Tag Archives: Comedy

302. WR: MYSTERIES OF THE ORGANISM (1971)

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“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

DIRECTED BY:

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.

Still from WR: Mysteries of the Organism (1971)

BACKGROUND:

  • 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)

301. FANTASY MISSION FORCE (1983)

Recommended

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.

Still from Fantasy Mission Force (1983)

BACKGROUND:

  • 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)

CAPSULE: COLOSSAL (2016)

DIRECTED BY:

FEATURING: Anne Hathaway, Jason Sudeikis

PLOT: An alcoholic woman discovers that she unwittingly controls a giant monster who is attacking Seoul.

Still from Colossal (2016)

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)

CAPSULE: GINGER AND FRED (1986)

Ginger e Fred

Recommended

DIRECTED BY:

FEATURING: Giulietta Masina,

PLOT: Retired Fred Astaire/Ginger Rogers impersonators return for a guest spot on a television spectacular.

Still from Ginger and Fred (1986)

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)

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)

LIST CANDIDATE: TAMPOPO (1985)

Recommended

DIRECTED BY: Jûzô Itami

FEATURING: Tsutomu Yamazaki, Nobuko Miyamoto, , Fukumi Kuroda

PLOT: A stranger rides into town and helps a struggling widow to master the art of noodle preparation, while peripheral characters enact food-related comic sketches.

Still from Tampopo (1985)

WHY IT MIGHT MAKE THE LIST: Tampopo‘s parodic tale of noodle shop warfare is almost straightforward, if offbeat. Fortunately, there are enough surreal diversions—a fourth-wall breaking introduction where a gangster lectures the audience about eating too loudly during the movie and scenes exploring the erotic possibilities of live shrimp and egg yolks—to make this one worth a weird watch.

COMMENTS: Few movies can make you as hungry as Tampopo, the savory “noodle Western” (or “Eastern”) about an itinerant truck driver/gourmet who trains a mediocre cook to prepare the world’s greatest bowl of ramen. The main plot lightly parodies Westerns, with the stranger wandering into town to help (and woo) the local attractive widow, complete with showdowns with the local gang—although they battle not with guns, but with cutlery. In between advancing that storyline, the film takes time out for unrelated absurdist sketches revolving around food. (In the first of these, we visit a five star restaurant for a business meal where sycophantic salarymen order the same bland meal as the boss, while in another room a matronly etiquette maven tries in vain to teach young ladies to eat their spaghetti without slurping). The most of memorable of these excursions involves a mysterious yakuza in a white suit, who has kinky gourmet sex in a hotel room with his mistress. Come to think of it, the movie may make you as horny as it does hungry, although the sex is (almost) all done in good taste.

Not that it’s all fluffy, marshmallowy cinema. There are moments here that seem better fitted to a mondo film, such as the killing of a turtle (with one quick slice from a knife inserted under the shell), and the thematically meaningful yet taboo footage that plays while the credits roll. Many people find the egg yolk foreplay more yucky than erotic, while there’s another scene where the yakuza flirts with–and even French kisses—a dangerously underage oyster fisherwoman. These scenes are mildly shocking, although they’re neither mean-spirited nor deployed simply for the sake of shock. They add pungent, R-rated spice to a movie that might otherwise be too sweet and mild; with a few judicious cuts, it’s appropriate for a school-age crowd.

I first saw Tampopo (on VHS) when it came out thirty years ago, and although I had a generally good impression of it, I didn’t remember much beyond the basic premise. I’m surprised that I didn’t recall it as being especially strange or surreal. I found it a more interesting film this time around, which suggests that this may be a movie that takes some life seasoning to appreciate. It’s essentially a silly work, but as a paean to the pleasures of food and sex (and movies), it’s an easy one to champion.

The Criterion Collection released Tampopo on DVD in 2010, then finally upgraded it to Blu-ray this year (2017).

WHAT THE CRITICS SAY:

“…one of those utterly original movies that seems to exist in no known category…. the movie is so consumed and detailed, so completely submerged in noodleology, it takes on a kind of weird logic of its own.”–Roger Ebert, Chicago Sun-Times (contemporaneous)

(This movie was nominated for review by “upgrayedd,” who simply said “Tampopo is a weirdo.” Suggest a weird movie of your own here.)