Tag Archives: David Cronenberg

1977 EXPLOITATION TRIPLE FEATURE, PART TWO: RABID

If anyone from the future opens a 1977 time capsule stuffed with DVDs, the first impression they may reap is that everyone was having lotza sex in the late 70s. Sylvia Kristal (the most famous actress to essay the role) opens the year with Emmanuel 3. Laura Gemser (our Black Emanuel from ’75) takes over with Emanuel in America. Apparently native boys can’t get it up enough for her, so Laura branches out in Emanuel Around the World. She then plies her trade in the nunspolitation genre in Sister Emanuel, and finally takes on the cannibal movement with Emanuel and the Last Cannibals. After that, Laura gets some much needed R &R, and won’t return until 1980’s Emanuel: Queen Bitch.

The 70s were definitely not political correct, as Chai Lee proves with Yellow Emanuel. It’s more of the same with a different skin hue. Lee shrugs off the racist title and slut shaming, declaring that her vagina is merely a muscle that needs exercising. Actually, it’s a tame affair.

Joey Heatherton took over the role of Xaviera Hollander for The Happy Hooker Goes To Washington. She’s a bitter fit than Lynn Redgrave was in 1975’s The Happy Hooker, and director William  A. Levey was more at home with the trashy tales of the madame’s purportedly true exploits than Nicholas Sgarro had been two years earlier. Still, it’s dated soft-core titillation.

Adult film star shows up for the “Catholic High School Girls in Trouble” sexploitation segment of John Landis’ anthology,  Kentucky Fried Movie. Despite his one time commercial standing  and the cults around a few of his films (1978’s Animal House, 1980’s The Blues Brothers, 1981’s An American Werewolf In London), Landis never made a good film, and proved what a lousy filmmaker he was going to be in this, his second film. At the very least, we have to give the hack his due because he got through this without crippling or killing anyone.

Still from Too Hot to Handle (1977)Tan, buxom blonde Cheri Caffaro was a minor 70s exploitation sex symbol. She began her path to “fame” after winning a Brigitte Bardot lookalike contest and is best known for her Ginger McAllister trilogy: Ginger, The Abductors, and Girls Are For Loving, made between 1971 and 1973 and written and directed by her then husband Don Schain. Ginger was a softcore female James Bond for the drive-in circuit.  All of these were trashy and fun (we hope to cover the entire trilogy at a later date). Caffaro had branched out Continue reading 1977 EXPLOITATION TRIPLE FEATURE, PART TWO: RABID

1975 EXPLOITATION TRIPLE FEATURE: ILSA, SHE WOLF OF THE SS, SWITCHBLADE SISTERS, AND SHIVERS

In 1975, Steven Spielberg’s Jaws defined the idea of blockbuster as we now know it. Despite the epic career that followed, the director has never surpassed this early work. It’s really a full-throttle horror adventure about the trio of shark hunters Roy Schneider, Robert Shaw, and Richard Dreyfuss; a fact that amazingly eluded MCA when they produced numerous sequels (without Spielberg) that reduced Bruce (the shark) to an underwater Jason Vorhees.

The Rocky Horror Picture Show defined “cult classic” like no other film before or since. Although it was relatively slow to take off, it became the staple for audience participating midnight showings and undeniably the number one cult film of all time. It was stupidly remade by Fox (imagine that) in 2016 and deservedly flopped with both critics and its TV audience.

Salo, the 120 Days of Sodom was the last and most notorious film of before he was brutally murdered under mysterious circumstances, shortly after filming. The film itself is only for the strongest stomachs.

Ilsa, She Wolf of the SS (directed by Don Edmonds) is one of the most notorious of cult films and made a bonafide 70s grindhouse superstar out of former exotic dancer and softcore porn actress . The main role is loosely based on Ilse Koch—the “Bitch of Buchenwald.” The historical Ilse, wife of the camp’s commander, was known to have frequently flogged prisoners, including pregnant women. At one of her trials, witnesses were produced who testified that she chose Jews with unique tattoos for extermination so that she could keep their skin. After two trials, she was sentenced to life in prison in 1951 for crimes against foreigners, incitement to murder, and attempted murder. In the last few years of her life, she became paranoid that former camp prisoners were conspiring to kill her, and committed suicide in her cell in 1960.

Shot on the same sets as “Hogan’s Heroes,” the film is thoroughly a product of its time. Under that lens of horror/sexploitation/torture porn, it’s less offensive than either a TV series that makes light of the Holocaust or torture porn dressing itself up as sacred Easter pageant theology (2004’s Passion of the Christ). Still, one can question the entertainment value of a buxom blonde Josef Mengele conducting monstrous experiments, but 70s audiences had no qualms, flocking to see it in grindhouse theaters and making it enough of a hit that three sequels followed. Ilsa’s motive for torture is to prove that women can endure more pain than men and should therefore be allowed to fight on the front lines, which is about as convincing as the movie’s opening statement from the producers defending its historical accuracy. It’s unlikely to inspire contemporary viewers to go to do research on Wikipedia. There’s not much in the way of plot, but purely as exploitation, it’s resoundingly successful in accomplishing what it sets out to do.

Poster for Ilsa She Wolf of the SS (1975)With this subject matter, a solid performance is needed. Thorne, with tight, low-cut white blouse and swastika armband, delivers in spades, spitting dialogue out of thin, cruel lips. It must be a testament to her onscreen Continue reading 1975 EXPLOITATION TRIPLE FEATURE: ILSA, SHE WOLF OF THE SS, SWITCHBLADE SISTERS, AND SHIVERS

READER RECOMMENDATION: CRIMES OF THE FUTURE (1970)

Reader review by Rafael Moreira

DIRECTED BY:

CAST: Ronald Mlodzik, Jon Lidolt, Tania Zolty

PLOT: Adrian Tripod, director of a dermatological clinic called House of Skin, wanders in search of his mentor, Antoine Rouge, who has mysteriously disappeared after a catastrophic plague related to cosmetic products kills the entire population of sexually mature women.

Still from Crimes of the Future (1970)

WHY IT MIGHT MAKE THE LIST: Crimes of the Future is chock full of Cronenberg’s characteristic, and characteristically weird, themes of the relationship between the mind and body and their fragilities and possible degradations. What makes it different from his future efforts is that the film’s null budget renders it underproduced, alienated and experimental in ways that both augment its weirdness and undermines its cinematicness. The fact that it is shot silent with a commentary added later only feeds the dreamy, disassociated atmosphere.

COMMENTS: Crimes of the Future was the venerated and singular ‘s second film, made, like his first (Stereo), with minimal resources. Despite being his most inaccessible works, the main surprise is how these early films reflect Cronenberg’s unique, consistent persona and the preoccupations on which he has meditated in his whole oeuvre.

Crimes‘s practically nonexistent budget both limits and enhances its weirdness. On one hand, Cronenberg’s signature ideas are denied full realization, but his way of working around the lack of resources lends the film an utterly abstract presentation. One could describe the movie as a seemingly disconnected succession of scenes of people interacting and behaving strangely in clinical spaces and shadowy corridors, only made meaningful by the somnambulant commentary of Ronald Mlodzik. Another key agent of weirdness is the truly bizarre soundscape that Cronenberg crafted, which, when not silent, consists mostly of indistinct atmospheric sounds and white noise. There are very few moments where the music seems to be in tune with what’s happening on screen, rather than serving as an obscure, sometimes disturbing background ambiance.

The film’s glacial tone and sense of detachment is reminiscent of THX 1138 at times. The audience’s reliance on the commentary by protagonist Adrian Tripod to make sense of the movie’s distant, cryptic images further increases its dreamlike quality. Sometimes, the narration is itself bizarre, as it has to communicate the insular world where Crimes takes places—a world that, while visually familiar, is otherworldly in its character’s strange behaviors, its enigmatic corporations and, of course, the central premise of its sudden defeminization.

The most curious aspect of the experience of watching Crimes is noting how, even under the restrictive budget and obscuring experimental approach, Cronenberg’s defining obsessions of the flesh, body, sexuality, disease, and mutation are all present in full force. If one can get past the film’s impenetrable nature, Tripod’s regular voice-over actually reveals a typically surreal, purely Cronenbergian narrative rich in visceral details. As he journeys through a succession of organizations, the odd individuals he meets all present a form of derangement or peculiarity reflective of Cronenberg’s themes, as each of them adapts to the great change in their own way. For instance, a former colleague of Tripod from the “Institute of Neo-Venereal Disease” has contracted a “creative cancer” from one of his patients, causing his body to continually form a series of organs that are removed in what many have interpreted as a parody of childbirth, while a concierge believes he is developing a root-like antenna from his nostrils as an evolutionary step.

Crimes feels like a sketch of the director’s imagination, fully revealing the sensibility behind his more mellow and professional works, but shadowed by its foggy experimentality and lack of resources. If patient weirdophiles can go with Cronenberg’s pretense of crafting more of a film experiment than a film, they will find it an undeniably interesting, if hard to watch, experience.

WHAT THE CRITICS SAY:

“… where Stereo was both creepy and austere, Crimes of the Future gives its remarkable characters more room to breathe and, in their own weird way, to play, picking their way around a modernist compound and narrated retroactively by the main character. It is fascinating viewing, and it’s always interesting to note what an acclaimed, spiky filmmaker was doing in his early career.”–Juliette Jones, PopOptiq (DVD)

[Crimes of the Future is included, along with Stereo, as bonus features on Blue Underground’s release of Cronenberg’s Fast Company–ed.]

CAPSULE: THE BROOD (1979)

Recommended

DIRECTED BY:

FEATURING: Art Hindle, , Samantha Eggar

PLOT: Horrible murders swirl around the family of a woman who is  under the care of a psychiatrist practicing “psychoplasmics,” an experimental therapy which elicits physical manifestations of psychic traumas.

Still from The Brood (1979)

WHY IT WON’T MAKE THE LIST: The “deformed children” of The Brood might seem like a bizarre bunch to neophytes, but a glance at Cronenberg’s later works reveals they’re strictly a warm-up act where weirdness is concerned.

COMMENTS: The Brood includes a touch of the body horror that Cronenberg fans tune in for, though you have to wait until the end for the big reveal. Throughout most of the running time, this is more of a “regular” horror effort, with little monsters bashing in heads in bloody assualts (the broodlings favor wooden hammers as their weapon of choice, and although there are only a few attacks, they are very memorable and very traumatic). A psychological background gives the story texture that keeps it from sliding into slasher movie territory. Frank Carveth (the unremarkable Art Hindle) once had a happy family, but his mentally ill wife Nola (a remarkable Samantha Eggar) has been taken under the care of experimental psychiatrist Hal Raglan (the dependable Oliver Reed). On a visit to pick up his five-year old daughter from a visit with her mother at the “Somafree Institute,” Frank watches a public demonstration where Raglin, roleplaying a meek patient’s harsh daddy, bullies the man until he breaks out in sores of shame on his face (“go all the way through it to the end,” the therapist whispers as he eagerly anticipates the festering of the sobbing man’s impending wounds). When he takes the little girl back home, Frank discovers bruises and scratches on her back. Frank insists the girl’s visits be cut off, but an arrogant and uncooperative Raglan is not keen on changing the cloistered Nola’s therapeutic regime at such a crucial time, and insists the current custody arrangement must continue. Frank decides to conduct his own investigation into psychoplasmics.

The backstory that explains the level of intensity on display here, particularly in that final confrontation between Frank and Nola, is that Cronenberg was going through a divorce and custody battle of his own at the time he wrote up the scenario. The Brood is a step forward in Cronenberg’s oeuvre; it’s more polished than his previous efforts Rabid and Shivers, which were clearly ambitious exploitation movies. With its satirical shots at psychiatry coupled with a searing psychology of its own, The Brood takes a turn towards art-horror. It’s helped immensely by Eggar’s wild-eyed, all-in performance; she’s a nutcase, and an unintentional monster, but not an unsympathetic one. The Brood is an experimental therapy by David Cronenberg to elicit a cinematic manifestation of his own traumatic divorce, and its a successful one. It seems like an obvious influence on ‘s even stranger and more bitter breakup memoir, Possession, which it beat to the screen by a mere two years. The torture of divorce, from the husband’s perspective, was a big movie topic at the time—patrons going out to see The Brood might have rubbed shoulders with those lining up to see the Oscar-winning Kramer vs. Kramer.

In 2015 The Brood joined Scanners, Videodrome, Dead Ringers, and Naked Lunch on the Criterion Collection label. Along with the usual extras, the release includes Cronenberg’s second low budget experimental movie, 1970’s Crimes of the Future, as a bonus feature. Crimes is the story of a rogue dermatologist who accidentally wipes out all females on the planet. Crimes is probably far weirder than The Brood, but not nearly as accomplished.

WHAT THE CRITICS SAY:

“In true Cronenberg fasion [sic], we are, instead, presented with something much, much weirder.”–Jerry, “Danny Isn’t Here Mrs. Torrance (DVD)

CAPSULE: MAPS TO THE STARS (2015)

DIRECTED BY:

FEATURING: Julianne Moore, , , Evan Bird,

PLOT: The lives of several Hollywood insiders intertwine unexpectedly after the arrival of Agatha, a mysterious young woman who intrudes upon the lives of a wannabe screenwriter, a popular teen heartthrob, a self-help TV guru, and a successful but aging actress.

Still from Maps to the Stars (2014))
WHY IT WON’T MAKE THE LIST:  Its combination of Hollywood satire, ghostly apparitions, homicidal sensationalism, and heaps of incest does hit a few marks on the Weird-o-Meter, but Maps to the Stars doesn’t plunge into the depths of weirdness achieved in Cronenberg’s earlier, body horror-centric features like Dead Ringers and Videodrome.

COMMENTS: Havana Segrand (Julianne Moore) has been around show business all her life. Her mother was a popular actress made more notable when she died tragically in a fire while still in the prime of youth, and now a prominent director is re-imagining her most famous film, with Havana gunning for a supporting role as her mother’s imaginary grown self. At a crossroads in her career and still coming to terms with sexual abuse she suffered at her mother’s hand, Havana sees the sudden arrival of new assistant Agatha (Mia Wasikowska) as a sign and instantly takes her in. Meanwhile, teen sensation Benjie Weiss (Evan Bird)—only 13 and just out of rehab—is filming the sequel to his hit comedy Bad Babysitter, but finds himself upstaged by his child costar. His father, Stafford Weiss (John Cusack), is a New Age self-help therapist with a talk show and a sea of celebrity clients, including Havana Segrand.

In that unsurprising cinematic way, these and many other lives are intricately connected through family and work, and Agatha becomes both the glue that binds them and the catastrophe that unsettles them. The incestuous nature of mainstream filmmaking is thus satirized, but with a heavy dose of actual incest. It is never outwardly explained or analyzed, it’s just there, a stated and very present fact looming over every interaction. Screenwriter Bruce Wagner packs in every ounce of sensationalism worthy of a Star headline, from sex and abuse to drug addiction and murder, bluntly illustrating the complete breakdown of this family beset by mental illness but unable to cope with it while in the public eye. It’s all done with a slight sense of distance, with each character playing exaggerated versions of real people and the whole observed with a cool eye, so that we won’t feel guilty laughing. Much has been made of Maps to the Stars being Cronenberg’s “first comedy” (though the director himself claims he’s never made anything but comedies), and it is for the most part quite funny. Between Moore’s exaggerated California accent, Cusack’s self-help b.s., Agatha’s tall tales, snarky movie references, and the winking celebrity self-obsession, there is a lot to laugh about.

Of course, Hollywood satire is nothing new, but Cronenberg  gives it his own sick, twisted take, fusing Greek melodrama and tongue-in-cheek humor with inescapable darkness. The story is populated with ghostly apparitions that haunt Havana and Benjie, gradually moving in on their already-fragile psyches. The egoism and lack of empathy so many associate with the movie industry are made manifest in these people, and their punishment is poetic. Though removed from the body horror aesthetic for which he is perhaps still most known, the film is visually striking in its very deliberate framing of characters, its stark, modern interiors, its costumes-as-uniforms, and its jarring juxtapositions. (There is, however, one major visual hiccup in a self-immolation scene towards the end that I hope was a self-aware commentary on cinematic artificiality because the CGI was terrible.) The vicious but contained acts of violence are brutal and chilling, escalating quickly until it becomes clear there can be no easy way out for anyone, every character has essentially been digging their own grave from the beginning. The abrupt changes in tone and focus could be distracting, but the very talented cast takes it all in stride and manages to make it work, moved along by the thoughtful direction. Besides, it’s not like anyone is going to a Cronenberg film expecting a nice, neat little package where everything works out in the end, right?

WHAT THE CRITICS SAY:

“There’s something bizarrely funny as well as truly sad in the director’s vision of Rodeo Drive denizens and their heavily medicated affects.”–Michael Phillips, Chicago Tribune (contemporaneous)

CAPSULE: EXISTENZ (1999)

DIRECTED BY:

FEATURING: , , ,

PLOT: A game designer and a security officer flee violent sabotage during a virtual reality game demonstration and are thrust into increasingly bizarre and dangerous scenarios inside the virtual world.

Still from Existenz (1999)
WHY IT WON’T MAKE THE LIST: This movie is weird in a very obvious way, full of gross insect brunches and squishy scenes of body horror.  Since nothing less is expected from Cronenberg, however, eXistenZ simply remains a solid entry in the sci-fi/horror genre, but not one of the weirdest.

COMMENTS: It’s not difficult to imagine the comment section of a youtube upload of eXistenZ to be laden with the now-famous phrase “WTF did I just watch?”  If you were to present eXistenZ at a casual movie night with friends, then there would be no question that at least one person in the room would not-so-kindly ask for the movie to be turned off, and it’s probable that this would happen in the first twenty minutes. To its credit, eXistenZ reels in even mainstream viewers quickly, as the audience is desperate to find out just how the virtual video game will work (especially considering the game controllers look like alien sex toys from LV426). But Cronenberg sends the squares back to their cubicles when the characters Ted Pikul (Jude Law) and Allegra Geller (Jennifer Jason Leigh) actually begin the game, which soon takes us from one “WTF?” moment to the next.  eXistenz is not a dream, nor is it the Matrix.  It hints at something dark within us, something ferociously organic and nasty, filled with bile and ooze and slime.

From the beginning, it appears that there is something vaguely sexual about the game.  During the opening sequence we see several adults–this is peculiar, since video games are assumed to appeal to a younger demographic–sit in wooden chairs and fondle their controllers, which are be blobs of gooey, elastic flesh.  As the game begins they squirm while sitting with eyes closed, and we are given a powerful image of human beings experiencing something sensationally fleshy. When Allegra (Leigh) is shot with a gun made of human teeth, she tells Pikul (Law, who was placed in charge of her safety) to pull over for “an intimate encounter”; we then cut to him holding a Swiss Army Knife and slicing into her flesh to remove the tooth. The sexual imagery reaches a peak when the game controllers are revealed to be biological organisms that plug directly into the spine via a lubricated bio-port.

Sidestepping the usual sci-fi entrapments of robotic laser fights and anti-gravity fight scenes, Cronenberg focuses on the complexity of the human body, desire, consciousness, and free will. There are moments when the characters are compelled to make certain decisions in the game in order to progress, and they must endure extreme discomfort (i.e. eating mutant frogs) to move forward. Cronenberg’s frequent jabs at philosophy are far from cliché, and with its powerful score the movie stimulates the curious mind holistically and sometimes aggressively, all the while maintaining an exhilarating sense of fun that comes from the wackiness of it all.  The two leads both give powerful performances, while some of the minor characters in the movie fall flat (Ian Holm and Willem Dafoe are typically intense but perhaps a bit over-the-top). The picture’s strength comes from its volatility.  Slimy fish guts, assassins, virtual games that run up a tab of 36 million dollars, and back-stabbing (literally and figuratively) wild-eyed gas station attendants make up the bulk of this wild romp through a world where games are hip, powerful, and significantly more important than reality itself.  The relevance of these ideas can’t be understated in a world where kids in China die from playing too much World of Warcraft.

eXistenZ is an underrated picture, with detractors arguing that its ideas are worn out and too similar to other sci-fi movies. There’s no doubt it stands in the shadow of Cronenberg’s masterpiece Videodrome, but eXistenZ is intriguing, suspenseful, and creative on its own terms.  It falls flat at times, especially when side characters are introduced, but whatever slump it rolls into is quickly saved by the bizarre plot progression, where characters change moods and motives at the drop of a hat in a setting that is at once alien and strikingly familiar. We experience what the characters are experiencing; we don’t know what the game means or if it even has an end.

WHAT THE CRITICS SAY:

“In the hands of anyone else, the notion of computer game terrorists would be ludicrous, and even Cronenberg fails to explain their motives, using the film instead to indulge in surreal exercises of dream logic.”– Jamie Woolley, BBC (contemporaneous)

(This movie was nominated for review by “alex.” Suggest a weird movie of your own here.)

154. VIDEODROME (1983)

“My early drafts tend to get extreme in all kinds of ways: sexually, violently, and just in terms of weirdness. But I have to balance this weirdness against what an audience will accept as reality. Even in the sound mix, when we’re talking about what sort of sound effects we want for the hand moving around inside the stomach slit, for example; we could get really weird and use really loud, slurpy, gurgly effects, but I’m playing it realistically. That is to say, I’m giving it the sound it would really have, which is not much. I’m presenting something that is outrageous and impossible, but I’m trying to convey it realistically.”–David Cronenberg on Videodrome

Recommended

DIRECTED BY:

FEATURING: , , Jack Creley, Sonja Smits

PLOT: Searching for the next level of violent and pornographic entertainment, CIVIC-TV president Max Renn discovers a pirate broadcast called “Videodrome” that depicts the torture and killing of nude men and women in an undisclosed location. Renn is thrilled by what he sees as the future of television, a savage show with no plot, characters, or budget, but his interest in in the program becomes more personal than professional as he watches it with radio personality Nikki Brand and develops his own taste for sadomasochism. Meanwhile, Renn explores the origins of “Videodrome” and its connection to media prophet Professor Brian O’Blivion, whose lectures about the relationship between the human mind and televisual media suggest “Videodrome”’s influence over Renn goes much deeper than he realizes.

Still from Videodrome (1983)

BACKGROUND:

  • David Cronenberg’s inspiration for Videodrome came from his childhood experiences of watching televisions pick up distant, distorted signals after the local stations had gone off the air. He imagined what it would be like to see something obscene or illegal on the screen, and he wondered whether he would turn away from the sight or keep watching.
  • CityTV, a Toronto-based independent television station that controversially broadcast softcore porn movies late at night in the 1970s, was the inspiration for Videodrome‘s “Civic TV.”
  • Special makeup effects designer Rick Baker began work on Videodrome shortly after winning the Academy Award for Outstanding Achievement in Makeup, the first award ever given in that category. He was awarded for his work on the film An American Werewolf in London.
  • The character of Professor Brian O’Blivion was loosely based on Marshall McLuhan, a Canadian philosopher of communication theory. McLuhan is famous for coining the phrase “the medium is the message,” echoes of which can be seen in Videodrome. Cronenberg may have been a student of McLuhan’s at the University of Toronto.
  • Videodrome was a box office bomb, earning only $2 million at theaters (it cost $6 million to make). It has since become a cult film.
  • At the time of this writing Universal Pictures lists a Videodrome remake as “in development.”

INDELIBLE IMAGE: Videodrome is full of unforgettable scenes, from Max Renn inserting a gun into his stomach to Barry Convex’s death by cancer-inducing bullets, but it is Renn’s sexual encounter with his television that best captures the hallucinatory, philosophical, and disturbingly erotic aspects of the film. After watching footage of Nicki Brand strangling Prof. O’Blivion, Renn is drawn to his television by Brand’s playful but insistent voice, as her lips grow to fill the screen. Soon, Renn is close enough to reach out and touch the device, which throbs and grows veins under his fingers like an engorged organ. Between rasps and sighs, the television says, “I want you, Max,” as Renn caresses its frame, becoming more aggressive and aroused. The screen begins to bulge under Renn’s groping hands as he leans forward, his face disappearing into the screen’s disembodied lips while they slurp and moan in ecstasy. Though Brand initially seduces Renn, by the end the television has become the willing object of his lust. Renn is not a passive observer of the screen, nor is his television a lifeless machine. Rather, Renn’s craving for the television enters the device and animates it, infusing it with so much desire that it is able to desire Renn in return. This giving of life to the mechanical captures Videodrome’s most salient theme, the idea that technology is not separate from humanity but instead represents an expansion upon the human form, a “new flesh” that may either subjugate or liberate us all.

WHAT MAKES IT WEIRD: Videodrome 1)Videodrome is used in three senses in this essay. When italicized (Videodrome), the word means the movie directed by David Cronenberg. “Videodrome” is placed in quotes to signify the pirate broadcast Renn watches. When not in quotes or italics, Videodrome refers to the abstract entity or idea of the Videodrome. is weird from the moment it introduces its titular snuff program, not just because of the violence it depicts but also because of the characters’ casual acceptance of that violence. Renn and Brand’s unreserved fascination with the “Videodrome” broadcast places them in an alternate moral universe, one where murder is simply the next step for television; the viewer is displaced from his or her own ethical reality.

That disorientation only increases as Videodrome takes hold of Renn, inducing horrible visions that further loosen his and the viewer’s grasp of what is real. In those hallucinations, Renn is subjected to brainwashing and disfigurement that warp him on a mental and physical level, shaking the sense of himself that is his most basic link to the real world. In one scene Barry Convex forces a videocassette into the vaginal slit that Renn has grown on his stomach, adding overtones of surrealism and rape to the story. It is an assault on not just the body and the mind but also on reality, an experience that shatters the protagonist and the viewer in a way few other films can match.


Original trailer for Videodrome

COMMENTS: Near the beginning of Videodrome, a talk show host asks, “Don’t you feel [violent and sexual] shows contribute to a social climate of Continue reading 154. VIDEODROME (1983)

References   [ + ]

1. Videodrome is used in three senses in this essay. When italicized (Videodrome), the word means the movie directed by David Cronenberg. “Videodrome” is placed in quotes to signify the pirate broadcast Renn watches. When not in quotes or italics, Videodrome refers to the abstract entity or idea of the Videodrome.