Tag Archives: Dreamlike

304. LAST YEAR AT MARIENBAD (1961)

L’Année Dernière à Marienbad

Must SeeWeirdest!

“Who knows what true loneliness is, not the conventional word—but the naked terror? To the lonely themselves it wears a mask. The most miserable outcast hugs some memory, or some illusion.”–Joseph Conrad,  Under Western Eyes

DIRECTED BY:

FEATURING: , Giorgio Albertazzi, Sacha Pitoëff

PLOT: In the confines of the corridors, salons, and gardens of an outlandishly extravagant spa hotel, one man attempts to persuade a female guest that they met a year prior and had planned to run off together. At first she resists his suggestions, but as he repeats his reminiscences, her denial becomes more and more strained. As they flit about the hotel, other guests fade in and out of focus, and the young woman’s male companion looms ever more ominously.

Still from Last Year at Marienbad (1961)

BACKGROUND:

  • Last Year at Marienbad was born of a collaboration between , who had achieved fame for his revolutionary non-narrative novels (dubbed nouveau roman), and Alain Resnais, who had recently completed Hiroshima, Mon Amour. In the opening credits, Robbe-Grillet is billed before Resnais. Afterwards, Robbe-Grillet was inspired to become a (defiantly strange) director himself, eventually notching two Certified Weird films (L’Immortelle and Eden and After) under his own leadership.
  • Cannes had refused to accept the movie as an entry, officially citing the fact that the lead actor was not French, but according to rumor because of Resnais’ public stance against the Algerian War.
  • Winning the Golden Lion award at the Venice Film Festival in 1961 forced the distributors to rethink their strategy of a very limited release.
  • In hopes of recreating a “silent movie” feel for Marienbad, Resnais requested some old-fashioned film stock from Eastman Kodak. Unfortunately, they were unable to provide it.
  • (The Tin Drum) apprenticed on this film as second assistant director.
  • Included in both Harry Medved’s “The Fifty Worst Films of All Time (And How They Got That Way) and Steven Shneider’s “1001 Movies You Must See Before You Die.” The movie divided contemporary critics and audiences, as well.
  • The alternately somber and jarring score (performed mostly on solo organ) was written by Francis Seyrig, the lead actress’ brother.
  • Robbe-Grillet was nominated for a “Best Original Screenplay” Oscar (losing to Divorce Italian Style).
  • Selected by 366 Weird Movies readers as one of two winners of our penultimate readers’ choice poll.

INDELIBLE IMAGE: Talk about being spoiled for a choice! Any given scene in Marienbad is a showcase of divinely arranged formalist beauty. What sets the tone (and stands out the most), however, is the alternately freezing and unfreezing of the actors immediately following the play performance that begins the film’s “action” (so to speak). The camera gracefully slinks around the the hotel’s inhabitants as the characters’ action and chatter stop dead, only to start anew a few moments after being silenced.

THREE WEIRD THINGS: Living freeze-frames; “I always win”; shadowless trees

WHAT MAKES IT WEIRD: Narratively speaking, Marienbad is about as bare-boned as a film can be without slipping into the realm of incomprehensible. A man and a woman met, or possibly didn’t meet, a year ago, and now the man wants the woman to run away with him. Alain Resnais brings Alain Robbe-Grillet’s dreamy script to geometric life with time fluxes, repetitions, and stylized acting by stylized hotel patrons. The black and white cinematography and challenging edits heighten the sense of shattered narrative that, much like the vicissitudes of human memory, can’t fully coalesce.


Original Trailer for Last Year at Marienbad

COMMENTS: As an art form, film exceeds its competition in manipulation: manipulation of emotions, of perceptions, and of ambiguity. Continue reading 304. LAST YEAR AT MARIENBAD (1961)

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)

271. THE HOURGLASS SANATORIUM (1973)

Sanatorium pod Klepsydra; AKA The Sandglass

“For in that sleep of death what dreams may come
When we have shuffled off this mortal coil,
Must give us pause. “–Hamlet, Act III, Sc. 1

Recommended

Weirdest!

DIRECTED BY:

FEATURING:

PLOT: As the film opens, Józef is on a train headed to a sanatorium where his dead father is being kept. When he arrives, the grounds are deserted and decrepit, but eventually he finds a doctor who leads him to his now-sleeping father’s room and explains the patient’s comatose-but-alive status: “the trick is that we moved back time… we reactivate past time with all its possibilities.” Józef then wanders through the sanatorium’s grounds, meeting his mother, a collector of automatons, a parade of men dressed in bird costumes, the Three Wise Men, and other strange characters.

Still from The Hourglass Sanatorium (1973)

BACKGROUND:

  • The film was primarily based on Polish Surrealist author Bruno Schultz’s short-story collection “Sanatorium Under the Sign of the Hourglass,” although it included ideas from some of the author’s other short stories. (A Schulz story was also the inspiration for the ‘ stop-animation nightmare “The Street of Crocodiles“).
  • Wojciech Has worked on this project for five years.
  • The Hourglass Sanatorium did not receive the blessing of the Polish censors and was banned. Has had copies smuggled to the Cannes Film Festival, where it tied for the jury prize (at that time, essentially third place). In apparent retaliation for his insubordination, the Communist Party did not approve any of Has’ new film projects for the next ten years.
  • In Poland, an hourglass is a symbol of death.

INDELIBLE IMAGE: Oddly enough, especially given how visually sumptuous The Hourglass Sanatorium is, the image which best evokes the movie isn’t even in it. I speak of the famous theatrical release poster by Polish artist Franciszek Starowieyski, which depicts a giant orange eyeball perched on a jawbone, with a grill of teeth through which a worm crawls (a limbless woman’s torso is also stuck between its molars), while numbers and arrows illustrate features of bone anatomy like occult footnotes. The poster seizes upon the film’s major theme of death; Starowieyski was also picking up on the repeated motif of eyeballs which occurs throughout the Sanatorium, from the train conductor’s blind stare to the cobweb-covered eyeball collection Józef finds under the bed. To illustrate the film, we ultimately chose the image of a toppled wax automaton with his eye-socket popped open to reveal the gears inside—but when I think of The Hourglass Sanatorium, I always think of that poster first.

THREE WEIRD THINGS: Crow frozen in flight; Józef spying on Józef; eyeballs under the bed

WHAT MAKES IT WEIRD: The Hourglass Sanatorium is a rare work of genuine Surrealism. Seldom has any film ever captured the free-falling feeling of being lost in a dream so well: the portentous but inexplicable visions; the tenuous, tantalizing connections between ideas; the smooth and continuous shifting of realities. Let a blind conductor be your guide inside a crumbling hospital whose rooms hold wonder after wonder.


Brief clip from The Hourglass Sanatorium (in Polish)

COMMENTS: Sanatorium pod Klepsydra opens on the silhouette of a Continue reading 271. THE HOURGLASS SANATORIUM (1973)

CAPSULE: KAILI BLUES (2015)

DIRECTED BY: Gan Bi

FEATURING: Yongzhong Chen

PLOT: An elderly doctor returning to his birthplace passes through a strange town.

Still Kaili Blues (2015)

WHY IT WON’T MAKE THE LIST: Kaili Blues is an interesting debut from a poet-turned-filmmaker with a lot of talent. It’s strange, but it lulls you rather than wows you; its weirdness is a tad too restrained, too tasteful.

COMMENTS: Kaili Blues is the kind of film of the type frequently said to “announce a major new talent,” which is somewhat different than dubbing it an “astounding debut film” (although some critics used variations of that line, too). I think the first description is more accurate. Kaili Blues is an interesting, well-constructed film, and I’ll be curious to follow what Gan Bi does in the future. However, this is not a knock-your-socks-off masterpiece; it’s missing a little something, a touch of spice.

Describing Kaili Blues‘ style is relatively simple: it’s like with less explicit fantasy and more experimental camerawork. The two directors share the same patient pacing, a love of finding the strange amidst the ordinary, and a mystical Buddhist sensibility. Although not much seems to be happening in the first half of Kaili‘s run, story elements are being dropped in conversation, some of which will bear narrative fruit later, and some of which remain inscrutable no matter how often they are repeated. There is a lot to untangle, not all of which can be captured in a single viewing, and some of which will still be obscure after a second run through. Touches like the odd TV broadcasts and reports on “wild man” sightings, scenes with a disco ball, underwater dreams, functional clocks drawn on the wall, and a three-dimensional train that emerges from a wall behind the characters enliven the ordinary narrative about doctor Chen Shen, his criminal past, his crazy brother (literally named “Crazy Face”), and his neglected nephew. At the halfway point things pick up dramatically when Chen sets out on a journey with several goals in mind. As he passes through a town on the way, Gan Bi deploys the film’s major attraction, an impressive forty-minute tracking shot that follows Chen and several of the villagers, winding its way through the riverside town, taking shortcuts through alleyways, and at one point indulging in the rarely seen 180-degree vertical pan. The hamlet itself is full of ambiguous characters who may be ghosts from the past, or the future, but who seem to be connected to Chen and his quest(s).

Unlike Western films, which regard loss of identity as a form of existential crisis, here it describes Buddhist conceptions of the fluidity of souls and the arbitrariness of individual experience. Both the doctor’s nephew and the dead son of a triad he knew in his youth have an unlikely fascination with watches. We’re not expected to believe those two characters are the same (at least, I don’t think we are). Yet at other times individuals who appear in far-flung places are hinted to be the same person at different times in their lives. A quote from the Diamond Sutra explains: “minds… are not minds, but are (expediently) called minds… neither the past, present nor future mind can be found.” The same experiences recur across people and across time. If Kaili Blues confuses you (and it probably will), Gan Bi might respond that that’s because you’re so used to looking at illusions that reality seems like a dream.

WHAT THE CRITICS SAY:

“Bi’s singular vision bears comparison to those of other geniuses such as Tarkovsky, Sokurov, David Lynch, Luis Buñuel and Apichatpong Weerasethakul, Like those auteurs, he achieves what film is best at but seldom accomplishes — a stirring of a deeper consciousness, a glimpse into a reality transcending the everyday.”–Peter Keough, Boston Globe (contemporaneous)

LIST CANDIDATE: SOME CALL IT LOVING (1973)

AKA: Sleeping Beauty; Dream Castle

DIRECTOR: James B. Harris

FEATURING: , Tisa Farrow, Carol White, Richard Pryor, Veronica Anderson, Logan Ramsey, Pat Priest, Brandy Herrod

PLOT: Based on the John Collier short story “Sleeping Beauty.” A hedonistic millionaire, entranced by a carnival act involving a girl who has been asleep for years, purchases her and brings her home.

Still from Some Call It Loving (1973)WHY IT MIGHT MAKE THE LIST:  Far stranger than the synopsis would suggest, Some Call it Loving is a surreal, dreamlike take on relationship dramas. A precursor to the modern erotic thriller, it would make for an interesting double feature paired with Boxing Helena, or even Singapore Sling.

COMMENTSThe entire genre of the “erotic thriller”—from such highlights as 9 1/2 Weeks, the steamy cable series “Red Shoe Diaries,” and Eyes Wide Shut all the way down to the low-level late night chum on Cinemax (or Skinemax, as it was nicknamed due to its reliance on such fare)—shares primary DNA with the not-as-well-known early precursor Some Call It Loving. Lead actor Zalman King would make it a cottage industry in the 80s and 90s, co-writing and producing 9 1/2 Weeks and directing Wild Orchid, Two Moon Junction and episodes of “Red Shoe Diaries” (the series he created), among others.

King’s character here, Robert, lives in a mansion with two women, Scarlett (White) and Angelica (Anderson). The three pass the time by indulging in role-playing “games” (seducing a widow, disciplining the maid, dancing nuns) that always lead to sexual situations. The only times Robert ventures into the “real world” is when he gigs as a session player with a jazz group at a bar and has conversations with his friend Jeff (Pryor), a musician who’s fallen into hardcore junkiedom.

During one of these excursions he goes to a carnival and discovers the “Sleeping Beauty,” Jennifer (Farrow), as a sideshow attraction, drugged to remain asleep. Patrons pay for one kiss to wake the Beauty—and more, it’s strongly implied. Robert decides to purchase her to take her back with him. Robert returns with Jennifer, who is accepted into the household; when she awakens, she’s also incorporated into the game-playing. But does this lead to a Happy Ending for all?

Although is provides the seed for later erotic thrillers, Loving can’t actually be classed as one. Instead, it’s a dark, fractured fairy tale in line with its source material (John Collier’s treatment of the “Sleeping Beauty” legend). In the story, the emphasis is on the man who purchases the Beauty. That holds true in Harris’ adaptation as well, but he goes further and deeper than Collier.

At the outset, Robert appears to be a “kept” man. Scarlett seems to be the wealthy benefactor, with Angelica being a recent addition to the family, and it appears that this setup has been in effect for some time. But while some may find this to be a fantasy come true, Robert is dissatisfied. His conversations with Jeff provide him with some distraction, but Jeff’s descent insures that he won’t be around for long.  Robert’s malaise is relieved by Jennifer’s arrival, but only for a short time. At first she enjoys the company and the game-playing, but it ends up in further dissatisfaction.PryorEtiquette Pictures, the uptown division sub-label of Vinegar Syndrome, made Loving their debut release in a Blu-Ray/DVD package in Summer 2015.  Done in a 2K restoration from the original negative, this is the best Loving has looked in any of its prior home video releases. Numerous extras are included, such as a commentary with writer/director Harris, a featurette on the making of the film, one on cinematographer Mario Tosi (Carrie, The Stunt Man), and outtakes featuring actress Millie Perkins, whose role was cut from the finished film.

Writer/director James B. Harris was ‘s producing partner for his early films The Killing, Paths of Glory and Lolita.

LIST CANDIDATE: LOST RIVER (2014)

Recommended

DIRECTED BY:

FEATURING: Christina Hendricks, Iain De Caestecker, Saiorse Ronan, Matt Smith, Ben Mendlesohn, , Reda Kateb,

PLOT: An urban fantasy/fairy tale set in an unspecified city in decline (which looks a lot like Detroit) where single mom Billy and her sons Frankie and Bones attempt to keep their home despite all obstacles and enemies: for Billy, a bank manager/underground club impresario, and for Bones, the neighborhood gang kingpin, Bully.

Lost River (2014)

WHY IT MIGHT MAKE THE LIST: Gosling calls Lost River (originally titled How to Catch a Monster) a dark fairy tale, inspired by both the 80’s fantasy films he watched growing up and by a stay in Detroit while acting in The Ides of March. It’s a very unorthodox melding, like lo-fi magic realism set against a documentary background. Some might feel it exploitative, which could account for the polarized reaction the film received.

COMMENTS I guess it’s a gauge of where we’re at in film culture when something like Lost River can arise from sunken depths to befuddle everyone. People were expecting a disaster of epic proportion, judging from its reception at the 2014 Cannes Film Festival and the outright hostile reviews during its very brief theatrical run/VOD in the U.S. From that reaction, one would think that Lost River would be better paired with other recent cult “darlings” like The Room or Birdemic.

lost-river-film-ryan-gosling-700x425Happily, Lost River is nowhere near those icons of ineptitude, which makes the reaction to it even more of a curiosity.  Critics seemed to take it personally that a Hollywood Star would actually choose to make his directorial debut an artistic endeavor rather than some flashy franchise production. It is evident that Gosling isn’t at all shy about his influences—he was paying close attention while he was working with and —but I would think that would be something to be encouraged by, rather than excoriated.

Apparently surrealism and dream imagery are only to be attempted when the director is a less well-known name. Either that, or most reviewers felt very uncomfortable with the approach in conjunction with the Detroit setting. There are several scenes with non-actors which briefly push the tone into docudrama, which is completely jarring with the “urban fairy tale” atmosphere Gosling is attempting to create.

lost river artGosling’s direction is very assured, aided by the lensing of Benoit Debie (Enter the Void) and the music of Johnny Jewel, which provide the proper atmosphere. Performances are pretty good all around: Hendricks, DeCaestecker and Ronan are fine, though it’s mainly the supporting characters that make an impression, such as Mendes, Mendlesohn and especially Matt Smith’s villainous turn, which is as far away from his Doctor Who as possible. One caveat: it seems a waste to get Barbara Steele and give her nothing to do. She’s more of a presence than a full character.

Whatever you might think of Lost River, I highly encourage you to search it out and make up your own mind.

Available on Blu-Ray and DVD with no additional features.

WHAT THE CRITICS SAY:

“Indulgent and movie-like, Lost River is Gosling’s weird, let’s-do-this-thing folly.”–Brad Wheeler, The Globe and Mail (contemporaneous)

LIST CANDIDATE: A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE (2014)

DIRECTED BY: Roy Andersson

FEATURING: Holger Andersson, Nisse Vestblom

PLOT: As series of absurdist sketches linked by a few recurring characters, including most prominently a pair of joyless novelty salesmen peddling plastic vampire fangs and other trinkets.

Still from A Pigeon Sat on a Branch Reflecting on Existence (2014)

WHY IT MIGHT MAKE THE LIST: It might make the List for completeness’ sake, since the two previous entries in Roy Andersson “trilogy about being a human being”—Songs from the Second Floor and You, the Living—were both easy Certified Weird choices. I must aver that I do find this the weakest of the three “human being” films, however.

COMMENTS: A Pigeon Sat on a Branch Reflecting on Existence is a perfect title for a Roy Andersson film, evoking the concepts of detachment, alienness, and existential contemplation that mark the Swede’s strange ruminations on the human condition. In typically skewed Andersson fashion, the pigeon in question inhabits a poem, a poem which a shy elementary school girl does not quite recite in front of an assembly, but which is nonetheless, we are assured, a beautiful poem. Andersson’s sketches are hard to describe to an outsider—they are absurd, yes, and bone dry—but once you see one you immediately recognize the style. You also immediately intuit the elliptical points Andersson makes about human behavior. Life is funny and futile, strange and mundane. Social interactions are a minefield of potential embarrassments, but also full of arbitrary rules that impede our ability to connect with each other. A man drops dead in the lunchline: who will take his beer and shrimp sandwich? He paid before he passed.

Pigeon lacks, I think, the one knockout segment that each of Andersson’s previous features had. The conclusion of Songs from the Second Floor presents a truly terrifying vision of a post-Christian Europe where the dead have been unleashed on the living, while You, the Living contains the young girl’s dream about marrying Mickey Larsson, the most wistful and tender scenario Andersson has ever constructed. Pigeon offers a couple of candidates for a standard-bearing tableau. The first is the sudden appearance of the foppish King Charles XII, who rides into a modern watering hole on horseback, to no one’s especial surprise. While this sequence is pleasantly absurd, the second candidate has more satirical bite. Soldiers load chained Africans into a giant copper cylinder festooned with horns. “I thought of something horrible,” says one of the novelty salesmen, sitting on the edge of his bed in his one room apartment with “Uncle One-Tooth” masks strewn about, in the very next scene. “And I was involved.”

Andersson’s films are a continuum—the same static compositions, the same dour expressions, the same careful conservation of motion and emotion. Odd little awkward playlets played out on endlessly identical sets of gray apartments and glum bars. Due to their vignette structure and constant tone, you could cull the best segments from the three films (perhaps sprinkling in some of Andersson’s shorts) to make a standalone feature that wouldn’t play any differently than the canonical works do. The result would be a masterpiece.

WHAT THE CRITICS SAY:

“… the best way to enjoy this is not to search for coherence or unity but to just let it wash over you and embrace the weirdness…”–Leslie Felperin, Radio Times (contemporaneous)

217. ZAZIE DANS LE METRO (1960)

“The fact that the film is a failure means nothing. Didn’t God create a failure, too?”–Jonas Mekas on Zazie dans le Metro

Recommended

DIRECTED BY:

FEATURING: Catherine Demongeot, , Vittorio Caprioli, Carla Marlier, Annie Fratellini, Yvonne Clech, Antoine Roblot, Jacques Dufilho, Hubert Deschamps

PLOT: When 10-year-old Zazie’s mother leaves her in the care of her exotic dancer uncle for the weekend , the only thing the sassy little girl wants to see is the Metro, but it’s closed due to a strike.  So she sneaks out of her uncle’s apartment and encounters a dirty old man, who is also a policeman, among her many adventures. Her weekend ends when the many friends and adversaries she’s accumulated—including a cobbler, an amorous widow, and a polar bear—find themselves involved in a drunken food fight while the worn-out tyke nods off into dreamland.

Still from Zazie dans le Metro (1970)

BACKGROUND:

  • Zazie dans le Metro is based on the hit 1959 comic novel of the same title by Raymond Queneau (a repentant former member of the Surrealist circle). The book relied heavily on wordplay and was widely thought to be unadaptable to film.
  • Although the film generated a small cult in France, Zazie was Louis Malle’s first flop after beginning his career with two hits (Elevator to the Gallows and The Lovers).
  • Some parents were angry at Malle’s film, believing that the sexuality made it inappropriate for children. Zazie originally received an “X” rating (16 and over) from the British Board of Film Classification.

INDELIBLE IMAGE: Surely, it must be Zazie’s impish, gap-toothed smile, which she breaks into whenever she imagines growing up to be a schoolteacher who torments her students by making them eat chalk.

THREE WEIRD THINGS: Eiffel Tower polar bear; wet dog in a parrot cage; high-heeled six shoe-ter

WHAT MAKES IT WEIRD: As Zazie’s transvestite uncle says, “Paris is a dream, Zazie is a reverie, and all this is a reverie within a dream!” If a mad scientist found a way to cross-breed and , Zazie dans le Metro is the movie the mutant hybrid would direct.


The Criterion Collection’s “3 Reasons” video for Zazie dans le Metro

COMMENTS: There’s nothing in Louis Malle’s oeuvre that’s remotely like Zazie dans le Metro. There’s nothing else in the rest of the Continue reading 217. ZAZIE DANS LE METRO (1960)

209. BLACK MOON (1975)

“I see it as a strange voyage to the limits of the medium, or maybe my own limits.”–Louis Malle on Black Moon

Weirdest!

DIRECTED BY:

FEATURING: Cathryn Harrison, Therese Giehse, , Alexandra Stewart

PLOT: A young woman is driving a car during a shooting war between the sexes. Escaping from a checkpoint where male soldiers are executing females, she finds refuge at an old farmhouse inhabited by a batty old woman, a mute brother and sister, a band of nude animal-herding children, and a unicorn. Initially rejected by the chateau’s residents, she gradually finds herself becoming part of this strange alternate society.

Still from Black Moon (1975)
BACKGROUND:

  • Although Louis Malle had dabbled in light surrealism before with the whimsical Zazie dans le Metro (1960), there was nothing in the respected director’s then-recent oeuvre (mostly documentaries and historical pieces like 1974’s Vichy drama Lacombe, Lucien) to prepare his audience for the bizarreness of Black Moon. Sven Nykvist won a Caesar for his cinematography, but the film was mainly a commercial and critical failure, and quickly lapsed from circulation.
  • Black Moon was a transitional work in Malle’s move from France to the USA. He shot the film in France, at his own estate near Cahors, but in the English language, with a British, American and Canadian actor in the cast. After this movie, the director went to America where he scored a series of critical successes with Pretty Baby, Atlantic City and My Dinner with Andre.
  • Joyce Buñuel, Malle’s co-writer, was ‘s daughter-in-law.
  • Therese Giehse, who plays the bedridden woman, died before the movie was released, and Black Moon is dedicated to her. Malle credited her with partly inspiring the idea for Black Moon by suggesting he make a movie without dialogue (although the eventual script did have dialogue, it is sparse and often nonsensical).

INDELIBLE IMAGE: Appropriately for a dream-movie, the indelible image is an imaginary one; it’s the transgressive event you see transpiring in your mind’s eye the minute after the film officially ends on a provocative freeze-frame.

THREE WEIRD THINGS: Gender genocide; portly unicorn; resurrection by breast milk.

WHAT MAKES IT WEIRD: Black Moon concerns a young girl’s flight from an absurd world—where camo-clad men line up female prisoners of war and execute them, while the gas mask-wearing ladies returning the favor to their male captives—into a totally insane one. The movie is an unexpected assay of the irrational from nouvelle vague auteur Louis Malle, and although it’s congenitally uneven, it makes you wonder how wonderful it would have been if every master director had indulged himself by unleashing one unabashedly surreal film on the world.


Original trailer for Black Moon

COMMENTS: A frayed fairy tale set in no time or place in particular, Continue reading 209. BLACK MOON (1975)