North America, Europe or Austraila.
- WR was selected as one of the “1001 Movies You Must See Before You Die.”
INDELIBLE IMAGE: A Yugoslavian sexpot doing her impression of the Brain that Wouldn’t Die, declaring “even now I’m not ashamed of my Communist past,” while her forensic pathologist stands above her holding the decapitation implement: an ice skate.
THREE WEIRD THINGS: Penis molding; “Milena in the Pan”; hymn to a horse
WHAT MAKES IT WEIRD: A straight-up documentary of the clinically insane psychiatrist William Reich would necessarily have been a little bizarre, but that’s just the starting point for this crazy-quilt counterculture collage that alternates between Reichian sexual theories, demonstrations of New York decadence, and esoteric Marxist dialectic.
Short clip from WR: Mysteries of the Organism
COMMENTS: Sex is dangerous. It even gets WR‘s heroine, Milena, Continue reading 302. WR: MYSTERIES OF THE ORGANISM (1971)
Mi ni te gong dui; AKA Dragon Attack
“If it sounds ridiculous, that’s only because it was.”– Jackie Chan on Fantasy Mission Force (quoted in Keith Bailey, “The Unknown Movies”)
DIRECTED BY: Yen-Ping Chu
FEATURING: Jackie Chan, Brigitte Lin, Yu Wang (Jimmy Wang Yu), Yueh Sun, David Tao, Jin Fang, Shiu Bu Lia, Ling Chang
PLOT: Four Allied generals have been captured by the Japanese. Mercenary Don Wen is hired to liberate them, and recruits a team which includes “Old Sun,” escape artist “Greased Lightning,” two kilt-wearing soldiers, con man Billy, and Lilly, Billy’s bazooka-toting on-and-off girlfriend who tags along when she hears about the cash reward. Tailed by rogues Sammy and Emily, the team encounters Amazons and a haunted house on their way to a surprisingly bloody showdown with the kidnappers.
- Director Yen-Ping Chu (sometimes credited as “Lawrence Full” or “Kevin Chu”) is the director of sixty-five (mostly kung fu and comedy) films; this is his only effort which is marginally well-known in the West.
- According to persistent but unconfirmed rumors, a Triad-connected movie mogul ordered a hit on Jackie Chan when he decided to change studios. Jimmy Wang Yu intervened to settle the dispute, and as part of the deal Chan agreed to lend his growing star power to two of Wang’s movies (this being one).
INDELIBLE IMAGE: An ambush by ribbon-shooting ninjas? Bloody ghost hands waving wads of toilet paper? Assault of the Road Warrior-Japanese-punk Nazis? Your opinion on this one is as good as ours, and it’s likely to change many times during the movie as some new amazement pops up. We’ll just go with any shot of the assembled team: Old Sun in his top hat, Brigitte Lin in black leather with a bazooka, Billy in his white suit and Elvis sideburns, the kilt-wearing pair of misfits… as weird a group ever formed to fight an anachronistic battle against fascist kidnappers somewhere in Canada, Luxembourg, or Taiwan.
THREE WEIRD THINGS: Scottish/Chinese mercenaries; toilet paper ghosts; Japanese Nazis in Chevys
WHAT MAKES IT WEIRD: Packed with kung fu, shootouts, flying ninjas, hopping vampires, and slapstick comedy reminiscent of Benny Hill, Fantasy Mission Force is one of the only commercial entertainments ever released where you can honestly say you have no idea what will happen next. It’s a pulp surrealism masterpiece, set in a previously undiscovered movie universe at the conjunction of the Shaw Brothers, , and the Three Stooges.
Original Cantonese trailer for Fantasy Mission Force
COMMENTS: Although some reviewers are reluctant to discuss the Continue reading 301. FANTASY MISSION FORCE (1983)
FEATURING: Anne Hathaway, Jason Sudeikis
PLOT: An alcoholic woman discovers that she unwittingly controls a giant monster who is attacking Seoul.
WHY IT WON’T MAKE THE LIST: The premise is strange, but the execution is not as bizarre as it might have been, tending more to light psychological drama.
COMMENTS: The two opening scenes of Colossal are well-matched. In the first, a Korean girl loses her doll in a park, only to find a giant gray monster looming over the skyscrapers of distant Seoul. 25 years later, a tipsy Gloria (Hathaway) meets her own personal disaster among the skyscrapers of New York City when her boyfriend kicks her out of their apartment and onto the streets after she shows up drunk again.
Two women, facing two monsters, which, the movie suggests, may really be the same thing: the Seoul-stomper is somehow connected to Gloria’s screwed-up life. After her world falls apart and she moves back to her quiet hometown, things go to hell as she takes a job in a bar run by old friend and would-be lover Oscar (Sudeikis). That Korean monster, spotted one night 25 years ago, starts appearing again in Seoul almost nightly, although it usually does little more than scratch its head and stumble around aimlessly. These appearances, which naturally go viral on CNN and social media, all seem to happen while Gloria is blacked out. Meanwhile, Gloria ups her drinking and finds herself a boy toy, a handsome younger man without much backbone. That development doesn’t please Oscar, who’s given her a job, TV, and a new suite of furniture in hopes of finally winning his childhood sweetheart.
After this setup, we expect the movie dive into a wacky kaiju/romantic comedy mashup, but things get darker, as the metaphor extends from the monster merely representing Gloria’s alcoholism to embrace co-dependency and abuse—it a conflation of all of her bad choices, along with some misfortunes that befall her through no fault of her own. The script lets the symbolism get away from it a little bit, and neither the mechanism through which the monster manifests itself, nor its origin story, nor its final disposition, quite live up to the cleverness of the original conceit. The movie has serious (if not colossal) tone problems: too many innocent Koreans are killed for it to be an effective comedy, but the premise is too ridiculous to generate the tension needed for action/horror thrills. Colossal does find a way forward, by staying so committed to its allegory that you keep watching just to figure out how it will all be resolved. Sudeikis provides another reason to tune in, as he turns out to be a powder keg with a secret of his own. Colossal had the potential to level much more real estate than it did—lover’s spats and millennial introspections outnumber kaiju battles by at least two-to-one—but you should still find a lot to enjoy lying about in the rubble.
Spain’s Nacho Vigalondo first burst onto the indie scene with the tightly-wound time travel bibelot Timecrimes. Since then, he’s been continuing to make smart movies with sci-fi/fantasy/horror themes, and someday may produce an oddity ready-make for the List of the Weirdest Films Ever Made. This isn’t it, however.
WHAT THE CRITICS SAY:
“…a unique and bizarre and surprising and original piece of filmmaking… From its weird little prologue to a nearly perfect ending, ‘Colossal’ is a trip in multiple meanings of that word.”–Richard Roeper, Chicago Sun-Times (contemporaneous)
The neighbor kids clean their house (and the streets) in preparation for the arrival of their new roommate.
Content Warning: This short contains brief pixilated nudity and bad language.
Worm people help out a nuclear family with a surprise home makeover.
Ginger e Fred
FEATURING: Giulietta Masina,
PLOT: Retired Fred Astaire/Ginger Rogers impersonators return for a guest spot on a television spectacular.
WHY IT WON’T MAKE THE LIST: One ten-teated cow does not a weird movie make. In Ginger and Fred, Fellini’s once-aggressive surrealism mellows into bemused quirkiness. Fans will find plenty to appreciate in the colorful, chaotic oddity on display, but this is a conventional comedy, by the maestro’s standards.
COMMENTS: Ginger and Fred is not a “Felliniesque” movie per se. It’s more of a roadmap for how Fellini’s vision might be channeled into something nostalgic and whimsical: Fellini for grandpas and grandmas. It’s a pleasing elegy for grand old entertainment, mixed with an unsubtle but effective satire of television. It features Fellini’s muse (Masina) and alter-ego (Mastroianni) working together for the first and only time, a pairing that in and of itself would make Ginger and Fred noteworthy. Fortunately, it’s also a good movie, with excellent performances from both stars. Masina’s Ginger is likeable and dignified, bemused by modernity without being overwhelmed or embittered. Mastroianni’s Fred hides his growing feebleness under a mask of rakishness, quick with a wolf whistle and a drink order. The scene where Fred repeatedly lifts Ginger while her eyes cross and they both start breathing heavily is as amusing a proxy for geriatric intercourse as I ever want to see on film.
Ginger and Fred‘s unseen network executives assemble a collection of human oddities for their Christmas spectacular variety show, with whom the elegant and put-upon Ginger is forced to share a hotel and a stage. There’s a transvestite with a divine calling to visit prisoners, Kafka and Proust impersonators (!), a troupe of bolero-dancing dwarfs, a mutant cow, a couple who tape-record ghost voices, and a throng of supplemental weirdos: extras wander around dressed like video game characters and decapitated geishas. There is some inherent irony in the way Ginger and Fred trots out its freakshow parade as a criticism of television, given the fact that Fellini himself was famous and celebrated for populating his films with odd-looking people and carnivalesque performers. The distinction, of course, is that Fellini isn’t criticizing television’s reliance on the grotesque, but the shallowness of its fascination, of the spectacle format in which every story is cut to fit in as short a slot as possible and not explored beyond its surface. His satirical circus is something stranger and more curious than television could ever accomplish (except, of course, when Fellini worked in the medium). He spends time exploring Ginger and Fred in-depth, making them three-dimensional characters inhabiting a two-dimensional world.
Some of the best bits are the brief parodies of television programming. There’s an absurd puppet show version of Dante’s “Inferno,” spot-on recreations of MTV music videos, a commercial with sexy French maid pouring olive oil on a huge lobster, a game show where housewives shovel pasta into their mouths from sinks, with the sauce delivered from the faucet. Televisions are everywhere in Ginger and Fred; in the hotel lobby, on the studio’s buses. Modern audiences will identify with the way the characters are always looking at screens rather than people—only back then, it was television that was the distraction. The screen has changed, but the message is the same.
In a strange footnote, Ginger Rogers unsuccessfully (and foolishly) sued Ginger and Fred‘s producers for trademark infringement and defamation.
WHAT THE CRITICS SAY:
“…a hysterical send-up of Italian television, which looks like an LSD-induced vision of ours 30 years ago – a combination of Morey Amsterdam’s ‘Broadway Open House,’ ‘The Ed Sullivan Show,’ Alistair Cooke’s ‘Omnibus’ and the Irv Kupcinet show… One longs for fewer midgets and bizarre misfits and for more of Miss Masina and Mr. Mastroianni.”–Vincent Canby, The New York Times (contemporaneous)
Earth is visited by a giant, floating, spoon-obsessed alien.
A man tries to keep his youthful appearance by any means necessary.