Tag Archives: Experimental

308. FUNERAL PARADE OF ROSES (1969)

Bara no sôretsu 

“Elle est dans ma voix, la criarde!
C’est tout mon sang ce poison noir!
Je suis le sinistre miroir
Où la mégère se regarde.”

“It’s in my voice, the raucous jade!
It’s in my blood’s black venom too!
I am the looking-glass, wherethrough
Megera sees herself portrayed!”

–Baudelaire, “L’Héautontimorouménos,” Fleurs du Mal (English translation Roy Campbell)

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DIRECTED BY: Toshio Matsumoto

FEATURING: Peter (Pîtâ), Yoshio Tsuchiya, Osamu Ogasawara, Toyosaburo Uchiyama

PLOT: Eddie is a rising star in a Japanese drag cabaret; he is having an affair with the bar’s owner, Gondo. The club’s “madame,” Leda, who is also sleeping with Gondo, grows jealous of Eddie and devises a revenge against him. This story is served up out-of-sequence, however, and often broken up by stand-alone vignettes and documentary-style interviews where the actors are questioned about their alternative lifestyles and their roles in the film.

Still from Funeral Parade of Roses (1969)

BACKGROUND:

  • This was director Toshio Matsumoto’s first feature film after producing nine shorts (mostly documentaries). Matsumoto would continue to work largely in the short format: among his thirty-four credited directorial works, only four are categorized as full-length features. He was also a critic and theorist whose collected writings span six volumes. He died in 2017.
  • The “gay boys” were played by non-professional actors from the Tokyo homosexual community. The star, Peter, developed an acting career afterwards, advancing far enough to land the role of the Fool in ‘s Ran.
  • The Japanese word meaning “roses” was also derisive slang for homosexuals.
  • The avant-garde short screened within the film is “Ecstasis,” which also stars Peter and Toyosaburo Uchiyama.  Matsumoto released it separately.

INDELIBLE IMAGE: Eddie’s face, not androgynous, but wholly feminine, though glamed-up with an array of tiaras, false eyelashes, and decorative star stickers. We particularly like the scene where Leda (dressed as a geisha) is admiring herself in the mirror (and silently incanting “Snow White”‘s “mirror, mirror, on the wall…”), as an image of Eddie strides up from behind, invading Leda’s looking-glass in his black evening gown.

THREE WEIRD THINGS: Ladies at a urinal; drag queen shootout; too-literal Oedipus complex

WHAT MAKES IT WEIRD: Helped along by an earnestly queer cast of amateurs, Funeral Parade of Roses is a masquerade drag burlesque, a tragic and absurd procession of countercultural confusion among “gay boys” in a tumultuous Japan. A psychedelic-era movie set in Tokyo’s underground homosexual community that takes its bearings from “Oedipus Rex” and name-checks Jonas Mekas and Jean Genet along the way—pausing for a liberal dose of slapstick—is bound to turn out weird.


Brief fan-edit of scenes from Funeral Parade of Roses

COMMENTS: “Each man has his own mask,” says the voice from the Continue reading 308. FUNERAL PARADE OF ROSES (1969)

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

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296. DOG STAR MAN (1964)

“One thing I knew for sure (from my own dreaming) was that what one dreams just before waking structures the following day. That dream material is gathered from the previous day, and therefore is a gathering of all previous days, ergo contains the structure of all history, of all Man… I wanted PRELUDE to be a created dream for the work that follows rather than Surrealism which takes its inspiration from dream; I stayed close to practical usage of dream material, in terms of learning and studying, for a while before editing. At this time I left strict myth considerations out of my study process as much as possible..”–Stan Brakhage speaking on Dog Star Man in “Metaphors on Vision

DIRECTED BY:

FEATURING: Stan Brakhage, Jane Brakhage

PLOT: This silent non-narrative film is presented in four parts: a 20-minute “Prelude” introduces many of the visual motifs that will show up in later installments, followed by “Part One,” which focuses on a man  climbing a mountain with his dog. The man continues his climb in the seven-minute “Part Two,” but the picture now focuses on a baby boy, with abstract figures superimposed directly on the film. “Part Three” is a “sexual daydream” of a nude woman, with even more layered images, and “Part Four” is an even more abstract culmination of all that has come before.

Still from Dog Star Man (1964)

BACKGROUND:

  • Experimental filmmaker Stan Brakhage completed almost 400 films during his life (some of which run for less than a minute).
  • Dog Star Man is the final compilation of five short films Brakhage produced between 1961 and 1964. They are almost never screened separately, although the Prelude could stand alone.
  • While making Dog Star Man, Brakhage was unemployed and living with his wife and her parents in their Colorado cabin; to earn his keep, he chopped wood for the family.
  • Brakhage named his movie after a pulp novel he picked up as a boy, because he thought it a shame that such a great title would be forever wasted on a tawdry paperback.
  • The film is structured with increasing visual complexity. Brakhage shot one layer of film for part one, two for part 2 (and also for the prelude), three for part 3, and four for part 4. The layers of film were then superimposed on top of each other.
  • Brakhage later produced a four-and-a-half hour cut of this material called The Art of Vision, which rearranged every layer of film Brakhage shot for the project into every possible combination of superimpositions (within each part).
  • Chosen for preservation in the Library of Congress’ National Film Registry in 1992.

INDELIBLE IMAGE: Most of the amazing visual effects Brakhage achieves with his complex superimpositions fly by too quickly for us to consciously register—some can be seen for only a single frame or two. The most important repeated symbol in the film, however, may be the most mundane: the woodcutter struggling up the snowy mountain with his axe, stumbling and falling, while his dog happily bounds at his side.

THREE WEIRD THINGS: Phosphenes on film; baby with snowflakes; sex and beating hearts

WHAT MAKES IT WEIRD: Meticulous and intentionally unentertaining, Dog Star Man is a masterwork of consciously constructed dream cinema.


Excerpt from Dog Star Man (Prelude)

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