366 Weird Movies may earn commissions from purchases made through product links.
FEATURING: Peter Bernuth
PLOT: What starts out as a pleasant morning shave soon goes horribly wrong, turning into a bloody spectacle of self-mutilation as a man finds himself unable to stop shaving.
COMMENTS: I first saw The Big Shave on YouTube a few years ago, after hearing about American Boy (another film included on Criterion’s new “Scorsese Shorts” collection) via , who used a story from that film as inspiration for the adrenaline injection scene in Pulp Fiction. American Boy, a monologue film featuring Stephen Prince (a friend of Scorsese’s who had played a bit part in his feature film Taxi Driver), showed me that there was a side to Martin Scorsese that I never seen before, and encouraged me to dig deeper into Marty’s back catalog. The Big Shave, a gory allegory about the Vietnam War, is unlike anything else in Scorsese’s filmography, and left a mark on my memory that I’ve never been able to shake. Thanks to the Criterion Collection, The Big Shave, along with American Boy and three other early Scorsese short films, is now available to revisit in gloriously bloody HD.
To most cinephiles these days, Scorsese might seem like an untouchable symbol of classic Hollywood, one of the last quintessential “great” filmmakers, whose new films are treated with solemn reverence and his old films spoken of in hushed tones as some of the greatest of all times. But Mean Streets wasn’t his first foray into filmmaking, not by a long shot. The real story started 10 years earlier, when Scorsese was a film student at NYU. There he made two award-winning student films: What’s a Nice Girl Like You Doing in a Place Like This? and It’s Not Just You, Murray. In a way, these two films reflect a spirit similar to what a lot of young film students were doing at the time. They’re blatantly irreverent and intentionally bizarre, with a gleeful determination to create a new way of making films inspired by the French New Wave.
However, unlike these fairly innocent student short films, The Big Shave doesn’t just set out to toy with the viewer’s mind, it aims to get under their skin, peeling it back to reveal what lies beneath. Had it been made in a different era, any number of meanings might be extracted from it, but seeing that it was a product of the late 1960s, it’s difficult to see it as anything other than a commentary on the self-destructive nature of the US military’s involvement in Vietnam. It even has an alternate title, Viet ‘67—but that might have made it too obvious.
It starts by establishing its setting: a sparkling white bathroom filled with sparkling silver fixtures. The bath faucets, the toilet paper holder, the sink—all are shown in pristine close-ups that establish Continue reading CAPSULE: THE BIG SHAVE (1967) (FROM “SCORSESE SHORTS”)