Tag Archives: International cast and crew

CAPSULE: BAD TIMING (1980)

AKA Bad Timing: A Sensual Obsession

Recommended

DIRECTED BY:

FEATURING: Art Garfunkle, Theresa Russell,

PLOT: A woman is rushed to the emergency room; flashbacks explain the troubled relationship between a psychology professor and a free-spirited younger woman that brought them to this pass.

Still from Bad Timing (1980)

WHY IT WON’T MAKE THE LIST: Extremely subtle weirdness + adequate Nic Roeg representation on the List already + shrinking available space (only 85 slots left at the time of this writing) make it a bad time for Bad Timing to come along. Had this review been written earlier in this site’s existence, this movie’s layers of mystery might have convinced us to shortlist it, but now we have weirder candidates waiting in the wings.

COMMENTS: Nicolas Roeg shows excellent, if somewhat deceptive, timing with Bad Timing. He feints that he’s about to give us a bittersweet meditation on a failed love affair, but instead probes ever deeper into a psychology of paranoia and obsession, using a subtly dislocating style to keep us off guard. Opposed dualities appear everywhere: male vs. female, rational vs. emotional, East vs. West, law vs. crime. The setup is classic amour fou, pairing successful academic Dr. Alex Linden with the hard-drinking, free-loving Milena. As the relationship is slowly revealed in flashbacks, we see the power balance between the two shift back and forth, as both parties become mired in an increasingly destructive relationship, in different ways. Alex appears coldly rational—Milena bitingly advises him to try to love her instead of trying to understand her—but his advanced training doesn’t inoculate him from human frailty; he’s as subject to jealousy as the next man, and when he falls from his logical perch, he falls hard, into a churning id.

Paranoia and second-guessing are the rule in Alex’s world. The ever-present Cold War background, which is seldom explicitly mentioned, aroused more paranoid associations at the time than it does now. Alex lectures his Intro to Psych students about how everyone is a spy, starting with children peeking on their parent’s lovemaking; later, it appears that the psychiatrist himself is being analyzed by the detective, whose intuition and experience may lead him closer to Alex’s essence than Freudian methodologies would. Alex’s nemesis is a source of mystery and paranoia, too. Harvey Keitel’s obsession with investigating what on the surface seems to be an open-and-shut suicide attempt is itself obsessive, and seems almost unmotivated (until a last minute revelation). Wearing a greasy mullet, Keitel doesn’t make the slightest pretense of being Austrian; I don’t think this is bad casting, but deliberate dissonance, a clue that his character is pure metaphor.

Art Garfunkle, on the other hand, really is bad casting, and his presence damages what could have been an unqualified classic. Roeg’s good taste in casting as an alien The Man Who Fell to Earth doesn’t carry forward here. Not only is Garfunkle a stiff in the acting department, but we’re asked to view him as a suave sex symbol, someone whose magnetism would ensnare the heart of a young woman who could have her pick of any stud in Vienna. Fortunately, an excellent, brave performance from the underappreciated Theresa Russell blows through Art’s inadequacies in their scenes together.

The finale is truly shocking, but well-earned. Also of note is the excellent soundtrack, featuring hits from , Billie Holiday, The Who, and Keith Jarrett. The difficulty of re-securing the rights to all of this music for home video release put Bad Timing out of circulation for many years. It was released to mixed reviews and big controversies: it was rated “X” in the U.S. (a commercial death sentence), and the U.K. distributor called it “sick” and had its logo pulled off prints. Although the film is better appreciated today (even receiving a Criterion Collection release), the furor over Bad Timing led to a perception of Roeg as box office poison. After starting his career off with five memorable films, the director’s career fell off precipitously in the 80s, with 1990’s adaptation The Witches marking a brief comeback to relevance.

WHAT THE CRITICS SAY:

“One of Roeg’s most complex and elusive movies, building a thousand-piece jigsaw from its apparently simple story of a consuming passion between two Americans in Vienna.”–Time Out London

(This movie was nominated for review by sometime contributor Eric Gabbard,  who pleaded “The odd juxtapositions and time shifts. It’s a definite weird candidate. Give it a chance.” Suggest a weird movie of your own here.)

CAPSULE: CALIGULA (1979)

Beware

DIRECTED BY: Tinto Brass, Bob Guccione

FEATURING: , , , Teresa Ann Savoy,

PLOT: Caligula becomes the Emperor of Rome and lots of depravity happens; any resemblance to actual people, places, or events is entirely accidental.

Still from Caligula (1979)

WHY IT WON’T MAKE THE LIST: On paper, Caligula sounds like a sure bet. There are many bad movies that get honored here, and we even have a tag called “.” Caligula could theoretically qualify for the List of the Weirdest Movies Ever Made by that standard. Except that “bad” doesn’t describe Caligula so much as stupid. Nothing more need be said about this movie but “stupid.” Rocks are too smart to watch Caligula.

COMMENTS: There is at least a hefty essay and maybe a book to be written about the story of how Caligula got made, although perhaps it would be more correct to say it got “executed.” The drama involved in the production is a thousand times more entertaining than anything that ended up on film. Pretty much everybody involved locked horns and stormed off the set to sue each other. Various creative forces within the production struggled to make it a historic Shakespearian opera, a cheap exploitation flick, a softcore porn epic, and a hardcore snuff porn transgression; the result was best summed up when one reviewer called it “a boondoggle of landmark proportions.”

Some cultural context is helpful: the 1970s were an era when movies like Deep Throat had brought big-screen porn into a relatively acceptable light, and filmmakers were getting more daring in testing the boundaries of taste. Caligula pisses on the very idea of taste, and if you dare to abuse your intellect by watching it, you will encounter several scenes where it literally does just that. Welcome to the Horny Roman Empire, with Caligula (Malcolm McDowell) romping with Drusilla (Teresa Ann Savoy), which seems to be harmless enough erotica until you learn they’re brother and sister. His uncle Emperor Tiberius (Peter O’Toole), summons him to discuss politics and witness his depraved orgies. Caligula assassinates Tiberius and assumes the throne, breaking all hell loose as he sinks into depravity. Caligula promotes Drusilla as his equal, convicts Marco (Guido Mannari) of treason in a kangaroo court and offs him, and marries Caesonia (Helen Mirren) because he can’t legally marry his sister. Drusilla dies, Caesonia gets pregnant, Caligula wars with the Roman senate and declares himself a god, Caligula shows off his horse, the new senator Chaerea plots to assassinate Caligula and succeeds, and the movie ends, merciful heavens be praised.

In the midst, background, foreground, and everyground of these shenanigans, naked people cavort in every depiction of hedonistic excess possible. It kind of plays out like a film with a bigger budget but fewer ideas and not a trace of a sense of humor. In fact, Malcolm McDowell’s presence in this film invites you to compare it to a signature scene of A Clockwork Orange; it’s exactly the kind of “ultraviolence” film the character Alex would be forced to watch during his brainwashing sessions. There’s rape, torture, bestiality, necrophilia, mutant people with four legs and butts on their bellies, silly over-the-top executions and mutilations, urination, defecation, and basically every perversion you could search for on the Internet. Most of this just flies by with no context or reason to exist. Sometimes the camera just gets bored and focuses on somebody’s crotch, while irrelevant actors screech their dialog in hopes of getting it’s attention. Nobody in this movie even gave a thin damn about historical accuracy. The sets are festooned with anachronisms such as a styrofoam hat shaped like a penis, worn by an extra just casually passing through the set while apparently waiting for a taxi.

When it comes to erotic arthouse films, Caligula fails by every definition. The Cook, The Thief, His Wife & Her Lover does a superior job of being a weird epic with erotic scenes, for just one example. There’s a dozen or so artsploitation films already in line on this site ahead of Caligula, and there’s only so many we need. In terms of history, just take into account that even the writings we have of the real life of Caligula (mostly Suetonius, writing 80 years after the emperor’s death) are suspected of fudging the facts in the interest of political propaganda. In terms of pure kinky titillation, go watch The Story of O or Secretary or Belle De Jour instead. Don’t look for steamy thrills in Caligula, because nobody, not even serial killers apprehended with a freezer full of body parts, is this depraved.

WHAT THE CRITICS SAY:

“… as with a lot of bad would-be art, this cinematic oddity holds a truly bizarre fascination…”–Michale Dequina, The Movie Report (1999 revival)

CAPSULE: CANDY (1968)

DIRECTED BY:  Christian Marquand

FEATURING: Ewa Aulin, John Astin, , , , , , Walter Matthau, Charles Aznavour

PLOT: A nubile girl separated from her father wanders the U.S. meeting a poet, gardener, general, doctor, guru, and more, learning that men only want one thing from her.

Still from Candy (1968)

WHY IT WON’T MAKE THE LIST: Ah, the late 1960s all-star wacky counter-culture cash-in flop. I have a personal affection for this suspect subgenre, which includes Casino Royale and Myra Breckinridge among other campy disasters. The whole mini-movement was inspired equally by “Laugh-In,” screenwriters with LSD connections, and Hollywood execs’ hopes of wringing the spare cash that hadn’t been blown on grass from out of hippies’ pockets. Sadly, as the number of available remaining slots on the List of the 366 Best Weird Movies grows ever smaller, we have to be ever more selective, and Candy has neither the balls-to-the-walls weirdness nor the cinematic competence to challenge for a spot among the very strangest films. Having the even more stunning and misconceived Skidoo on the List to represent this shaky subgenre takes some of the sting out of reluctantly passing on this wild and wooly folly, though.

COMMENTS: Buck Henry, fresh off an Oscar for The Graduate, wrote Candy‘s script. Douglas Trumbull (the man responsible for 2001: A Space Odyssey‘s “cosmic gate” scenes) did the opening and closing effects. The Byrds, Steppenwolf and Dave Grusin appear on the impressive soundtrack. With that lineup of talent, along with a cast sporting multiple Oscar winners, it’s a shock how awful Candy can be at times. The blame can go to none other than director Christian Marquand (a successful French actor), whose second and final turn at the helm of a major motion picture was this financial shipwreck. Fortunately, at its best (er, worst), Candy is laughably awful, with enough “WTF?” moments (both intentional and unintentional) to keep your eyes glues to the tube.

The plot is a series of nearly-satirical vignettes in which a cross-section of American manhood attempts to grope, seduce, and violate the naïve Candy, who only wants to find her missing father. It is, as the kids today say, kind of rapey; but the menaces the nubile Ewa Auin faces are so silly and absurd that it’s hard to take offense. Candy appears confused rather than frightened by the men’s advances, and whenever someone does score, she enjoys it, in the free love spirit of the times. Her molesters are, in turn, a drunken poet (Burton, as a teen idol version of Dylan Thomas); a Mexican gardener (Ringo Starr, who makes look like a Guadalajara native by comparison); an air force commander (Walter Matthau); her father’s twin brother; two medical professionals (Coburn and Huston); an underground filmmaker; a hunchback (Azvanour); a self-appointed guru traveling the country in a big rig (Brando); and a mysterious cloaked figure. Among the male cast, opinions are divided on who comes off best and worst, but even if their performances are halfway decent (Coburn), the actor’s star is tarnished just by appearing in this mess.

If you’re looking for weird bits beyond the spectacle of big names embarrassing themselves, we only need to point to the opening and closing, which imply that Candy is some sort of star child sex messiah. Then there’s the scene in a glass-bottomed limousine, shot from below; a drunken Burton making love to a mannequin; a wall-scaling hunchback; and every moment of Brando’s politically incorrect brownface performance as an Indian guru who teaches Candy both levitation and the advanced spine-warping version of the Kama Sutra. Individually, some of the sequences work, but the movie never gets a comic rhythm going, and even the horrible acting rarely elicits a chuckle. It does, however, get weirder as it goes on, coming to resemble a softcore “Alice in Wonderland” more than its original inspiration, Voltaire’s “Candide.” It’s one of those fabulous extravagances that could only have emerged out from behind of a cloud of smoke in the psychedelic era.

The eclectic cast and crew of the film adaptation fits Candy’s curious history. It started life in 1958 as a satirical pornographic novel by Terry Southern and Mason Hoffenberg, which was originally banned but became a succès de scandale when it was republished in the 1960s. “Candy” helped launch Southern’s career: he went on to write or contribute to screenplays for Dr. Strangelove, Barbarella, Easy Rider, and the adaptation of his own novel The Magic Christian. (Reportedly Southern was not a fan of this adaptation). Candy was remade twice in 1978 (without authorization, with just enough changes to avoid lawsuits), as dueling hardcore sex films: The Erotic Adventures of Candy and Pretty Peaches. Pretty Peaches, at least, was quite accomplished for an adult film, with bubbleheaded Desiree Cousteau arguably outperforming debuting Ewa Aulin, and has probably been seen far more often than this official studio-backed adaptation. Long neglected, in 2016 Kino Lorber re-released Candy on DVD and Blu-ray, with interviews with Buck Henry and film critic Kim Morgan (‘s wife) among the extras.

WHAT THE CRITICS SAY:

“…a trippy, candy colored comedy with sci-fi and fantastic overtones, complete with a mindblowing cosmic finale. There really hasn’t been another movie quite like it, and for those who can handle cinematic head trips laced with chuckles and gorgeous visuals, this Candy is dandy indeed.”–Mondo Digital (DVD)

(This movie was nominated for review by “kengo,” who rhapsodized “Cheesy sleazy patchy fun, with a bit of hit and miss satire and no discernible plot, but it does have McPhisto! – Richard Burton at his best. Hollywood was good in the sixties.” Suggest a weird movie of your own here.)

LIST CANDIDATE: TALE OF TALES (2015)

Il Racconto dei Racconti

DIRECTED BY:

FEATURING: , Toby Jones, , Bebe Cave

PLOT: Peace and harmony reign between three neighboring kingdoms, but all is not well with the countries’ monarchs: in her desire for an heir, the Queen of Longtrellis goes to extremes; trying to avoid marrying off his daughter, the King of Highhills accidentally dooms her to wed an ogre; and the King of Strongcliff attempts to woo an unseen (and unsightly) singer that won his heart.

Still from Tale of Tales (2015)

WHY IT SHOULD MAKE THE LIST: Director Matteo Garone weaves together three differently unsettling fairy tales with a sure hand and A-list actors. Sea monsters, giant fleas, and creepy albino twins are just a few of the wondrous sights to see in this medieval fantasy. The undercurrents of death, deformity, and violence make for an unsettling amalgam when coupled with picturesque castles and countrysides.

COMMENTS: An international cast, sumptuous European locales, familial conflict—yessir, Tale of Tales screams “Film Festival” and “Art House.” Fortunately for us, attributes like bloody murder, spontaneous gestation, and youth-bringing lactation also make it scream “weird”! Indeed, looking over some of the “Weirdest Search Terms” from my time here, I suspect at the very least that last one will notch 366 another visitor from the far corners of the web. Tale of Tales delivers a strong dose classic European fairy-tales without skimping on the grisly elements that made them such macabre stories.

Using three stories from Giambattista Basile’s early 17th-century collection of Neapolitan fairy-tales, director Matteo Garrone allows an unlikely group of fantasy characters to stumble toward their fates, occasionally stumbling into each other. The Queen of Longtrellis’ (Salma Hayek) husband is slain while killing a sea beast he hunted so that his wife could devour the monster’s heart—a solution, we are told, for the couple’s infertility. Attending the funeral is the kind-hearted King of Highhills (Toby Jones) together with his daughter Violet (Bebe Cave). We also meet the lusty lord of Strongcliff (Vincent Cassel), appearing from beneath the skirts of two courtesans in his coach before arriving at the procession. Things bat back and forth between their tales throughout the movie, and needless to say, the roads these monarchs and their families take are a bit bumpy.

Judging the “weird” merits of a fantasy movie can be a challenge, for while unreal things necessarily go on, that is expected from the genre. However, the defense of my bold claim in the case of Tale of Tales is made easier because of the extremes the movie goes to with its material. The story of the Queen of Longtrellis alone cements things firmly in our realm of the weird. Not only did the Queen need to eat the serpent’s heart, but during the preparation thereof (by, as specified, a solitary virgin) the young cook becomes with child herself; both women are pregnant just one day before delivering, separately, identical albino twins. Disapproving of her own son, Elias[1], fraternizing (as it were) with the peasant’s son, Jonah[2], the Queen eventually makes a second Faustian bargain resulting in, to put it crudely, “Form of Bat!” …And on top of that there’s the mightily growing flea-pet of the King of Highhills and the sad tale of the two crones who accidentally steal the heart of the King of Strongcliff.

I’m generally skeptical of the “interlocking narrative” structure found in some films — I regard it as a poor excuse to cobble together what should have been multiple short ones. However, the tone in Tale of Tales is consistent throughout, and any potential disjointedness is mitigated both by the very smooth editing work and the presence of a troupe of carnival performers who appear at key points throughout the three narratives. And did I mention there’s ? Showing up barely in time for his own demise, I like how he can always be counted on to add a touch of pathos. Tale of Tales is a beautiful, weird movie that is a reassurance to fantasy genre fans everywhere.

WHAT THE CRITICS SAY:

“There was already something wonderfully weird and carnivalesque about Italian filmmaker Matteo Garrone’s past films… Now, the director has let his circus ringmaster’s instinct flower with the bold, barmy ‘Tale of Tales’… the sheer, obstinate oddness of ‘Tale of Tales’ sends crowd-pleasers like ‘Game of Thrones’ and ‘The Hobbit’ scuttling into the shadows of the forest in terror.”–Dave Calhoun, Time Out London (contemporaneous)

  1. “Elias” is a variant of “Elijah”, the prophet known, among other things, to be the harbinger of the End of Days; he twice fills this role vis-à-vis his own parents. []
  2. That a boy conceived by the consumption of the heart of a giant fish should be named “Jonah” is, in my view, more than a bit gratifying. []

CAPSULE: FRANCOFONIA (2015)

DIRECTED BY:

FEATURING: Louis-Do de Lencquesaing, Benjamin Utzerath, Vincent Nemeth, Johanna Korthals Altes, Aleksandr Sokurov

PLOT: An experimental documentary on the Louvre, with dramatic recreations of the Nazi takeover and Napoleon showing up in the museum after hours.

Srill from Fancofonia (2015)

WHY IT WON’T MAKE THE LIST: This stream-of-consciousness companion piece to Russian Ark, Aleksandr Sokurov‘s amazing one-shot exploration of St. Petersburg’s Hermitage, is too messy with too many wild hairs. Ultimately, it seems to be more about Sokurov’s own artistic whims and impulses than it is about the Louvre.

COMMENTS: As the opening credits scroll, we hear director Sokurov take (scripted) phone calls regarding post-production work on his latest movie (presumably Francofonia itself). The second caller (“Captain Dirk,” who we’ll meet again later) asks about the director’s progress and he confesses “I don’t think the film is successful.”

I generally agree, although any movie that spotlights so many masterpieces from the Louvre can’t be a complete failure. Sokurov is a true connoisseur of European art (as seen in Russian Ark) and has a legitimate love for the Louvre, but this documentary/narrative hybrid piece shows no real organization or purpose. It’s like a spur-of-the-moment whirlwind trip to a museum. Partly, Sokurov wants to give an account of how deputy Louvre director Jacques Joujard hid the museum’s treasures from the Nazis ahead of the occupation of Paris in 1940, with the silent blessing of Count Franz Wolff-Metternich, the cultured professor Hitler had appointed as “caretaker” of French cultural treasures. This potentially interesting story is told with both archival footage and recreations using actors. But Sokurov masks his straightforward tale with multiple digressions: his own poeticized musings on European culture; a mysterious character who runs around the darkened Louvre in a gown saying “liberté, égalité, fraternité”; the ghost of Napoleon (who shows up to point out his own portraits); Sokurov’s fanciful Skype discussions with the aforementioned Captain Dirk, who’s carrying a load of museum-bound historical treasures on a freighter imperiled by rough seas; and so on.

Francofonia suffers by comparison with Russian Ark, whose one-take, two-character gimmick imposed structure and discipline on the film while still allowing Sokurov to indulge his imagination. Sokurov is intelligent, and his a love for museums and for the preservation of European high culture comes across, but Francofonia is so scattershot that his passion is dissipated. A conventional documentary would hit at least as hard: indeed, moments when the camera merely pans over the straining figures of “The Raft of the Medusa,” or passes each curl in an Assyrian lamassu’s beard, or zooms in so we can see the intimate cracks in the “Mona Lisa”‘s aging canvas, are the film’s strongest sights.

Sokurov says he wants to create cinematic tributes to Madrid’s Prado and London’s British Museum next. I hope he finds a more interesting angle from which to film these projects than he did for his Louvre piece.

The Music Box Francofonia DVD or Blu-ray includes two substantial extras, each about an hour long: the making of documentary “Visitors to the Louvre” and “The Man Who Saved the Louvre,” a conventional documentary (which the DVD refers to as a “play”) on Jacques Joujard.

WHAT THE CRITICS SAY:

“Sometimes the bizarre can illuminate the poignant, sometimes it distracts. In ‘Francofonia’ it most definitely distracts… terribly over-directed and seems strange just for the sake of being strange.”–Tom Long, Detroit Free Press (contemporaneous)

252. POSSESSION (1981)

AKA The Night the Screaming Stops

Recommended

“…Viktor Shklovsky wrote about how the job of the artist was to come up with a device that made the familiar seem strange. The ‘strangeness’ sets our brain a challenge, and the process of dealing with it is engaging – not just on an intellectual level, but an emotional one too… In Possession, Żuławski made a marital breakdown ‘strange’ by showing ‘the horror’ – this was not Scenes from a Marriage – it was something else.”–Daniel Bird

“Nothing wants to bite anymore – they want to lick.”– Andrzej Zulawski, from the Possession commentary track.

DIRECTED BY:

FEATURING: , , Heinz Bennent, Margit Carstensen, Carl Duering, Shaun Lawton

PLOT: Mark, an agent for some unspecified agency, returns home to his wife, Anna, and son in Berlin only to find that Anna has taken a lover. She splits her time between her home and her lover; however, Mark still wants her, causing extensive conflict between them. He uncovers a previous affair with a man named Heinrich, but she also left him for another—and finding the identity of her current lover leads to mayhem and a rising body count.

Still from Possession (1981)

BACKGROUND:

  • Andrzej Zulawski conceived Possession in the wake of several events—the collapse of his marriage to actress Małgorzata Braunek after being allowed to return to Poland from exile after the international success of 1975’s The Most Important Thing Is To Love, and the subsequent production and shutdown of On The Silver Globe and his second exile from Poland.
  • Zulawski originally pitched the film to Paramount Studio head Charlie Bluhdorn, calling it “a movie about a woman who f**ks an octopus.” They passed.
  • The film played at Cannes and Isabelle Adjani won “Best Actress,” sharing the award for her roles in both Possession and Merchant/Ivory’s Quartet.
  • The final film was chopped up by distributors. The U.S. release was notorious for being a total misrepresentation of the movie: the distributor removed about 40 minutes, reshuffled scenes, and added optical effects to play up and sell it as a horror movie. The Australian version made similar cuts. It wasn’t until 2000 that the original version was available to be seen in the U.S.
  • Possession was briefly released in the UK, but on videotape it was later banned as a “video nasty,” a classification intended for extreme horror films with no artistic merit.

INDELIBLE IMAGE: In a film with many memorable images, mainly close-ups of the characters in various stages of mania, the one that sticks is of Adjani’s Anna being serviced by something coiled around her… and writhing.

THREE WEIRD THINGS: Pink socks; subway miscarriage; Anna’s lover

WHAT MAKES IT WEIRD: It starts out as a domestic drama turned up to 11, which then goes up to 15. The intensity is compelling, especially when most other relationship films at the time went for quiet decorum. Possession throws all that right out the window. And then at the midway point, it drops the bottom out of expectations with the introduction of the Creature.


Possession international release trailer

COMMENTS: There seems to be no major disagreement about Possession joining a list of “weird” anything. The fur begins to fly in the Continue reading 252. POSSESSION (1981)

CAPSULE: LAST LIFE IN THE UNIVERSE (2003)

Ruang rak noi nid mahasan

Recommended

DIRECTED BY: Pen-Ek Ratanaruang

FEATURING: , Sinitta Boonyasak, Laila Boonyasak

PLOT: Suicidal expatriate librarian Kenji witnesses a fatal automobile accident while contemplating jumping off a Bangkok bridge, and falls for Noi, the victim’s sister.

Still from Last Life in the Universe (2003)\

WHY IT WON’T MAKE THE LIST: Last Life in the Universe is a quality romantic drama with a strong “indie” flavor to it, but the few liberties it takes with reality aren’t quite enough to tip it into the “weirdest of all time” category.

COMMENTS: Suicide attempts, pot-smoking hallucinations, abusive boyfriends, yakuiza revenge killings: Pen-Ek Ratanaurang slips a surprising amount of plot into a languid movie that’s essentially about two mismatched people lying around talking and occasionally cleaning the house. It also has enough fantasy sequences (which are sometimes difficult to distinguish from reality) that you may become confused once or twice as to whether events really occurred (I confess that I thought one of the major plot twists was a dream up until the end of the movie). Asano and Boonyasak make for an appealingly melancholy couple, each of them mired in their own particular tragedy. The Japanese librarian is an obsessive neatnik, while the Thai local is a pothead slob, but the movie makes the barrier to these two consummating their attraction feel like it runs deeper than superficial traits; their private sadnesses seem unbridgeable.

As a whole, Last Life‘s story is denser than the minimalist individual scenes might suggest; it’s a movie with good replay value. Try to catch things that you missed on a first pass. Look for lizards everywhere, and a nod to That Obscure Object of Desire. You’ll also learn about Bangkok bars where the hostesses dress like schoolgirls wearing bunny ears, and how to get bloodstains out of your Escher print. And you can make up your own mind about the ambiguous ending. If nothing else, Ratanaruang goes down easier than fellow sleepyThai ‘s work: it’s not as weird, but a lot more happens.

Last Life was lensed by cinematographer nonpareil ; according to an interview with Ratanaruang included on the DVD, the chance to work with Doyle was one of the main inspirations for the movie, and the DP seems to have had an unusually large role in the finished project. Last Life is also notable for a rare acting cameo by director , who does well as a yakuza boss. Miike, of course, directed Last Life star Asano in Ichi the Killer. If you’re looking for a truly international film production, you can’t get much more cosmopolitan than this: a Thai setting and director, a Japanese star, an Australian cinematographer known for his work in Hong Kong, and the whole thing was partially funded with French and American money. They even speak three languages in the movie: Thai, Japanese, and English (although Asano and Boonyasak’s English accents sometimes made me anxious to return to the subtitles).

WHAT THE CRITICS SAY:

“The closest thing to entering a dream state at the movies right now is watching ‘Last Life in the Universe’…”–Charles Taylor, Salon (contemporaneous)

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

245. THE LOBSTER (2015)

“How do you even act in something like this? It was so bizarre. There’s no human reference that I know of to go, ‘Oh, I remember when something like that happened to me before.’ It’s so out there.”–Colin Farrel on acting in The Lobster

Must See

DIRECTED BY:

FEATURING: , , Léa Seydoux, , Ben Whishah, , Olivia Colman, Garry Mountaine, Jessica Barden,

PLOT: In a future dystopia, every adult must be in a mandatory romantic relationship or they are sent to a state-run hotel to find a mate within 45 days, to be turned into an animal of their choice if they fail. David is a short-sighted architect whose wife leaves him for another man, necessitating his visit to the hotel with his dog (formerly brother) Bob. He tries to find a legitimate match, pretend to fall in love with another resident, or failing either of those options, to escape to the forest where a small band of renegade singles live.

Still from The Lobster (2015)

BACKGROUND:

  • This is Greek Giorgos Lanthimos’s first English language feature film.
  • Writer Efthymis Filippou has co-written Giorgos Lanthimos’s last three features (the other two are the Certified Weird Dogtooth and Alps), and actress Aggeliki Papoulia has had a prominent role in each.
  • The Lobster won the Jury Prize (essentially, third place) at Cannes in 2015 (Jacques Audiard’s Dheepan won the Palme D’or, while the holocaust drama and future Academy Award winner Son of Saul took the Grand Prix).

INDELIBLE IMAGE: This is a tough one, because—the beautiful photography of the County Kerry countryside and the classical elegance of the Parknasilla Resort notwithstanding—The Lobster‘s bizarre situations and crazy concepts hit harder than its imagery does. I considered the scene where the woman shoots a donkey in a field, or a subtle scene where the Loner Leader and the Maid are sitting in the forest and a two-humped camel casually saunters by in the background. Ultimately, I chose David and short-sighted woman’s wildly inappropriate makeout scene, which supplies one of this very drily hilarious movie’s biggest belly laughs.

THREE WEIRD THINGS: Donkey assassination; Heimlich theater; psychopath trial relationship

WHAT MAKES IT WEIRD: The Lobster is Giorgos Lanthimos’s idea of a romantic comedy: a cruel farce with bizarre but relentlessly consistent logic, enacted by a cast who show no emotions. Really, it’s more of a romantic horror/comedy. The style represents one of my favorite types of weird movies: one that takes the world we know, changes one or two of the basic rules, and then runs all the way with its premise to a bizarre conclusion dictated by its world’s rejigged logic.


Original trailer for The Lobster

COMMENTS: The Hotel Manager praises David when he explains Continue reading 245. THE LOBSTER (2015)

240. EISENSTEIN IN GUANAJUATO (2015)

“And a curious use of side-stepping metaphor and associative poetry is involved and embraced – all of which I came later to understand as characteristics of montage, the cinema of comparison – film by association – an ‘only-connect’ – cinema, cinema at long last not a slave of prosaic narrative but hopping and skipping about with serious purpose to run like the human imagination runs, making everything associative till everything past, present and future, old and new, both sides of the wall – like Cubism – which so influenced the contemporary Russian avant-garde in painting – though Malevich said that Eisenstein could never join the Russian avant-garde, he was ‘too real’. Amazing! I had found my first cinema hero.”–Peter Greenaway on Sergei Eisenstein (from director’s notes to Eisenstein in Guanajuato)

DIRECTED BY:

FEATURING: Elmer Bäck, Luis Alberti

PLOT: In 1931, Soviet director Sergei Eisenstein (Battleship Potempkin) is in Mexico, gathering material for a new movie. While there, Eisenstein, a closeted homosexual, falls in love with his Mexican guide. He becomes more interested in the romance than the movie, but when his American financiers back out and Stalin calls him home, the director must abandon his first true love.

Still from Eisenstein in Guanajuato (2015)

BACKGROUND:

  • Eisenstein in Guanajuato begins from a real life episode. In the 1920s Sergei Eisenstein made three film in Russia—Strike, Battleship Potempkin, and October [AKA Ten Days That Shook the World]—that were globally regarded as classics, especially for their revolutionary kinetic editing. In 1928, Eisenstein was allowed to leave the Soviet Union as a sort of artistic goodwill ambassador. He toured Europe and North America, lecturing on Soviet film while learning the techniques used in other countries (specifically, the new technology of synchronizing sound to film). While abroad, the writer Upton Sinclair and his wife Mary agreed to fund Eisenstein with $25,000 to make a film in Mexico. Stalin worried that Eisenstein might defect and called him home, while the director simultaneously quarreled with his American backers over his extravagant expenses. The feature film, which would have been titled ¡Que viva México!, was never completed, although the Sinclairs edited some of the reported 250 miles (!) of film Eisenstein shot into three shorts. Eisenstein was never able to obtain the footage to edit himself.
  • Based on diary entries and homoerotic sketches he made, Eisenstein is widely believed to have been gay, and his marriage to Pera Atasheva a platonic one. There is no hard evidence he ever acted on these inclinations—although of course if he did he would have taken pains to hide the evidence, since under Stalin homosexual activity was punishable by five to ten years of hard labor in a prison camp.
  • Peter Greenaway originally planned the film as a documentary.
  • Try as he might, Greenaway could not find a Russian actor of the right age and appearance who was able to speak English and Spanish convincingly and was willing to appear nude in a gay sex scene. Elmer Bäck is a Finnish actor previously seen only on Finnish television.
  • Greenaway has announced a prequel, Eisenstein in Hollywood, intended to be completed by 2017.

INDELIBLE IMAGE: Probably, the image that sticks in your mind will come from the sex scene centerpiece—one of the most explicit gay romps in a mainstream film, and one in which the lovers discuss colonialism and syphilis as Eisenstein is anally deflowered. We don’t want to ruin the, er, unusual climax where Palomino storms Eisenstein’s Winter Palace for you, however.

THREE WEIRD THINGS: Looming desperadoes; shower phone; animated angel porn

WHAT MAKES IT WEIRD: This lurid and delirious biopic of Russian director Sergei Eisenstein plays like Peter Greenaway was possessed by the gay ghost of , desperate to come out and obsessed with a postmortem affection for split screens.

Original trailer for Eisenstein in Guanajuato

COMMENTS: It’s fair to say Eisenstein in Guanajuato is Peter Greenaway’s Ken Russell movie: an erotically charged imaginary biography of an artist in the throes of passion, and a salacious sneer at the Continue reading 240. EISENSTEIN IN GUANAJUATO (2015)

CAPSULE: A LIZARD IN A WOMAN’S SKIN (1971)

DIRECTED BY:

FEATURING: Florinda Bolkan, Jean Sorel, Stanley Baker, Leo Genn, , Mike Kennedy, George Rigaud, Anita Strindberg

PLOT: A neurotic woman dreams that she kills her hedonistic neighbor, then finds herself accused of murder when the crime actually happens just as she dreamed it.

Still from A Lizard in a Woman's Skin (1971)

WHY IT WON’T MAKE THE LIST: Despite the powerful psychedelic dream sequences, Lizard is a bit too rational in its plan—something Lucio Fulci was seldom accused of.

COMMENTS: Lucio Fulci is best known in horror circles for his brutally gory and none-to-coherent “spaghetti zombie” movies, made as cynical cash-ins on  hits, but he began his career working in the distinctively Italian exploitation/mystery hybrid known as the giallo. While the gialli—which relied on trashy psychologies of sex and violence and sexual violence—seldom approached the level of high art, they were more stylish and serious-minded than the typical B-movie. Lizard in a Woman’s Skin is a classic of the genre. Fulci shows his aptitude for mildly surrealistic montages in the two precognitive (?) nightmares suffered by poor, prudish Carol—they’re luxuriant visions of blood and nudity, and they evoke dreamlike sensations of falling and traveling through corridors that reference the psychological horrors of Repulsion and Vertigo. Fulci and cinematographer Luigi Kuveiller also produced some excellent, evocative effects with special “wavering” lenses that made parts of the dream sequences look like they were shot through funhouse mirrors.

Of course, even in his worst films, Fulci was known for his ability to craft arresting images, while he had an equally profound reputation for paying little heed to plot or continuity. (Fulci would have made a great music video director if that format had been prominent during his career). In contrast to his later movies, Lizard stands out for its comparatively complex and detailed storyline. Of course, there are a few slip-ups. A red-headed woman who appears to lives with Carol and her family is never properly introduced, and figuring out who she is or why she is always around is almost as big a mystery as the murderer’s identity. And while Lizard‘s ending is tighter and perhaps not as much of a cheat as some commentators suppose—although serious questions about the timing of events do linger—it’s not completely satisfying, either. The fast-moving denouement is delivered clumsily, so that the mystery is still a little confusing even after everything has been wrapped up. Some characters have their stretched motivations, and they clearly exist only to increase the number of suspects and red herrings: these elements utilize the logic, not of a dream, but of a paranoid hallucination. Perhaps this is why Lizard‘s narrative fumblings don’t seem to matter that much in the overall scheme. Although there may be a comforting rational explanation to events at the end, the parallel construction of the film as a portrait of a woman undergoing a breakdown (the original U.S. release title was Schizo) fits better with Lizard‘s atmosphere, tone, and theme of sexual deviancy.

Lizard in a Woman’s Skin has been released on DVD in various versions with different running times. Many prints omit a controversial scene with vivisected dogs (don’t worry, it’s fake, although it was convincing enough at the time to force the filmmakers to demonstrate how it was done to defend themselves from charges of animal cruelty). The 2016 Mondo Macabro Blu-ray release incorporates all the footage known to exist and, at 104 minutes, runs the longest of any of the Lizard‘s releases.

WHAT THE CRITICS SAY:

“Fulci was not, at this point, as invested in the conscious surrealism of Bava or Argento, and in particular his attention to gory effects, far above and beyond those men (he was easily the most bloodthirsty of the major Italian horror directors), grants A Lizard in a Woman’s Skin a grounded, visceral realism that makes its psychedelic excesses far more punch than they might have had.”–Tim Brayton, Antagony & Ecstasy (DVD)