Tag Archives: Midnight movie

280. DESPERATE LIVING (1977)

“By the time I made Desperate Living, the era of midnight movies was over, so at the time it was the least successful of all my films. Weirdly enough, it now does really well on video and college campuses. And I’m not quite sure why.”–John Waters

Recommended

DIRECTED BY:

FEATURING: , Susan Lowe, Liz Renay, Jean Hill, , , “Turkey Joe”

PLOT:  With the help of 400 pound maid Griselda, suburban housewife Peggy accidentally murders her deceptively bucolic husband and goes on the lam. A cop directs the fugitives toward a Pleasure Island for criminals called Mortville. Things go south with the village’s fascistic matriarch, until there’s a mutiny in the ramshackle town.

Still from Desperate Living (1977)

BACKGROUND:

  • was originally intended for the role of Mole McHenry (eventually played by Susan Lowe), but could not back out of an alternate commitment. Desperate Living is the only film Waters made during Divine’s lifetime in which the hefty transvestite did not appear.
  • Waters did not cast regular for the film due to the latter’s drug use. Lochary died soon after Desperate Living was released, either from a PCP overdose or from bleeding to death during an accident that occurred while he was tripping on PCP (reports differ).
  • The tagline was “It isn’t very pretty”—a radical understatement.
  • Budgeted at $65,000, this was Waters’ most expensive film to date. 1974’s Female Trouble had a budget of $25,000, while 1972’s Pink Flamingos cost a mere $10,000.
  • The extras of Mortville were homeless residents from the Baltimore skid row, bused in for a single day’s shoot.
  • According to Waters, lesbian groups in Boston protested the film, forcing its cancellation in Beantown.

INDELIBLE IMAGE: The opening credit scene of a dead rat served on expensive china, salted, and eaten at a swank dinner party. It sets the table for what’s to come.

THREE WEIRD THINGS: Cross-dressing cop; toddler in the fridge; scissors self-castration

WHAT MAKES IT WEIRD: Waters outdoes Multiple Maniacs“cavalcade of perversion” in this grunge fairy tale that includes systematic lesbianism, cross-dressing, odious hippie sex scenes, cannibalism, necrophilia, bat rabies, copious facial warts, and gap-toothed queen Edith Massey sexually serviced by leather-bound Nazis.

Opening credits for Desperate Living

COMMENTS:  The finale in John Waters’ “Trash Trilogy,” Desperate Continue reading 280. DESPERATE LIVING (1977)

262. THE GREASY STRANGLER (2016)

“I was surprised by reactions to the film. I thought people would find it funny or absurd, but people look really shaken when they come out. When we screened it at South by Southwest, there was a filmmaker I know who makes very strange films. And afterward, he looked like he had been through the wringer: ‘I’ve never seen anything like that. I thought, ‘Oh, come on.’ What can seem fun to one person can seem totally deranged to someone else.”–Jim Hosking, Rolling Stone

DIRECTED BY:

FEATURING: Michael St. Michaels, Sky Elobar, Elizabeth De Razzo

PLOT: Big Ronnie eats an extremely greasy diet and runs a scam tour of L.A. disco locations with his unmarried adult son and live-in cook Brayden. At night he transforms into a lard-soaked monster who strangles people. When Brayden catches the eye of a girl on the tour, Big Ronnie becomes jealous and determines to seduce her himself.

Still from The Greasy Strangler (2016)
BACKGROUND
:

  • Jim Hosking worked as a music video and commercial director making short films on the side since 2003. His big break came when his bizarre and transgressive “G is for Grandad” segment of ABCs of Death 2 impressed that film’s producers, two of whom went on to produce The Greasy Strangler. and  also served as executive producers on the film.
  • The movie was supported and partly financed by the venerable British Film Institute.
  • This was 72-year-old actor and former punk-club owner Michael St. Michaels’ first leading role—unless you count his film debut in 1987s direct-to-VHS The Video Dead.

INDELIBLE IMAGE: Big Ronnie’s big prosthetic, flapping in the car wash blower’s breeze.

THREE WEIRD THINGS: Disco spotlight; pig-nosed stranglee; “hootie tootie disco cutie”

WHAT MAKES IT WEIRD: Gross, greasy and bizarre, ‘s debut feature is the closest thing you’ll see to a modern Trash Trilogy film, filtered through the fashionable surreal comedy sensibilities of Tim and Eric or . Strangler is more than the sum of those influences, however: it is its own little world where a lisping man with a pig snout can walk around town without raising an eyebrow, and a spotlight might suddenly appear on an alley wall for a character to do a spontaneous dance number. The fat-to-nutrient content is too out-of-whack for this to count as healthy entertainment, but it’s fine as a guilty pleasure treat. It’s too big, bold and weird to be ignored; it’s not 2016’s best movie, or even the year’s best weird movie, but it is this season’s most insistently in-your-face assault on taste and reality.


Short clip from The Greasy Strangler

COMMENTS: “Let’s get greasy!” shouted the producers from the Continue reading 262. THE GREASY STRANGLER (2016)

A JOHN WATERS RETROSPECTIVE, PART TWO

Part I of the John Waters retrospective is here.

Pink Flamingos (1972) made a lightning rod name in the Midnight Movie circuit. He followed up with the last of his underground films—Female Trouble (1974) and Desperate Living (1977)—to create a trilogy like no other. Pink Flamingos had a budget of $10,000 and grossed nearly $200,000 in its initial run. This enabled budgets of $25,000 for Female Trouble and $65,000 for Desperate Living. Yet, these movies did something far more than just make money—they paved the eventual path for a (somewhat) legitimized John Waters.

Polyester (1981) had a whopping budget of $300, 000, was the first Waters film to garner an MPAA rating of “R” (his previous work had been unrated or slapped with an “X”), and moved Waters’ basic locations from garages, shanty towns and trailer parks to the suburbs. Working for the first time in 35 MM (and with good sound), Waters’ utilizes his resources to superb effect, acerbically penetrating the American dream’s facade. He did not get there by himself. Like Picasso or , Waters steals well. In Polyester, he further enriches the formidable melodrama tradition of Douglas Sirk. Sirk’s influence was first discernible in Desperate Living, although Waters’ films are more forthright (taking nothing at all away from Sirk). Here, with the small town environment at his disposal, Waters models his film’s composition on Sirk’s All That Heaven Allows (1955). He filters that influence, along with bits stolen from , through his own postmodern sensibilities.

In Polyester Waters invades the suburbs with unwanted minorities, social deviants, anarchists, freaks, and immigrants who threaten WASP property values (one wonders what kind of rise Waters could get out of Donald Trump’s hairpiece). That eclecticism echoes in the casting. This would also be the last film for Dreamland regulars and Cookie Mueller, both of whom died before Hairspray (1988). Along with and , they are cast opposite 50s beefcake (Waters’ nod to Sirk’s use of Rock Hudson). Divine’s performances were progressively improving, and Hunter is a professional “B”-actor; the pair are beautifully juxtaposed against personality driven “Z” amateurs. Hunter exudes middle-aged poster boy charisma and delivers his lines with self-conscious precision (in sharp contrast, Waters always struggled with Massey’s inability to remember her dialogue).

Polyester scratch n' sniff cardNaturally, Waters had to have fun with such a lavish train set, creating a Castle-like gimmick with “Odorama” scratch-and-sniff-cards. Polyester was the first Waters film I saw in a theater (at a midnight showing), and although it certainly holds up in home video formats, it is naturally diminished when it loses the cinema-as-participatory-theater angle. In the original experience, 10 numbers were flashed across the screen throughout the film. After Continue reading A JOHN WATERS RETROSPECTIVE, PART TWO

A JOHN WATERS RETROSPECTIVE, PART ONE

To say that is the most polarizing of American filmmakers, even among his own fan base, is stating the obvious. Not even invites Waters’ level of divisiveness. By and large, the cult filmmaker’s canon is split between those who prefer his pre-Hairspray (1988) work and moviegoers who cannot digest the earlier, low budget underground period, and are forced to begin with that crossover film. With the later Waters’ crowd, the consensus is that the director took the shock ’em til you succeed route, and it worked. After that, Waters made legitimate movies. Waters himself seemed to add fuel to that theory with Cecil B. Demented (2000), which took aim at independent (along with conglomerate) filmmaking, although he did not refrain from self-parody or self-critique.

When composer Igor Stravinsky followed a series of seismic, revolutionary works with a reversion to a neo-Classical style, many of his advocates (avant-garde proselytizer Pierre Boulez among them) and disciples deemed him a traitor, literally picketing his concerts. Waters’ earliest fans were far more forgiving of their idol’s mainstream success. Perhaps that is because their prophet is cut from the same pop cloth as an Elvis Presley, rather than Stravinksy’s heritage of European high art. Although Waters would certainly wax amused (at least publicly) at the notion of his work being classified as art, he is no less provocative or innovative than his counterparts in the academic avant-garde. His flair for provocation is born of his time, place, and culture. Waters’ response to his heritage is honest, rendering him an authentic American success story.

By dubbing himself “the Pope Of Trash” in early write-ups in Baltimore newspapers and speaking engagements, Waters himself allegedly gives credence to the argument from the “early film” faction that once the director lost regulars , , and , and experienced authentic critical and financial successes, he merely took the money and ran. The earlier films represent the real John Waters.

For a filmmaker who has always invited polemics, the controversy may be appropriate, but ultimately it proves a distraction in approaching Waters as a viable filmmaker through a substantial body of work that reveals a developing love for narrative. Waters earliest films would not have indicated this.

Like Carla Bley in jazz and Philip Guston in painting, Waters’ earliest works were primarily abstract (surreal, non-linear). Each eventually realized their work was too thematic and moved beyond abstraction into postmodern tenets. Waters’ first effort was the little seen seventeen-minute 8MM short Hag In A Black Leather Jacket (1964). Shot on a $30.00 budget at the age of eighteen, the film was made from stolen film stock courtesy of Mona Montgomery, who starred and was Waters’ then-girlfriend. The narrative reportedly concerns a white ballerina (Montgomery) who discovers a black man (an uncredited actor) in a trashcan. After a brief courtship (with Montgomery being carried around in the garbage receptacle), the two are married by a Klu Klux Klan priest (uncredited) with a drag queen serving as the bridesmaid in a rooftop wedding (filmed at the home of the director’s parents; Waters’ mother also provided the piano score). performs a dance, and the “costuming” included an American flag and tinfoil. Hag In A Black Leather Jacket is one of the few Waters films not to feature . Waters has maintained that it’s best this remains in the closet. Reportedly, many of the shots are nonsensical, and were influenced by arthouse films that Waters had read about (but not seen).

Roman Candles posterWaters was sent to NYU, but dropped out. His next film was the experimental 40-minute Roman Candles (1966), which featured Waters’ regular crew, the Dreamlanders, including longtime friend Glenn Milstead (whom Waters gifted with the stage name Divine), Lochary, Stole, Pearce, Maelcum Soul, and Montgomery (who again supplied the stolen film stock). It was the first film produced under Waters’ Dreamland Studios banner.  Highly influenced by ‘s phenomenally successful underground film Chelsea Girls Continue reading A JOHN WATERS RETROSPECTIVE, PART ONE

198. BEYOND THE BLACK RAINBOW (2010)

“I love popcorn movies just as much as I love bizarre art films. And my mother, she was an experimental abstract sculptor and there were these haunted pieces of sculpture [around the house] that I always really connected with. I always felt like my filmmaking sensibility is a weird hybrid of both of them.”–Panos Cosmatos

DIRECTED BY: Panos Cosmatos

FEATURING: Michael Rodgers, Eva Allen, Scott Hylands, Marilyn Nory

PLOT: Dr. Barry Nyle conducts experiments on Elena, a woman with telepathic powers who spends most of her time in a near-comatose daze, at the sparsely appointed “Arboria Institute” in 1983. A psychedelic flashback suggests that a bizarre ritual performed at Elena’s birth is responsible for her current condition. Elena decides to escape from the Institute, pursued by a transformed Nyle.

Still from Beyond the Black Rainbow (2010)BACKGROUND:

  • This was Panos Cosmatos’ first (and as of 2015, still only) feature film. He is the son of George P. Cosmatos, the director of Hollywood blockbusters Rambo (1985), Cobra (1986), and Tombstone (1993).
  • Cosmatos said the two main inspirations for Beyond the Black Rainbow were “hazy childhood memories of midnight movies and Saturday morning cartoons.” He also said that as a child he would look at the covers of horror movies at the video store which he was not allowed to rent, and that the movie is his grown-up realization of the kinds of stories he imagined were contained inside those boxes.
  • Beyond the Black Rainbow proudly admits to being a pastiche of the midnight movies that would be roughly contemporaneous to its 1983 setting. George Lucas’ THX 1138 (1971), ‘s Dark Star (1974), Suspiria (1977), and Michael Mann’s The Keep (1983) are some of the moviess Cosmatos and others who worked on the project cited as visual and spiritual influences. The high-contrast black and white of the flashback sequence was explicitly modeled on Begotten (1990).
  • Beyond the Black Rainbow beat out 63 competitors in a reader’s poll to be officially named to the List of the 366 Best Weird Movies.

INDELIBLE IMAGE: Although it’s far from the most stunning image in a movie filled with unforgettable visions, in some ways the bit that sticks with me most from Beyond the Black Rainbow is the slow low-angle pan down the Arboria Institute’s fluorescent corridor. The shot is replayed many times: with blood red tinting as Dr. Nyle first marches to interview Elena, a ghostly pan across the glowing white panels that slowly fade to industrial blue, a shot tracking the Sentionaut as he walks towards the sleeping Elena. Although this mysterious motif recurs often enough to be noteworthy, for an indelible image we’ll go instead with the fearsome appearance of “appliance-free”Dr. Nyle: bald, eyes permanently dilated, clad in skintight black leather fetish gear, and clutching his fang-shaped ceremonial dagger.

WHAT MAKES IT WEIRD: Shamelessly allusive, sinfully trippy, Beyond the Black Rainbow is a love letter to midnight movies of decades past, a hazy conjuration overseen by the guiding spirits of , , and a thousand doped-up sci-fi dreamers that somehow manifests its own unique vision. It’s the kind of movie most of us here would make if we were handed a big bag of residuals from Tombstone and told we could do whatever we wanted with it.


Festival trailer for Beyond the Black Rainbow

COMMENTS: The very title Beyond the Black Rainbow invokes an Continue reading 198. BEYOND THE BLACK RAINBOW (2010)

169. PINK FLAMINGOS (1972)

“‘Demonstration as theater,’ because then you got the headlines, and then you made your point. And there was a lot of competition for those headlines then [the 1960s]. So, it was theater as protest, certainly, which is something that, until the Seattle riots recently, kids don’t even know about… They know ‘I have a dream,’ they know Martin Luther King, they know Malcolm X, but they don’t know all that weird stuff… this is like a radical movement against cinema, which there hasn’t ever been one, but [laughs]…”–John Waters, Pink Flamingos commentary

Beware

DIRECTED BY:

FEATURING: , , , Danny Mills, ,

PLOT: Divine, winner of a contest to determine the “filthiest person in the world,” has gone into hiding at a trailer park with her egg-obsessed mother, randy son Crackers, and “traveling companion” Cotton. The Marbles, a couple who make a living by kidnapping women, impregnating them, then selling the babies to lesbian couples for adoption, are jealous of Divine’s title, believing they are filthier specimens of humanity. An escalating war of outrageously foul pranks between the two camps eventually results in arson, murder, and consumption of doggie-doo.

Still from Pink Flamingos (1972)
BACKGROUND:

  • According to John Waters, neither his own parents (who financed Pink Flamingos), nor Divine’s mother, ever saw the movie; in fact, they were “forbidden” to see it.
  • The film’s budget was $12,000 (about $68,000 in 2014 dollars). It made a reported $6,000,000 in its original run and perhaps an additional $12,000,000 in subsequent video rentals.
  • The movie is dedicated to Sadie, Katie and Les, the Manson Family names of Susan Atkins, Patricia Krenwinkle, and Leslie Van Houten. During the film you can also see graffiti (painted by the crew) reading “free Tex Watson.” Waters says that the Manson Family and their recent trials were a big influence in this “anti-hippie movie for hippies.”
  • The chicken that was killed during the sex scene between Crackers and Cookie had been bought from a man who was selling them as food, and was cooked and served to the cast afterwards.
  • Waters wrote a sequel to Pink Flamingos called Flamingos Forever; plans to film it were scrapped due to the reluctance of Divine to reprise the role in middle age and the 1984 death of Edith Massey.

INDELIBLE IMAGE: Oh my. There is a phrase that was coined for images like those in Pink Flamingos: “what has been seen cannot be unseen.” A naked woman covered in fresh chicken blood, a rectal closeup of a curious proctological case study, and of course the film’s grand finale (and reason to exist)—300 pound transvestite Divine using her gullet as a pooper scooper, gagging down dog dirt with a grin—are all candidates. If we want to chose something less nauseating to remember, we can consider the vision of Divine herself (himself? itself?) as the takeaway image, since this is the movie that introduced the iconic drag queen—a character who looks like Elizabeth Taylor during the “Big Mac” years, if her makeup had been designed by a grateful but seriously stoned Ronald McDonald—to the wider world.

WHAT MAKES IT WEIRD: About a 300 pound woman (played by a man) living in a trailer who is harassed by a couple of “jealous perverts” because she is anointed “the filthiest person in the world,” Pink Flamingos is a parade of hard-to-swallow, tongue-in-cheek perversities played out in an unreal subculture where society’s values have been turned on their head. It’s the ultimate stoned, amoral underground atrocity, an obscenity shouted at the normal world by angry freaks.


Clip from Pink Flamingos

COMMENTS: If you’re not offended by something in Pink Flamingos, then please go see a psychiatrist. The movie’s reason to exist is to shock and Continue reading 169. PINK FLAMINGOS (1972)

135. FORBIDDEN ZONE (1980)

RecommendedWeirdest!

“…[a] spontaneous creation without thought to logic, reason or consequences.”–Richard Elfman on Forbidden Zone

DIRECTED BY: Richard Elfman

FEATURING: , , Marie-Pascale Elfman, Phil Gordon, Matthew Bright (as “Toshiro Baloney”), Viva, Danny Elfman

PLOT: A curious girl wanders into the surreal “Sixth Dimension” located behind a door in her basement. There she encounters all manner of strange creatures and characters, including a lascivious dwarf king and his jealous wife, while her family members and a hapless schoolmate search for her. Numerous silly musical numbers are dispersed through their adventures.

Still from Forbidden Zone (1982)

BACKGROUND:

  • Forbidden Zone was initially developed as a short film project for the cabaret performance troupe Mystic Knights of the Oingo Boingo, which included brothers Richard and Danny Elfman. They wanted to capture the essence of their live performances at their most grandiose; afterwards, their musical style and stage show moved toward a smaller-scale, New Wave sound (at which point they shortened their name to just Oingo Boingo and became especially popular on 80’s comedy soundtracks, but that’s another story).
  • Composer and singer Danny Elfman, who also appears as the Devil, eventually went on to become a highly successful film composer, known especially for his collaborations with .
  • Several of the songs are reworkings of jazz and swing tunes from the 1920’s and 30’s, including songs by Cab Calloway and Josephine Baker.
  • Marie-Pascale Elfman, who stars as Frenchy, was married to director Richard Elfman at the time, and also designed the playful sets and backdrops.
  • The violent, rowdy school scenes are inspired by Richard Elfman’s Los Angeles high school, which is located in the same neighborhood where Boyz n the Hood later takes place.
  • Warhol superstar Viva was convinced to play the small role of the Ex-Queen because she was able to write her own lines, which mostly consist of a drawn-out monologue about her imprisonment.
  • Hervé Villechaize was once roommates with co-writer Matthew Bright (who plays siblings Squeezit and René) and had dated his co-star Susan Tyrrell. He helped fund the film through its constant financial woes, and in fact most of the actors fed their paychecks back into the production.
  • The film was met with controversy upon release due to its use of blackface and Jewish stereotypes, but eventually it gained cult status.
  • Richard Elfman has mentioned working on Forbidden Zone 2 since 2005, but nothing concrete has materialized—yet.

INDELIBLE IMAGE: A lot of scenes stand out in my mind, especially the musical numbers. While Danny Elfman’s “Squeezit the Moocher” sequence is a personal favorite, Susan Tyrrell’s solo song, “Witch’s Egg,” exemplifies a lot of the film’s visual ingenuity, sexual abandon, and lyrical fun.

WHAT MAKES IT WEIRD: Between the puzzling storyline, psychedelic sets and animated sequences, frequent gender-bending, old-timey jazz/new wave fusion musical numbers, lighthearted sado-masochism, laughably terrible acting, and strange creatures, it’d be more of a challenge to discuss what’s NOT weird about Forbidden Zone. Its cartoonish visuals, eclectic cast, and memorable musical sequences make for a compelling experience, peppered with utterly bizarre additives throughout.

Short clip from Forbidden Zone

COMMENTS: Opening on a lopsided two-dimensional house, Forbidden Zone‘s prologue explains in text-format that a dealer who stashed his drugs Continue reading 135. FORBIDDEN ZONE (1980)