Tag Archives: Low budget

275. THUNDERCRACK! (1975)

“God gave him a calling in life, and that was to make pornography.”–George Kuchar on Curt McDowell

DIRECTED BY: Curt McDowell

FEATURING: Marion Eaton, Melinda McDowell, Moira Benson, Mookie Blodgett, Ken Scudder, Rick Johnson, Maggie Pyle,

PLOT: On a dark and stormy night in the Nebraska hinterlands, several individuals on the road end up taking shelter at “Prairie Blossom”, an old dark house that is the dominion of alcoholic matron Gert Hammond (Eaton). Everyone present has secrets and obsessions that are brought to light, and pair off in various combinations for sexual liaisons. The group also finds itself trapped inside the house by a gorilla rampaging outside.

Still from Thundercrack! (1975)

BACKGROUND:

  • Producers John Thomas (who briefly appeared as country singer Simon Cassidy) and Charles Thomas were film students of Thundercrack! actor/writer George Kuchar, classmates of director Curt McDowell, and heirs to a fortune from the Burger Chef fast food chain, which they used to fund the movie. They also provided a rooms in their home for the shoot.
  • George Kuchar was a legend in the underground film industry, making hundred of short, campy avant-garde films together with his twin brother Mike. Noteworthy titles include Sins of the Fleshapoids and Hold Me While I’m Naked (both from 1966).
  • Actress Melinda McDowell was director Curt McDowell’s sister.
  • Kuchar and McDowell were rumored to be lovers.
  • The movie was shot for $9,000 and $40,000 in deferred costs.
  • Buck Henry used his clout as a judge to set up a (scandalous) screening at the 1976 Los Angeles Film Festival.
  • The original negatives disappeared and only five 16mm prints of the film were struck. One print was seized by Canadian authorities and three had been edited in an ineffectual attempt to make the film more marketable. The badly-damaged but uncut fifth print was primarily utilized for the transfer of the 40th anniversary Blu-ray release by Synapse Films.
  • El Rob Hubbard’s[1] Staff Pick for a Certified Weird movie.

INDELIBLE IMAGE: Among the various obvious (and mainly pornographic) images to choose from, the one that sums up the spirit of Thundercrack! is the publicity photo of Gert and Bing in a melodramatic clinch—Bing in a wedding dress, Gert staring off into the horizon. It’s iconic, yet subversive, and pretty much encapsulates the film’s mood.

THREE WEIRD THINGS: Versatile cucumbers; pickled husbands; amorous bipeds

WHAT MAKES IT WEIRD: The collision of several elements: the lurid melodramatics along with the hardcore action, the visual stylization and the complex wordplay, all combine to make a film much more engaging and—dare I say it—innocent than one would expect from a mid 1970s hardcore sex parody film. Or, is it a parody film with porno elements? You decide…


Brief scene from Thundercrack!

COMMENTS: “What the heck is going on here—some sort of communal therapy group? Is that what this is?!!”—Bing

That’s probably a fair assessment of Thundercrack!, Curt McDowell’s Continue reading 275. THUNDERCRACK! (1975)

  1. Fun Fact: actress “Maggie Pyle” and her husband (one of the crew members) were my landlords for a short time in San Francisco in the early 90’s. []

270. WAX, OR THE DISCOVERY OF TELEVISION AMONG THE BEES (1991)

“The keeping of bees is like the direction of sunbeams.”―Henry David Thoreau

RecommendedWeirdest!

DIRECTED BY: David Blair

FEATURING: David Blair

PLOT: A “supernatural photographer” and beekeeper searching for evidence of the afterlife buys a hive of rare, disease-resistant Mesopotamian bees. Years later, his grandson Jacob, who works as a software engineer designing flight simulators for warplanes, inherits the insects. The hive gives him visions, then drones pierce his skin and insert a crystal—which allows him to see the bees’ version of television—to direct him in his destiny as a metaphysical assassin.

Still from Wax, or the Discovery of Television Among the Bees (1991)

BACKGROUND:

  • Wax took six years to complete and was partially funded with grants from German Public Television, the National Endowment for the Arts, the American Film Institute, and other private and state charitable endowments.
  • Jacob’s grandfather, James “Hive” Maker, is played by (in a non-speaking role).
  • First broadcast on German television in 1991, this shot-on-video feature never received a true theatrical release, although it was blown up to 16mm film for limited screenings in 1993.
  • The New York Times reported that Wax was be the first feature-length motion picture to be broadcast on the Internet.
  • A “hypermedia” version of Wax, or the Discovery of Television Among the Bees is available for free viewing at a site hosted by the University of Virginia. The movie is available to watch or download for free on Vimeo under a Creative Commons license.
  • Two years ago, Blair said that he was still working on a sequel, which has been in progress for at least seven years.

INDELIBLE IMAGE: Oddly enough, in a movie with so many digital distortions and abstract psychedelic graphics, it’s the shots of Jacob in his white beekeeping suit that stick in the mind the most—because, absurdly, he almost never takes it off, whether trudging through the steaming desert or walking past banks of supercomputers at his job at a military facility. Even when cuddling with his wife in front of the TV, he only takes off his hat. The suit becomes both a symbol of Jacob’s insular insanity, and a low budget substitute for a spacesuit a la 2001: A Space Odyssey, as Jacob ventures into cosmic realms far beyond ordinary human conception.

THREE WEIRD THINGS: Semi-intelligent missiles; the dead on the Moon; the Planet of Television

WHAT MAKES IT WEIRD: This is a “documentary” about a man who is sent to the Planet of the Dead via bee television in order to kill the reincarnation of his grandfather’s brother-in-law, thereby becoming Cain, before being reincarnated in paradise. I think. The story is utterly insane, although it makes complete sense to bees.

Wax or the Discovery of Television Among the Bees [10:00/85:00] from David Blair on Vimeo.

The first ten minutes of Wax, or the Discovery of Television Among the Bees

COMMENTS: When I first watched Wax, or the Discovery of Television Continue reading 270. WAX, OR THE DISCOVERY OF TELEVISION AMONG THE BEES (1991)

366 UNDERGROUND: MARVELOUS MANDY (2016)

DIRECTED BY: Chase Dudley

FEATURING: Paula Marcenaro Solinger, Jonathan Stottmann, Keith Nicholson

PLOT: A lonely single father falls in love with the author of his daughter’s favorite books, only to discover that she may not be all she seems.

Still from Marvelous Mandy (2016)


WHY IT WON’T MAKE THE LIST: Marvelous Mandy is a straightforward Secret Sociopath thriller. Early misdirection helps create a certain confusion about the kind of movie we’re in for, but once the killing starts, it’s merely a race to each successive murder. Despite brief jaunts into the headspace of the two leads, there’s very little here that’s weird beyond the psychopathy of the killer.

COMMENTS: Before going any further, let’s be clear that this is absolutely loaded with SPOILERS SPOILERS SPOILERS. I’m giving away everything. With that in mind, let’s start with a fundamental question that Marvelous Mandy raises about horror-slasher-thriller movies.

Do you kill the kid?

The horror genre, perhaps more than any other, requires constant re-invention to maintain freshness in the eyes of its audience. How many ways can you find to yell “boo”? What happens when blood isn’t enough? Do you add in intestines? Where can you go after gore, other than more gore? Can you succeed entirely through twists and misdirections like M. Night Shyamalan, or do you pursue the nobody-gets-out-alive nihilism of an Eli Roth? Each movie must walk a delicate line, between restraint and wild abandon, between growing unease and sudden shock.

So, is killing the kid a step too far, signifying a plotter’s desperation, or possibly even an unsettled mind? Or is it a sign of the filmmaker’s purity of intent, preying on inherent fears, doing whatever is necessary to get a rise out of a jaded audience? The kind of movie you’re dealing with relies very heavily upon how the filmmaker has answered this question. (Speaking personally, I gave up on “CSI” after kids kept turning up on the slab too often, so my tolerance registers pretty low. But I understand the storytelling impulse.)

Marvelous Mandy attempts the difficult dance of being a little bit of both. Screenwriter (and Great Name Hall of Famer) Brentt Slabchuck introduces us to Harvey,  a dedicated dad and wannabe stand-up comic with no chops who is so desperate for love that he makes an embarrassing plea to a way-too-young barista in front of half of Louisville. He then pairs this lovable loser with Mandy, a woman who projects instability from the first frame, a children’s author mysteriously slumming as a bookstore clerk who spurs every man who crosses her path to make some very ill-informed decisions. The film tries to play with suspense by extending Harvey’s ignorance of his danger long past the point where we see his peril, but because we’ve seen Mandy in action (which is not her real name), the only mystery remaining is when he will finally catch up to us, and whether it will be in time to make a difference. Harvey turns out to be a lot sharper than other men, but the die is cast.

Although Marvelous Mandy is a semi-professional production, director Dudley has assembled a game and determined cast. As Harvey, Stottmann is convincing as a man who knows he’s in over his head but unbowed, while Solinger plays Mandy’s madness to the hilt. There are also nice turns in the supporting cast, including Ryley Nicole as Mandy’s delightfully pissy co-worker, and Kenna Hardin, natural as Harvey’s faithful daughter.  But the true standout is Keith Nicholson as a jovial, Stetson-wearing, tea-chugging private eye who does all the due diligence that nobody else manages to accomplish. Arriving in the third act to pursue Harvey’s spot-on suspicions about Mandy, he’s a breath of fresh air, wearing his enthusiasm and his character quirks loudly and proudly.

Dudley himself has some keen directorial instincts. He uses locations well, and he films Mandy’s violent attacks with skillful verisimilitude. Most impressive is a Hitchcockian tracking shot that begins with an attack and continues outside a house while the fight rages on, only catching up to the actors again at the end of the bloody assault.

Marvelous Mandy hints at certain ideas that might have taken the plot into unexplored territory. What would cause a children’s author’s mind to bisect into nurturing and violent halves? Would a man yearning for love still accept if it came with a dark side? What makes one man succumb to the lure of a femme fatale while another resists her deadly charms? Any of these might have lent shading or novelty to a subspecies of the genre—the Fatal Attraction trope—that threatens to become tired and boring. It never quite makes the turn on any of these, though, content instead to offer a woman with a messed-up brain and a drive for murder, and to turn her loose to do her thing.

Because, Mandy? She kills the kid. Turns out to be that kind of movie.

WHAT THE CRITICS SAY:

“Marvelous Mandy is a darkly enjoyable movie that really doesn’t let on what it’s about until you’re already sucked in to then twist and turn into directions not thought possible…. add to that the film’s colour chart that for the most part feels a bit off and unreal, a directorial effort that stays away from spectacle to give the story space to breathe, and a great cast, and you’ve got yourself a really cool movie!”–Mike Haberfelner, [re] Search My Trash

 

366 UNDERGROUND: THE KINGDOM OF SHADOWS (2016)

DIRECTED BY: ,

FEATURING: Joana Castro, Bruno Senune, Carina de Matos, Falvia Barabas, Daniel Pires

PLOT: Shuffling between the interior and exterior of a building (with guest appearances from some jagged cliffside rocks), various symbolic events occur because of the actions of various symbolic people.

Still from The Kingdom of Shadows (2016)

WHY IT WON’T MAKE THE LIST: This clutter of film scenes might be interpreted as “weird”, but I’m leery to describe the onscreen capering as a “movie”. Perhaps it’s just my staggering lack of interpretive skills, but when the characters are only somewhat explainable because you read the opening credits, I find the “movie” part a bit wanting. Not much is clear, and the lack of dialogue handily augments the altogether excessive incoherence of the narrative.

COMMENTS: I shall begin by saying that Daniel Fawcett and Clara Pais may well have accomplished something impressive with their symbol-ridden film, The Kingdom of Shadows. Throughout the film there are little hiccups of inspired images that, in isolation, would make for compelling photographs to ponder. The lack of dialogue lends itself to a lack of explanation, but that allows for a mutuality of incomprehension across the globe. Unfortunately, it leaves the viewer grasping blindly for what it is the filmmakers are trying to say.

The story proper (I am guessing) begins weirdly enough with a pair of golden hands magically boiling up a pot of water. What ensues is a long-form mishmash of figurative images and sequences that vaguely intrigue, and certainly baffle, the viewer. A furtive young man appears during the bridging sequences, who may be acting as witness, along with us viewers. Inside a 19th-century (?) house, a clutch of people (indicated in the credits as “mother”, “daughter”, “uncle”, and so on) interact in strange ways with motives that are impossible to divine. An inspector comes along at some point (again, we know his vocation only from the credits) and twirls his mustache a lot. Eventually the gang inside the house takes up arms against the “daughter,” driving her outside. Interrupting the action is a pair of (usually naked) young people having quasi-dance-like interactions of joy, terror, and sundry other feelings.

As I’ve hinted in the preceding paragraphs, while there may be a lot going on in the movie, very little of it makes any sense. It would help if I knew what the directors were trying to say, and a commentary would no doubt be illuminating. That said, this presents a problem: any movie that cannot stand up to unsupervised viewing is of dubious merit. If there isn’t clarity, there needs to be a “vibe” of some sort, or at least an ambience. However, The Kingdom of Shadows is too scattered to have such a vibe, and any ambience is sabotaged by incoherent or careless touches. To support the latter, I give the example of a slow-moving “pursuit” scene through one of the house’s corridors. The turn-of-the-last-century feel is utterly destroyed by a very obvious smoke detector on the wall. Its square plastic frame and glowing electric light immediately crush whatever mood may have been built.

I have no doubt that all those involved poured their hearts and souls into making this movie, so it pains me a little to have to be so down on it. After the sturm und drang of various troubled moans from the young observer, after the not-quite balletic artiness of the “Adam and Eve” vignettes, and after the cranked up symbolism, we’re still left with something that’s a bit amateurish and more than a bit boring. If there were an unhealthy halfway point between How the Sky Will Melt and Begotten, this movie hits it, and hits it hard. ‘s piece—while perhaps incomprehensible—has that dream-like “thing” required for such an exercise in post-narrative film. That “thing” is never found by the directors of The Kingdom of Shadows, which is more the pity.

WHAT THE CRITICS SAY:

“…a film that does never try to make perfect sense, instead using impressive, often tableau-like imagery to get its point across… a film like this might not be for everybody, but those with open minds are up for a fascinating journey…”–Mike Haberfelner, [re]Search My Trash (contemoraneous)

267. FEMALE TROUBLE (1974)

“The world of the heterosexual is a sick and boring life.”–Aunt Ida, Female Trouble

Recommended

DIRECTED BY:

FEATURING: , , , , Michel Potter

PLOT:  Baltimore rebel Dawn Davenport runs away from home, gets knocked up by a rapist, and turns to a life of crime to help pay for the daughter she hates. After a brief and disastrous marriage, Dawn is scarred for life after her ex-husband’s Aunt Ida throws acid in her face. Transformed into a freak celebrity by a salon-owning couple, Dawn embarks upon a murder spree before an inevitable trip to the electric chair.

Still from Female Touble (1974)

BACKGROUND:

  • Shot on a $25,000 budget, Female Trouble is puke poet laureate John Waters’ riotous followup to his midnight cult hit, Pink Flamingos. Waters capitalized on the previous film’s surprise success and advertised Female Trouble as having the returning cast of Pink Flamingos. It is the second entry in what Waters later called his “Trash Trilogy,” which begins with Flamingos and ends with Desperate Living.
  • After acting in Waters’ films for twelve years, this was David Lochary’s last screen appearance. He was cast for 1977’s Desperate Living but bled to death as the result of a fall while under the influence of PCP shortly before filming began.
  • Waters’ tagline for Female Trouble was “A high point in low taste.”
  • Divine based part of her portrayal of Dawn on her nightclub act, during which she threw mackerel at the audience and claimed to be a mass murderer.
  • Female Trouble was dedicated to Charles “Tex” Watson, of the Manson Family, who partly inspired the film’s theme of “crime is beauty.” The wooden toy helicopter in the film’s credits was Watson’s gift to Waters after a prison visit. (Waters later said that he regretted the dedication).
  • Alfred Eaker‘s Staff Pick for a Certified Weird movie.

INDELIBLE IMAGE: Dawn jumping up and down on a trampoline, wearing a mohawk and a sparkly pantsuit, at her big performance art showcase.

THREE WEIRD THINGS: Divine rapes Divine; chewed umbilical cord; Auntie in a birdcage

WHAT MAKES IT WEIRD: An expressionistic nightmare set in the hell of East Coast suburbia highlighting the rise and fall of a 300 pound transvestite mass murderer, Female Trouble reaches its first climax of lunacy when Dawn chops off Aunt Ida’s hand, locks her up in an oversized birdcage, and goes on her daughter for joining the Hare Krishnas. A second bouncing-off-the-wall climax follows when Dawn murders audience members as performance art before going down in a blaze-of-glory finale that could compete with Cody Jarrett blowing himself up or Tony Montana rat-a-tat-tatting away after being riddled with bullets. Accompanying all that is a beauty myth from the bowels of a white trash hell that would send Naomi Wolf screaming for sanctuary. Female Trouble is even more subversive than Pink Flamingos.


Short clip from Female Trouble (1974)

COMMENTS: On the surface, Female Trouble may appear to be Continue reading 267. FEMALE TROUBLE (1974)

366 UNDERGROUND: DELUSION (2016)

DIRECTED BY: Christopher Di Nunzio

FEATURING: David Graziano, Jami Tennille, Carlyne Fournier, Irina Peligrad

PLOT:  Frank, an aging widower still mourning the loss of his wife, follows a mysterious woman, ignoring the warnings of fortune tellers and his own intuition.

Still from Delusion (2016)

WHY IT WON’T MAKE THE LIST: It lacks extremeness in the weird department, with only some subtle spiritual themes to give the suspense an extra kick.

COMMENTS: Delusion is no ordinary suspense thriller; it’s got its fair share of dreamlike moments. The boldest aspects of its weirdness don’t come directly from the exploration of the supernatural, but rather from the quiet, introspective moments in between them. The contrast between light and dark, good and evil, is aggressive, and this effect gets multiplied up until the climax. Bouncing from polite conversations over the billiards table to moments of terror and shock, Delusion earns some weird-stripes for its tonal bipolarity. It fails to stretch its ideas of loyalty, loss, and redemption enough to exasperate and confound the mind, though. Instead, it snuggles warmly up into the mystery-thriller blanket, and then ends abruptly with some glorious goodies for weird movie lovers to chew on, but not swallow.

Playing wait-and-bait, everything starts off with silky politeness. Reflective death-related dialogue configures itself around lacquered settings in nature, and the sky is frequently grey, silvery and full of mourning. Frank (everyone’s got a depressed Uncle Frank, even McCauley Culkin from Home Alone) and his nephew Tommy drink brews and shoot pool, but Frank spends even more time standing alone next to swaying trees and thinking about his lost wife, Isabella. This period of reflection services the contrasting emotions at the film’s core by offering a portrait of a character’s earnest longing for closure. Frank is a lonely man. It raises the question: how could he resist the temptations of a succubus?

Before the succubus strikes, there comes a fortune teller who tries to convince Frank to think with the head on his shoulders, but that pesky human malady called grief gets in the way and he ignores her. Things get juicy when the lights go dim and Frank’s fortune is told. Amusing vibes come along with the “haunted” feel. There’s even a bit of James Wan-style pop-up house horror to keep the tension ratcheted up. Frank’s hallucinations get hairier; blood leaks out of sewer pipes, and strange apparitions follow him at home and abroad (some with face-paint straight from a flick).

Most fascinating are the peculiarly natural performances that weave through the staunch atmosphere. The actors have a smooth, organic style to their performances that give the movie a low-key vibe of sinister murmurs while it portrays internal rumination. The silences highlight Frank’s internal thoughts, and the white noise of nature (chirping birds, rustling leaves) offers a chance to process the feeling of aloneness that comes with being lost and vulnerable among soul-corrupting threats. Soothing as the warm pleasures of infatuation are, they aren’t enough to save Frank from himself.

Frank deals with, but does not resist, the temptation of the devil, who urges him to “trust your gut, not your head.” Life, he explains, is just moments and experiences, chaos. It’s hard to believe otherwise after watching Frank’s drastic transformation from a caring, reflective, sentimental man into an angry, womanizing, just-got-laid horndog. Sex can turn a man’s life completely around, and Frank is no exception; post-coitus, he does Baywatch-style beach runs and hits the bar for rounds with the boys. The dark side of his sexually-motivated metamorphosis comes during his reproachful trash talking at the end, which raises the question of whether he had a chance for redemption in the first place. There is one bizarrely violent moment in this movie, at the very end, but its cathartic edge can’t be found elsewhere in the picture. Delusion shows us that some men are doomed to die at the hands of what they desire, and the devil is always there to make the offer.

WHAT THE CRITICS SAY:

“…it’s rather labyrinthine in character and takes all the time in the world to let the story unfold while intentionally blurring the line between this world and the next, the lead character’s warped perception and his genuine nightmares – and it plays with all these elements in a way probably most reminiscent of David Lynch without aping his style.”–Mike Haberfelner, [re]search My Trash (contemporaneous)

366 UNDERGROUND: FIRST MAN ON MARS (2016)

DIRECTED BY: Mike Lyddon

FEATURING: Marcelle Shaneyfelt, Benjamin J. Wood, Gavin Ferrara, Kirk Jordan

PLOT: An eccentric billionaire flies to Mars, mutates into a monster, then returns to Earth to terrorize the silly citizens of Black Bayou, Louisiana.

Still from First Man on Mars (2016)

WHY IT WON’T MAKE THE LIST: Ironically, this movie is only 9/10ths bad enough. Movies like The Room or Santa and the Ice Cream Bunny are low-budget and bad, but done with a sense of conviction, albeit mis-aimed. First Man on Mars is just bad on the boring, no-ideas level, not even interesting enough to make the so-bad-its-good category.

COMMENTS: First Man on Mars is an intentional parody of ’60s-’70s sci-fi horror drive-in B-movies. We open on a coroner in an office giving us a desktop lecture a la Rocky Horror Picture Show, a scene that ends with a chant of “Keep watching the stars!” Then we get to Cletus and his chum hunting in Louisiana. They run across an abandoned space capsule and a rubber-mask monster who disembowels Cletus’ hunting buddy with no foreplay, sending the terrified hick running for the cops. Flashback: the monster from the capsule was once astronaut Eli Cologne, a very obvious parody of real-life billionaire, philanthropist, and visionary Elon Musk. Eli came to Mars seeking shiny gold, despite already being rich enough to buy his own rocket to go there. Grabbing his first nugget, however, results in a tear in his glove, which soon leads to an infection which will transform him.

Mission Control argues that he’s not allowed to come back infected, but Eli is hearing none of it. He returns just in time to transform into a growling monster in the backwoods of Louisiana. The rest of the flick is pretty much people scrambling around in forest either chasing or being chased by said monster, with only the thinnest veneer of justification. That cast includes Cletus and two cops who don’t believe his story; a sleazy photographer and two models from “Bullets and Bimbos” magazine who hire Cletus as a guide to the dark swamps of Black Bayou for a woodsy photo shoot; a group of scientists from Eli’s project; an innocent girl going fishing and being fished; and a coroner who investigates Cletus’ mangled remains in between bites of lunch.

“Low budget” doesn’t begin to describe it, and cash isn’t the only thing this flick is short on. It is very stingy with the alleged classic sci-fi references. Unless you blink and miss it, you’ll catch one of the bumbling scientists being dismissed as a “red shirt” (Trekkie, check), a clumsy bit of banter with a “Bullets and Bimbos” model name-dropping (Elephant Man, check), a scene where two scientists pitch a tent just so they can play D&D (gamer nerds, am I right, ha ha?) before getting slaughtered, and so on. However, the film is generous with poop humor, boob humor, gross-out humor, insulting stereotypes of country bumpkins and geeks alike, Dollar Store props that are milked for all the lead-painted rubber they’re worth, and an extremely fuzzy understanding of the meaning of the word “humor.” At one point, one of the scientists screams over and over that he needs to defecate, before wandering off and accidentally dumping a steamer (rubber doggy doo, $0.99) on a  yet undiscovered body. Said pile of doggy doo is referenced again and again, traveling with the body even to the coroner’s office. And that, apparently, is the movie’s best foot forward.

Let it be known, being low budget does not disqualify a film from the list of 366 Weirdest Movies Ever Made (see Robot Monster and After Last Season). And simply being bad is no barrier to entry, either. But there is low budget, and then there is being stingy beyond all reason. At least Robot Monster had the imagination to try to sell a bubble machine as alien technology. Imagination costs nothing. First Man on Mars seems to be done with no intention of being taken seriously, on any level, and nothing shows anybody seemed motivated to put in much effort, either.

Viewers who like sitting through every amateur production made by kids goofing around with mom’s camera on YouTube will find First Man on Mars right up their alley. It at least passes that standard.

WHAT THE CRITICS SAY:

“…an absurd blast from low-budget director Mike Lyddon and his team of willing actor and crew participants, putting everything on the proverbial line to make this ambitious project first and put their seemingly absent shame second.”–Steven T. Lewis, It’s Blogging Evil

366 UNDERGROUND: SOLE PROPRIETOR (2016)

DIRECTED BY: Dan Eberle

FEATURING:  Dan Eberle, Alexandra Hellquist, Nick Bixby, and Alexandra Chelaru

PLOT: In hopes of starting life anew, a man with a nebulous past agrees to take on a job from an organization that promises to provide him with a legit history; while waiting for “the call,” he takes up with a nearby prostitute and becomes embroiled in a plot involving Russian pimps, Honduran gangsters, French molls, and a missing bag stuffed with money.

Still from Sole Proprietor (2016)

WHY IT WON’T MAKE THE LIST: With smoothness, competence, and a fair degree of ambiguity, Sole Proprietor nicely fills a space in the “noir-esque thriller” gap for those willing to settle for direct-to-video fare. Described as an “elliptical crime story,” Dan Eberle’s latest feature does some shuffling of shot and sound, but decidedly hews close to gritty realism: a poor man’s The Limey, if you will.

COMMENTS: For reasons entirely nostalgic, a part of me is pleased to see that there are still filmmakers out there producing low-budget movies like Sole Proprietor. Out in the world of Hollywood Cinema, and to a lesser degree in the world of Underground Cinema, there are people filling all manner of genre gaps with either expensive or offbeat fare. Eberle’s picture reminded me of the nerdy misspent days of my youth when I used to visit the little video rental place daily to find a new movie to watch that evening. Perhaps I wasted a lot of time, but, as they say, it kept me off the streets. Sole Proprietor goes about its business without much fanfare, but it rewards the viewer with a pretty neat story and a derivative, but satisfying, style.

“I am the man with no name,” says the protagonist never. Becoming known to us (and listed in the credits) only as “Crowley from the Internet” (Dan Eberle), we slowly learn the nature of Sole Proprietor‘s hero. He’s your run-of-the-mill deadly but swell guy, possibly ex-CIA, who is keen on disappearing from the sordid world of crime and black-ops, hoping to “join the human race.” There is a major hitch, though, in that he has one last job to get done (of course) before unspecified powers will give him the new identity he craves. Killing time while waiting for a phone call, he decides he might better while away the hours by seeing a local prostitute (Alexandra Hellquist). Enter the hooker with the heart of fool’s gold, and a mountain of complications.

Those of you familiar with ‘s The Limey and, to an extent, s King of New York will immediately recognize the style Eberle hopes to, and more or less does, achieve. Beginning with a very unclear establishing scene involving a (probably) dead person and a French-speaking woman with a gun, the movie zips quickly back to the story’s start. From there, scenes move forward chronologically, but within them are oscillations where the timing becomes jumpy and perspectives can shift. This potentially confusing effect is greatly mitigated by the fact that each occurrence is self-contained, requiring no long-term memory to speak of. Other than that legerdemain, the audience has nothing to chew on but the grit of the characters as their lives circle closer and closer to each other during the hunt for a whole lot of money that slipped the hands of an Honduran bag-man who partied a little too hard.

Though the huge advantages provided to me these days by Vimeo and Netflix (the mail-delivery part, anyway), I was able to briefly relive my days of being a do-nothing high-schooler who would just as soon see a no-name film than socialize with my peers. Sole Proprietor brings nothing new to the table, but ultimately I wouldn’t want it to—and it made no promises it would do so. Yes, I may be ninety minutes closer to death than I was before watching it, but as with the sub-classics churned out in the ’90s starring the likes of Michael Madsen and (Chris) Penn, I found some entertainment, now spiked with a warm-and-fuzzy feeling of sentimentality. Not a bad thing.

WHAT THE CRITICS SAY:

“The movie sports more personality than most low-budget thrillers, yet sometimes devolves into the kind of ponderousness that a collaborator might have second-guessed.”–Noel Murray, The Los Angeles Times (contemporaneous)

CAPSULE: PETEY WHEATSTRAW (1977)

Petey Wheatstraw: The Devil’s Son-in-Law

DIRECTED BY: Cliff Roquemore

FEATURING: Rudy Ray Moore, Jimmy Lynch, Leroy Daniels, Ernest Mayhand, Ebony Wright, Steve Gallon, G. Tito Shaw, Ted Clemmons

PLOT: Comedians Leroy and Skillet borrow a large sum of money from the mob to put on a show. Unfortunately for the duo, rival comedian Petey Wheatstraw’s show is the very same week. When Petey refuses Leroy and Skillet’s request to change the date of his show they use more aggressive tactics. The young brother of one of Petey’s entourage is shot and killed by Leroy and Skillet’s goons, who then shoot all of the attendees at the boy’s funeral. Lucifer is on hand at the tragic event to make a deal with Petey. Petey and his friends will get to live and enact righteous revenge if Petey agrees to marry Lucifer’s ugly daughter and give him a grandson. Petey makes the deal, but he has no intention of keeping his end of the bargain. Will Petey be able to outsmart the Devil?

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WHY IT WON’T MAKE THE LIST: Selling your soul to Satan plots are practically as old as film itself. This fact alone does not disqualify Petey Wheatstraw: The Devil’s Son-in-Law as a contender for the List. But while Wheatstraw is a potpourri of genres—a comedy, crime, action, horror film that is completely ludicrous and full of wacky hi-jinx—there are only a couple of “what the hell?” moments. Generally speaking, it is funny and not particularly weird.

COMMENTS: Rudy Ray Moore was an American stand up comedian who recorded his first comedy album, “Below the Belt,” in 1959. In 1975, Moore used the proceeds from his comedy albums to finance his first film, Dolemite. Moore plays the title character Dolemite, a ladies’ man skilled in kung-fu, hell bent on defending the ghetto. Dolemite spawned the sequel The Human Tornado, my personal favorite Rudy Ray Moore film. Moore only made five films throughout the Seventies, and thanks to his presence they are all pretty entertaining. Moore is funny, foul-mouthed, charismatic and energetic. Moore is not an actor, he is a comedian, and he brings his comedic persona with him to his films. He is also one mighty fine dresser. If you can’t enjoy Petey Wheatstraw: The Devil’s Son-in-Law for its humor, you should at very least appreciate Rudy Ray Moore’s sensational wardrobe! Moore dons about a dozen super Seventies ensembles over the course of the film.

Petey Wheatstraw opens with a flashback of his birth during a storm; exiting his mother’s womb as a seven-ish year old boy, he attacks both the doctor and his own father. Petey, like Dolemite, is also a ladies’ man, a master of kung-fu, and a defender of the ghetto. In an early scene Petey teaches three junkies a lesson while the neighbors gleefully cheer him on. The movie keeps a good pace with goofy antics at regular intervals, but most of the funniest bits happen after Petey makes the deal with the devil around mid-film. Once the plastic devil horns, the guys in tights, and Lucifer’s magic cane make their appearance, things get livelier. After Petey discovers the power of the magic cane he uses it without abandon. He grants one woman a wish to prevent her from stabbing her cheating husband to death:

Petey: Don’t kill him ma’am. I have one wish I will grant you. What might it be?

Angry wife: He’s a dog! He’s a damn dog! Just turn him into a little black puppy.

Petey: That wish will be granted.

You can look forward to a she-demon orgy, but don’t count on seeing more than a couple of bare breasts. There are some poorly executed fight scenes with a bunch of demons with bad makeup in tights and capes that were absolutely hilarious! Every fight scene in the film is quite ridiculous and thoroughly amusing. Moore has some funny lines and priceless expressions that alone make the film worth watching.

I always walk away from a Rudy Ray Moore movie with at least one awesome quote. Bar none, my favorite from Petey was “Romance without finance is a damn nuisance.” So true, Petey Wheatstraw, so true. I enjoyed the heck out of Petey Wheatstraw: The Devil’s Son-in-Law; it is good old-fashioned entertainment that made me laugh regularly. I definitely recommend picking up the 2016 Vinegar Syndrome release which contains both the Blu-ray and DVD. This copy is worlds better than the Xenon Pictures (“The Dolemite Collection”) version I had previously owned on DVD (see comparison below).

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(DVD vs. Blu-ray comparison: click for larger version)

More images at Goregirl’s Dungeon!

WHAT THE CRITICS SAY:

“Though you get the usual low budget issues and awkward fight scenes here as the prior two Moore films, the approach somehow fits the story perfectly with the dime store demons and stylized lighting creating a weird cinematic experience unlike any other.”–Nathaniel Thompson, Mondo Digital (Blu-ray)

LIST CANDIDATE: COLLECTIVE: UNCONSCIOUS (2016)

DIRECTED BY: Lily Baldwin, Frances Bodomo, Daniel Patrick Carbone, Josephine Decker, Lauren Wolkstein

FEATURING: Will Blomker, Ryan Cassata, Frank Mosley, Tonya Pinkins

PLOT: In this experimental compilation, five filmmakers adapt each other’s dreams into short films.

WHY IT MIGHT MAKE THE LIST: As both a film depicting dreams and as a formal experiment, the project presents a pressing case for inclusion on the list of the weirdest films ever made. There are a number of arresting images within this film and some truly bizarre moments.

COMMENTS: Dreams have always proved a tantalizing subject for filmmakers. Arriving from the unfettered unconscious mind with surreal imagery and associations to codify our thoughts, feelings and memories, dreams have forever enticed filmmakers to realize these bewildering experiences on screen. However, translating this phenomenon presents a number of challenges. One is budgetary, because of the opulent settings and fantastical creatures that can be found in a dream. Another is sensory: despite film’s ability to engross us it remains an outside object, never as immersive as the internal, subjective experience of dreaming.

Successful translators of the experience, such as , recognize the limitations of film immersion and focus on pacing and juxtaposition of image and sound to recreate the atmosphere and “feel” of dreams. Surrealism as an artistic movement is deeply tied to the unconscious and dreams, so it is hardly surprising that one other successful interpreter is Surrealist filmmaker , who overcame budgetary restraints through jarring combinations of everyday objects and people in unconventional ways.

Film compilations also come with their own separate challenges. Unless there is a strong through line each segment will have a different tone and pace, and invariably some episodes will be more satisfying than others. Throw in some deeply personal dreams as subject matter and you could have a hotchpotch of cinema that doesn’t gel together as a whole. Despite the technical sophistication and invention of each filmmaker—none of whom are familiar to me, so I can’t comment on the clash/serendipitous mix of subject and filmmaking styles within—I’m afraid this is the case here.

The film opens with its linking device, a man addressing the camera and attempting to hypnotize us, luring us to sleep and imploring us to lower our resistance, as dream logic demands. It is an effective device to prep us for the experience, if, like most wraparounds, narratively weak on its own. There follows some pretty if perfunctory animation from Maya Edelman before the film begins proper with arguably its most successful segment, “Black Soil, Green Grass,” directed by Daniel Patrick Carbone from a dream by Lauren Wolkstein. Combining Lynch and Buñuel’s techniques, it successfully creates a surreal, dream-like atmosphere through unusual juxtapositions of the everyday: a watchtower that inexplicably pipes a recording of a man counting sheep through loudspeakers, a man encircled Continue reading LIST CANDIDATE: COLLECTIVE: UNCONSCIOUS (2016)