Tag Archives: Criterion collection

APOCRYPHA CANDIDATE: THE ELEMENT OF CRIME (1984)

366 Weird Movies may earn commissions from purchases made through product links.

Recommended

DIRECTED BY:

FEATURING: Michael Elphick, Meme Lai, Esmond Knight, Jerold Wells

PLOT: Under hypnosis, a detective recalls a case where he tried to catch a serial killer by retracing his steps using investigatory techniques pioneered by his mentor in his book “The Element of Crime.”

Still from The Element of Crime (1984)

WHY IT MIGHT JOIN THE APOCRYPHA: The Element of Crime tells a (literally) hypnotic story soaked in doom and moral decay, with the film looking like it’s lit by the smoldering embers of an immolated Europe.

COMMENTS: Although he had made a 57-minute student film previously, The Element of Crime is Lars von Trier’s first true feature and his first commercial work. Though the atmosphere is narcotic, the work shows the energy of youth—the bold choice of shooting in an almost entirely orange palette being the most obvious example of the youthful preference for style over substance. The film does not show many hints of the shock provocateur von Trier would later become, nor is his edge of Jacobean cruelty fully honed yet, but those qualities are not missed in this dreamy mood piece.

Von Trier leans on noirish motifs, putting his own strange spin on them: a monochrome palette (jaundiced instead of shadowy), voiceover narration (sometimes supplied by the hypnotist), rain (constant downpours of almost parodic quantities), a femme fatale, and moral slippage (our detective’s mentor, Osborne, has clearly gone mad, and we justifiably fear that our hero may really become the killer he emulates). Other concerns are new: as the detective becomes more obsessed with the algorithmic process of retracing the steps of the predator, the police establishment grows increasingly fascist—suspects are beaten, and the police shave their heads to resemble their leader, Kramer, who prefers issuing edicts through a bullhorn. The rise of brute force, as opposed to the failed intellectualism of Osborne’s system?

The hero, Fisher, splashes through a world of constant rain and puddles. He is submerged; in his memory, in his subconscious, and in the procedure of entering a psychotic killer’s mindset, a procedure that threatens to pull him under. It’s no wonder that Fisher’s last words in the film are “you can wake me up now. Are you there?” It’s the plea of a man drowning in his own mind, the fished who no longer believes himself the fisher.

WHAT THE CRITICS SAY:

“…here’s a chance to catch a master of bizarre lighting and film stock experimentation at an early point in his career… Unsettling and odd, it’s the perfect film for a dreary, rainy day.”–Marc Savlov, The Austin Chronicle

(This movie was nominated for review by future 366 contributor Caleb Moss, who said the story “seems to be a mix between Naked Lunch and Brazil.” Suggest a weird movie of your own here.)

CAPSULE: ONIBABA (1964)

366 Weird Movies may earn commissions from purchases made through product links.

DIRECTED BY: Kaneto Shindo

FEATURINGNobuko Otawa, Jitsuko Yoshimura,

PLOTTwo women make a living luring passing samurai to their death in a large pit and selling their belongings, until the return of a lusty neighbor leads them headfirst into a deadly conflict of sexual passion and supernatural punishment.

COMMENTS: Anyone familiar with Japanese films from the 1950s and ‘60s knows that the samurai film was very popular in those days. But if your image of Japanese horror is The Ring and The Grudge, you might be surprised to know that Japanese horror films of earlier eras also skewed towards the samurai genre (when not of the Godzilla variety, that is). This isn’t the samurai film of and Toshiro Mifune, though. Onibaba takes place in an even more distant era of Japanese history, some time around the 14th century, during the Warring States era, which found samurai generals leading groups of conscripted farmers waging endless wars on behalf of various emperors and warlords.

The story goes like this: an older woman (Nobuko Otowa) and her young daughter-in-law (Jitsuko Yoshimura) live in the middle of a vast susuki grass field, awaiting the return of her son and unable to farm because of bad weather and the lack of men in the area. To make ends meet, they ambush passing soldiers stranded in the tall grass and kill them for their belongings, disposing of the bodies in a deep dark hole. One day, a neighbor (Kei Sato) returns from the war, bearing news of the son’s death. Before long, he makes advances towards the dead man’s wife, infuriating her mother-in-law as well as a ghostly spirit who rises from the tall grass at night.

Except for that last part, this might not sound much like horror. To be fair though, Onibaba is not so much a fright film as it is an erotic drama with supernatural undertones. The sexual passion arising between the young man and woman is elemental, like the tall grass that fills the Cinemascope frame and dwarfs the three main characters. While scenes involving the evil demon who appears to punish the two lovers can be hair-raising, ultimately it’s the grass that makes Onibaba such a strange and compelling experience. Depending on the moment, it can look like ripples in a shallow pond, flowing hair, a raging fire, a cage, or a bird’s wings.  You experience the isolation of the characters in a way that is tactile and sensual. Feelings of sexual desire and fear take on a primitive intensity, as Japanese taiko drums thunder in the background with threatening urgency.

Adding to the film’s mystique, the cast and crew lived in makeshift huts in a remote field while making this film, with contracts that required them to stay on location for the duration of the shoot or forfeit their pay. The finished film reflects the isolation and frustration resulting from these conditions, with the actors expressing their characters’ desires with a physicality atypical for Japanese cinema: rolling around in the grass like dogs in heat, grinding their bodies against wooden poles, and attacking their samurai prey like wild animals. This makes for an unusually intense film about sexual desire and spiritual beliefs in a more primitive era of humanity, with a ghostly and unsettling atmosphere that perfectly evokes the fears you might experience if you lived your entire existence in an all-encompassing sea of grass.

Onibaba has recently received an upgrade to its previous Criterion Collection release from 2004, a new Blu-ray edition which retains most of the special features from the original DVD (including an interview with director Kaneta Shindo and on-set footage from the shoot), along with a new HD restoration and a 2001 commentary featuring Shindo and actors Kei Sato and Jitsuko Yoshimura. If you’ve never seen this Japanese horror classic, there’s never been a better time to remedy that situation.

WHAT THE CRITICS SAY:

“The director’s brooding tale is abetted by Hiyomi Kuroda’s cloudy, low-key photography and Hikaru Kuroda’s properly weird background musical score. But despite Mr. Shindo’s obvious striving for elemental, timeless drama, it is simply sex that is the most impressive of the hungers depicted here.”–A.H. Weiler, The New York Times (contemporaneous)

*19. MIRROR (1975)

Zerkalo

366 Weird Movies may earn commissions from purchases made through product links.

“For Proust the concept of time is more important than time itself. For Russians that’s not an issue. We Russians have to plead our case against time. With authors who wrote prose based on childhood memories, like Tolstoy, Garshin, and many others, it’s always an attempt to atone for the past, always a form of repentance.” –Andrei Tarkovsky

DIRECTED BY:

FEATURING: Margarita Terekhova, Ignat Daniltsev, Filipp Yankovskiy, voices of Innokentiy Smoktunovskiy and Arseny Tarkovsky

PLOT: Alexei’s life story is told through jumbled flashbacks and dreams that mainly involve his mother. Abandoned by his father, he spent his youth in a remote cabin with his mother and siblings. He grows up to have a child of his own, but his relationship with the boy’s mother is only cordial, and he’s grown apart from his own mother.

Still from Mirror [Zerkalo] (1975)

BACKGROUND:

  • Originally conceiving the film as a memoir about his own childhood memories of WWII, but gradually adding in elements from his later life, Tarkovsky began work on this story as early as 1964.
  • The poetry heard in the film is written and read by Arseny Tarkovsky, Andrei’s father. Andrei’s mother appears as herself in the film.
  • Tarkovsky reportedly made 32 edits of the film, complaining that none of them worked, before settling on this as the definitive version.
  • The Soviet authorities refused to allow Mirror to screen at Cannes.
  • Mirror ranked #19 in Sight & Sound‘s Critics’ Poll and #9 in the Director’s Poll in 2012.

INDELIBLE IMAGE: Maria floating in a dream while a dove flutters above her.

TWO WEIRD THINGS: Apparition history lesson; levitating mom

WHAT MAKES IT WEIRD: Mirror is an intensely personal, extremely diffused meditation on the meaning of life from one of cinema’s greatest artists. Although insanely difficult, many cinephiles find it intensely moving as an accumulation of individual images that flow like finely crafted verses of surrealistic poetry.


Restoration trailer for Mirror [Zerkalo]

COMMENTS: If you enjoy being confused, jump into Mirror with no Continue reading *19. MIRROR (1975)

CAPSULE: TOUKI BOUKI (1973)

366 Weird Movies may earn commissions from purchases made through product links.

DIRECTED BY: Djibril Diop Mambéty

FEATURING: Magaye Niang, Mareme Niang

PLOT: A young misfit and his girlfriend take off for Paris, committing a series of petty thefts on the way to fund their trip.

COMMENTS: This landmark film from Senegal, newly released by the Criterion Collection in a stunning HD restoration, begins with cowherds leading their flock through the pasture. An idyllic scene, but it soon turns dark… dark red, to be exact. The cows are on their way to be slaughtered—a scene that we are made to witness in all its gory detail. As the blood splatters and covers the slaughterhouse floor, the screen turns a sickening red usually reserved for grimy 1970s pseudo-snuff films. Although we never learn the exact circumstances, it’s a memory burned onto the protagonist’s psyche that will be recalled later at a crucial moment.

The central story of Touki Bouki is straight out of films like Breathless and Pierrot le Fou. Rebel without a cause Mory decides to shake off the dregs of Dakar and head north to Paris with his girlfriend Anta, first setting off on a carefree crime spree to raise the funds. But director Djibril Diop Mambety isn’t just a stylist looking to transplant French cinema into an African setting. After all, Senegal had only recently gained their independence from France at the time this film was made. There’s a sarcastic edge to much of the self-conscious French New Wave flourishes, like the song on the radio incessantly crooning “Paris, Paris, Paris,” and jokes at the expense of those who have sold themselves out to the new neo-colonial order.

Even so, Touki Bouki isn’t a political film, either. Although he didn’t have any formal film school training, Mambety had a knack for visual poetry, observing his surroundings and making evocative connections without the need to impose any explicit political ideology on top of it. For example, in another graphic scene not suitable for the squeamish, a goat is slaughtered—likely for sacrificial purposes. A woman takes off her coat, revealing nothing underneath. An inverted cross-like ornament glimmers in the hot desert sun. Waves crash beneath the edge of a cliff. There is a feeling of mystery, danger, and desperation. Mambety doesn’t feel the need to explain, distilling his imagery into poetry–conveying life as a waking dream not easily understood.

As the story begins to unfold, these dreamlike qualities take over. Mory and Anta embark on a road to nowhere, committing petty crimes and entertaining imaginary admirers. A deranged Tarzan disciple, one of the few white people in the film, is seen caterwauling at birds in a tree, only to come down and steal Mory’s motorcycle. Mory and Anta are able to steal a huge amount of money from a tribal benefit to support the building of a monument for Charles de Gaulle, right from under the eyes of the police officer in charge of guarding it. We don’t see the crime itself, only the lovers’ triumphant escape with a gigantic trunk full of cash. Later, Mory steals an entire wardrobe’s worth of clothing from a gay playboy’s mansion, as a decadent party goes on outside.

The line between the real world and the lovers’ fantasy world is always blurred. Memories collide with the present, and time is all but nonexistent. When Mory finally has his chance to leave Senegal, Mambety uses an allegorical montage to signal his change of heart, a stunning moment of free-flowing visual poetry that leads into an impressionistic dream sequence to end the film. Mambety’s vision is vivid and defiant, integrating French influence into a framework that is proudly African, with logic-defying montage and cinematography so vivid and striking that it threatens to explode right off the screen.

Even for those who have seen Touki Bouki before, Criterion’s recent Blu-ray release upgrades the experience. Along with a vivid 2K restoration of the film itself, there are interviews with admirers such as and Abderrahmane Sissako, as well as Mambety’s brother, Wasis Diop, who worked on the production. But the biggest revelation here is Contras’ City, Mambety’s debut short film from 1968. A feverish tour through the city of Dakar, this tongue-in-cheek city symphony explores the clash between different cultures and religions. There are soaring views of architecture, occasional moments of harsh realism, but always laced with the sharp sarcastic edge that also defines Touki Bouki.

WHAT THE CRITICS SAY:

“…one of the greatest of all African films and almost certainly the most experimental. – Jonathan Rosenbaum, Chicago Reader

10*: THE FABULOUS BARON MUNCHAUSEN (1962)

Baron Prásil

366 Weird Movies may earn commissions from purchases made through product links.

DIRECTED BY:

FEATURING: Miloš Kopecký, Jana Brejchová, Rudolf Jelínek

PLOT: An astronaut, Tonik, discovers that he is not the first man on the Moon, having been beaten there by literary figures Cyrano de Bergerac, Jules Verne’s protagonists of “From the Earth to the Moon,” and Baron Munchausen. Mistaking the astronaut as a native moonman, Munchausen volunteers to take him back to Earth to show him the ways of earthlings. The pair there rescue a princess from a sultan and are swallowed by a fish, among other fantastic adventures.

BACKGROUND:

  • The character of Baron Munchausen comes from  Rudolf Erich Raspe’s 1785 novel “Baron Munchausen’s narrative of his marvellous travels and campaigns in Russia.” Raspe based Muchausen on a real-life German officer who was notorious for embellishing tales of his own military exploits. Czechs traditionally called the same character “Baron Prásil.”
  • Munchausen’s stories have been adapted to film many times, beginning with a short in 1911.
  • Karel Zeman’s previous film, the black and white Invention for Destruction [Vynález zkázy], won the Grand Prix at the International Film Festival at Expo 58, and was considered the most successful Czech film of all time. Baron Prásil was even more ambitious, adding a luscious color palette and expanding on the techniques Zeman had pioneered in his previous work.
  • Home Cinema Choice named The Fabulous Baron Munchausen‘s 2017 remaster the best restoration of the year.

INDELIBLE IMAGE: Red smoke billowing in a yellow sky as the Baron and companions escape on horseback.

TWO WEIRD THINGS: Cyrano and pals on the Moon; Pegasus-drawn spaceship

WHAT MAKES IT WEIRD: Baron Prasil is a stunning visual feast combining live-action and animation, the effect far surpassing the modest means (by then-current standards) with which it was made.


Trailer for the restored version of The Fabulous Baron Munchausen

COMMENTS: “If he’s endowed with such imagination, let’s see some Continue reading 10*: THE FABULOUS BARON MUNCHAUSEN (1962)

THREE FANTASTIC JOURNEYS BY KAREL ZEMAN

Karel Zeman was a Czech animator, creator of some of the most lavishly stylized Jules Verne-inspired fantasy films ever made. His mature movies combined live actors with cutout animation and eye-popping three dimensional sets that defy imagination, with geometries that would make Escher scratch his head. Although the three major films chronicled here all made it onto an international stage and were dubbed into English, this pioneer remains known today mainly to a small group of cult movie fans and animation nerds. The Criterion Collection sought to rectify that oversight in 2020 with a very cool box set of three of Zeman’s best and wildest fantasies, newly restored and with a host of extras—many courtesy of the Karel Zeman Museum in Prague (yes, he’s that big of a deal in the Czech Republic).

In Zeman’s playful spirit, the Blu-ray set comes in a fold-out package with pop-up art (a dinosaur, a balloon, and Baron Munchausen riding a cannonball). The DVD set costs a few bucks less and is more modestly packaged. Otherwise, the extra features are the same between the formats. Each includes a foldout Michael Atkinson essay that’s presented like a vintage newspaper or playbill. Although the Blu-ray packaging is both chic and retro, the three fantastic journeys are the star features.

Disc 1: 1955’s Journey to the Beginning of Time is the perfect introduction to Karel Zeman. It tells the story of four boys who take off downriver, traveling backwards through time as they row along, first encountering woolly mammoths, then dinosaurs. This is the kind of movie a Disney might have produced in America, full of wholesome adventure and a healthy dose of scientific facts to nourish growing minds. At times, it plays more like a trip to the natural history museum than a rousing adventure yarn; but the kid actors are surprisingly good, and the stop-motion animation is often the equal of (and sometimes better than) Zeman’s American counterpart, Ray Harryhausen. It’s unmistakably a kid’s movie, and more simplistic in craft than the director’s future features, but you can already tell a sure hand is on the rudder.

Still from Journey to the Beginning of Time (1955)Like all the discs, the first includes a Czech trailer and a selection of short “museum documentaries” from the Karel Zeman Museum. The footage from these museum documentaries, which provide context for each film and reveal some of Zeman’s techniques, run about two to six minutes each, and will later be incorporated into disc 3’s full-length documentary. It’s handy to have the bits specific to the film you’re watching collected in one place, however. This section of the disc also presents a short before-and-after restoration Continue reading THREE FANTASTIC JOURNEYS BY KAREL ZEMAN

CAPSULE: THE BIG SHAVE (1967) (FROM “SCORSESE SHORTS”)

366 Weird Movies may earn commissions from purchases made through product links.

DIRECTED BY:

FEATURING: Peter Bernuth

PLOT: What starts out as a pleasant morning shave soon goes horribly wrong, turning into a bloody spectacle of self-mutilation as a man finds himself unable to stop shaving.

COMMENTS: I first saw The Big Shave on YouTube a few years ago, after hearing about American Boy (another film included on Criterion’s new “Scorsese Shorts” collection) via , who used a story from that film as inspiration for the adrenaline injection scene in Pulp Fiction. American Boy, a monologue film featuring Stephen Prince (a friend of Scorsese’s who had played a bit part in his feature film Taxi Driver), showed me that there was a side to Martin Scorsese that I never seen before, and encouraged me to dig deeper into Marty’s back catalog. The Big Shave, a gory allegory about the Vietnam War, is unlike anything else in Scorsese’s filmography, and left a mark on my memory that I’ve never been able to shake. Thanks to the Criterion Collection, The Big Shave, along with American Boy and three other early Scorsese short films, is now available to revisit in gloriously bloody HD.

To most cinephiles these days, Scorsese might seem like an untouchable symbol of classic Hollywood, one of the last quintessential “great” filmmakers, whose new films are treated with solemn reverence and his old films spoken of in hushed tones as some of the greatest of all times. But Mean Streets wasn’t his first foray into filmmaking, not by a long shot. The real story started 10 years earlier, when Scorsese was a film student at NYU. There he made two award-winning student films: What’s a Nice Girl Like You Doing in a Place Like This? and It’s Not Just You, Murray. In a way, these two films reflect a spirit similar to what a lot of young film students were doing at the time. They’re blatantly irreverent and intentionally bizarre, with a gleeful determination to create a new way of making films inspired by the French New Wave.

However, unlike these fairly innocent student short films, The Big Shave doesn’t just set out to toy with the viewer’s mind, it aims to get under their skin, peeling it back to reveal what lies beneath. Had it been made in a different era, any number of meanings might be extracted from it, but seeing that it was a product of the late 1960s, it’s difficult to see it as anything other than a commentary on the self-destructive nature of the US military’s involvement in Vietnam. It even has an alternate title, Viet ‘67—but that might have made it too obvious.

It starts by establishing its setting: a sparkling white bathroom filled with sparkling silver fixtures. The bath faucets, the toilet paper holder, the sink—all are shown in pristine close-ups that establish Continue reading CAPSULE: THE BIG SHAVE (1967) (FROM “SCORSESE SHORTS”)