Tag Archives: Nonlinear

265. THE SARAGOSSA MANUSCRIPT (1965)

Rekopis Znaleziony w Saragossie

“Simultaneously erotic, horrific and funny… This is one mother of a film.”– on The Saragossa Manuscript

Must See

 

DIRECTED BY:

FEATURING: Zbigniew Cybulski

PLOT: During a battle in Saragossa during the Napoleonic Wars, a soldier wanders into a house and discovers a large book which enthralls him (and his captor). In it, he reads the story of the Walloon captain Alfons Van Worden, who meets, and is seduced by, two princesses while sleeping at a haunted inn, only to wake up under a gallows between two hanged men. Van Worden’s further adventures include meeting a hermit, a cabalist, a gypsy leader, and other colorful characters, each of whom have tales to tell—often leading to stories inside of stories.

Still from The Saragossa Manuscript (1965)

BACKGROUND:

  • The Saragossa Manuscript is a mostly faithful, if necessarily abridged, adaptation of Jan Potocki’s massive 19th-century novel “The Manuscript Found in Saragossa” (occasionally translated as “The Saragossa Manuscript: A Collection of Weird Tales”). Potcoki was a fascinating character, worthy of his own novel. A Count, adventurer (he was the first Pole to fly in a hot air balloon) and polymath, he published The Manuscript Found in Saragossa in fragments during his life. Legends revolve around his spectacular 1815 suicide: he shot himself with a silver bullet he made himself, and which he had blessed by his castle chaplain beforehand.
  • Noted fans of the film include and David Lynch.
  • The restoration, which included the addition of about an hour’s worth of material cut from previous prints, was initially financed by The Grateful Dead’s Jerry Garcia, who died before it was completed in 2001. Filmmakers  and (who included it in his series “Masterpieces of Polish Cinema”) took up the cause after Garcia’s demise.

INDELIBLE IMAGE: Near the film’s climax, Van Worden stares out through an gap in a castle wall and sees a vision of himself receding into the distance with the two princesses, headed towards a poster bed standing alone in the middle of a desert. The only other features in the landscape are a cow’s skull and a dead crow half buried in the sand. There’s a wonderful trick to the shot, indicative of the film’s obsession with misdirection and game playing.

THREE WEIRD THINGS: Between hanged men; incestuous Islamic princesses; five levels of flashbacks

WHAT MAKES IT WEIRD: The Saragossa Manuscript winds through a Gothic journey replete with gallows, ghostly seductresses, duels, occult symbols, Inquisitors in bondage gear, and more, an epic tale told in the ever-receding stories-inside-of-stories style that Guy Maddin would later adopt (in a more fetishistic fashion) for The Forbidden Room. Wojciech Has’ 3-hour adaptation of Jan Potocki’s grandiose novel is storytelling in its purest form; it’s a world cinema classic that has been unfairly neglected, out-of-print in the USA for far too long. The film’s design unfolds slowly, wandering through a disorienting labyrinth of stories that eventually resolve, only to dissolve again in a mystical finale in the Spanish desert.


Re-release trailer for The Saragossa Manuscript

COMMENTS: “All that has made me confused,” complains Captain Continue reading 265. THE SARAGOSSA MANUSCRIPT (1965)

LIST CANDIDATE: THE FOUNTAIN (2006)

DIRECTED BY:

FEATURING: , Ellen Burstyn

PLOT: In the present day, a scientist searches for a cure for his wife’s brain tumor; two other stories are interspersed, one about a conquistador’s search for the Fountain of Youth in the 1500s and another about a tree-tending bald guru in a space bubble floating towards a nebula.

Still from The Fountain (2006)

WHY IT MIGHT MAKE THE LIST: A spiritual allegory told in three different timelines, one of which is set almost entirely in a traveling golden space bubble, The Fountain is far out by Hollywood standards. The final ten or fifteen minutes, when Aronofsky goes all 2001-y, may push the film onto the List. I expect to see lots of readers stumping for this; it feels like a burgeoning cult movie, one whose momentum is still building.

COMMENTS: The Fountain has an extraordinarily tight script, with reflections of each of its three different stories showing up in the others. Rings, trees, and immortality are just a few of the recurring symbols. Some viewers—even a few critics who should be better equipped to parse unconventional narratives—found the story baffling. I didn’t think it was especially confusing (except, perhaps, for the very end), nor do I think that anyone who’s seen a weird movie or two will find The Fountain too challenging to follow. I won’t spoil the plot—uncoiling it is the movie’s greatest pleasure—but I’ll give a single hint if you get stuck. Don’t make the mistake of thinking that all three stories are of equal weight; one of them clearly has what we might call a higher degree of reality than the other two.

As hinted, that script is tight up until the ending, where the movie stretches its weird credentials in a pan-religious finale that crashes a spaceship of Buddhist philosophy into a temple of Mayan mysticism to unlock a door to Judeo-Christian symbolism. The lotus position is assumed, conquistadors get stabbed, and trees bleed spermlike sap as a golden nebula explodes. Not bad for a trip sequence, but the visual fireworks play more like a substitute for a conclusion than as a culmination of the movie’s philosophical themes. Back on planet earth, I think a key element of allegory is missing. The movie’s message of acceptance does not seem profound enough to justify the preceding bombast, and it all leads to an abrupt, none-to-satisfying final scene.

Although the glory of the movie’s visuals can’t be denied—the fantasy scenes look like embossed gold foil is running through the projector—emotionally, The Fountain does not always achieve its aims. Weisz is too mannered and inhuman in her scenes as the Queen, and too much on the sidelines in her present day role. Her dying-of-a-tragic-disease-that-leaves-her-weak-but-still-pretty character never seems like a real, independent person; she’s just a motivation for Jackman’s obsession. We sense how amazing she is only by her effect on her husband, by the lengths to which she drives him to travel to the ends of the earth, the limits of medical knowledge, and the ends of the universe. For Jackman’s part, he certainly acts his heart out, gnashing his teeth and steeling his brow as he buckles down for another bout of uncompromising, denial-based medical research, but the performance is nothing transcendent. Emotionally, the film feels a little hollow, taking its theme of eternal love too much as a stock situation rather than something to be demonstrated onscreen. These complaints only take a little away from the beauty of the film’s construction; the movie was inches away from being a great one. I can see what The Fountain‘s partisans see in it, but I don’t feel what they feel.

Critics were about evenly divided between admiring the film for its audacity and calling it out for its pretensions. But if nothing else, Darren Aronofsky is one of the few directors working today who can actually convince a Hollywood studio to bankroll a weird movie.

WHAT THE CRITICS SAY:

“…pic’s hippy trippy space odyssey-meets-contempo-weepie-meets-conquistador caper starring Hugh Jackman and Rachel Weisz suffers from a turgid script and bears all the signs of edit-suite triage to produce a still-incoherent 95 minutes.”–Leslie Felperin, Variety (festival screening)

(This movie was nominated for review by “Tim,” who [somewhat misleadingly, in my view] synopsized it as “about a guy [looking a lot like Kwai Chang Caine] who is floating through space in a bubble, with a tree, thinking back on his life as a Conquistador and pharmaceutical researcher.” Suggest a weird movie of your own here.)

234. THE FORBIDDEN ROOM (2015)

“When they were filled, he said unto his disciples, gather up the fragments that remain, that nothing be lost.”–John 6:12

RecommendedWeirdest!

DIRECTED BY:  Guy Maddin,

FEATURING: , Clara Furey, Victor Andres Turgeon-Trelles, Caroline Dhavernas, Paul Ahmarani, Noel Burton, , , , Roy Dupuis

PLOT: A lumberjack inexplicably appears inside a doomed submarine. While searching for their captain one of the crew shares the wayward lumberjack’s story and several more strange tales. Before and after the main narrative (such as it is), a man lectures on how to take a bath.

the_forbidden_room_1

BACKGROUND:

  • While researching Hollywood’s lost films, Guy Maddin learned that approximately 80% of silent films made have been lost; many are preserved in title only. Maddin became obsessed with the idea that there were all these films he would never be able to see. This obsession turned into an ongoing four year long project producing re-imagined versions of these forgotten treasures. It began as an installation where Maddin and Johnson shot a movie a day in public. Some of what was shot became The Forbidden Room; the rest will become an interactive project that the NFB (National Film Board) will host called “Seances.”
  • The title The Forbidden Room is itself taken from a lost film from 1914.
  • Co-director Evan Johnson was a former student of Maddin’s who was originally hired simply to do research, but his contributions to the project became so significant that Maddin felt he deserved a co-director credit.
  • The opening and closing segments are based on the title of a lost film called “How to Take a Bath,” made by none other than Maniac‘s .
  • The Forbidden Room won 366 Weird Movies’ readers poll for Weirdest Movie and Weirdest Scene of 2015.

INDELIBLE IMAGE: An indelible image in The Forbidden Room? The entire film is a collage of indelible images. Candidates include lumberjack suddenly appearing in a submarine, a sauntering lobotomized Udo Kier ogling ladies’ derrieres, insurance-defrauding female skeletons in poisonous leotards.

THREE WEIRD THINGS: Offal piling contest; talking blackened bananas; squid thief

WHAT MAKES IT WEIRD: The Forbidden Room is a collection of strange stories about bizarre characters weaved through a central plot involving a lumberjack attempting to rescue a kidnapped woman. The catalyst for this storytelling begins when the lumberjack suddenly appears on a submarine. Add a healthy dose of surreal, humorous imagery and some creative editing and shake well for a truly one-of-a-kind cocktail of weirdness.


Original trailer for The Forbidden Room

COMMENTS: The Forbidden Room opens with Louis Negin in a satin Continue reading 234. THE FORBIDDEN ROOM (2015)

LIST CANDIDATE: THE FORBIDDEN ROOM (2015)

As expected, The Forbidden Room has been promoted onto the List of the 366 Weirdest Movies. Comments on this post are closed; please make all comments on the official Certified Weird entry.

RecommendedWeirdest!

DIRECTED BYGuy Maddin,

FEATURING: , Clara Furey, Victor Andres Turgeon-Trelles, Caroline Dhavernas, Paul Ahmarani, Noel Burton, , ,

PLOT: It opens (and ends) with a hygiene lecture about the importance of baths, and in between flows back and forth between tales about men trapped in a submarine, an apprentice lumberjack seeking to free a woman captured by bandits, a bone surgeon who falls in love with a motorcycle crash victim, and many more.

Still from The Forbidden Room (2015)

WHY IT MIGHT MAKE THE LIST: We have an unofficial rule that no movie is placed on the List until after it is released on home video. But for that restriction…

COMMENTS: Wrapped in a robe (and draped in washed-out Super-8 color), Marv (Guy Maddin stalwart Louis Negin) confidently explains how to take a bath for bathing novices (“carefully insert your big toe into the waters. This will tell you if it’s too hot or too cold.”) The camera tracks down the bathtub drain until it finds a submarine, stuck at the bottom of the sea, with only 48 hours of air remaining and a captain who has left orders not to be disturbed. The sailors scarf down flapjacks, because the air packets trapped inside the pastries provide them with extra oxygen. Suddenly, a woodsman walks through a hatch, with no memory of how he got there. He explains, in flashback, that he is an apprentice lumberjack (a “saplingjack”) from Holstein-Schleswig on a quest to rescue the beauteous Margot from a group of bandits called the Red Wolves. After earning the brigands’ trust through a series of trials including finger-snapping and offal-piling, the saplingjack earns their trust provisionally and is allowed to sleep in their cave. There, Margot, now the leader of the Red Wolves, dreams that she is an amnesiac who wanders into a Casablanca-style cafe…

And that’s just in the first twenty minutes of this two hour feature which continually segues, Phantom of Liberty style, from one retro-absurdist vignette to another. Sometimes the next story is a re-enactment of a newspaper headline glimpsed by a character in the previous tale, sometimes it is a dream of mustache hairs. Along the way we get “The Final Derriere,” the lament of a man “plagued by bottoms,” sung by a scrambled-faced crooner; a bone surgeon erotically assaulted by curvy women dressed as skeletons, and “forced to wear a leotard!”; and a man who bids on a bust of the two-faced god Janus against his own double. This epic phantasmagoria is mostly presented in glorious two-strip Technicolor, but the film stocks vary and jump around (some segments are black and white). Periodically, a recurring morphing effect causes the entire screen to waver dramatically. Although this is a sound film, sometimes the movie turns silent and dialogue is conveyed by Maddin’s famously melodramatic intertitles; the characters soon forget they are in a silent film and start to speak again. Intriguingly, the stories backtrack, and then lurch forward in new directions, and by the end the entire Chinese puzzle box telescopes in reverse, backtracking through the labyrinth of stories and ending up where it began, with a wrinkled swinger in a bathrobe extolling the virtues of a good scrubbing.

The Forbidden Room is a tour-de-force summation of Maddin’s evolution-through-regression style. Disunity and fragmentation are the themes here (the opening epigraph from John reads “gather up the fragments that remain, that nothing be lost”). The lack of a strong central theme may be a slight weakness here that holds Room back from being one of Maddin’s top-rank masterpieces (compare the single-minded autobiographical obsessiveness of My Winnipeg or the Freudian incest hysteria of Careful). Yet, the film overwhelms us with shameless excessiveness, hidden treasures, visual marvels, and Maddin’s subconscious wit. It is the master’s most unabashedly surreal picture in some time (which says quite a lot), occupying a place in his oeuvre similar to INLAND EMPIRE‘s position in David Lynch‘s canon (although hopefully it will not be Maddin’s final word on the subject).

Just as the seminal Maddin feature Cowards Bend the Knee arose out of a “peephole” art installation, The Forbidden Room arose out of the “Seances” project (which in turn arose, ghostlike, from the ashes of an abandoned short film project called “Hauntings”). The premise of “Seances” is that Maddin reimagines lost films from the silent and early talkie era, which are today known only by their titles. The opening sequence of The Forbidden Room, for example, appears to be based on a lost hygiene film called “How to Take a Bath.”

One of The Forbidden Room‘s deepest mysteries is the identity of co-director Evan Johnson. Who is he? The movie has Maddin’s sensibilities written all over it, and if no co-director were named none would have been suspected. What did Johnson contribute? Why was Maddin so impressed with him to make him a protégé? And furthermore, who is the presumably-related Galen Johnson, who gets credits for music, a co-credit (with Evan) for visual effects, and titles? (The actual answer is prosaic: Evan Johnson was a former film student hired as a research assistant, whose contributions to the project became so significant that Maddin felt he deserved a co-director credit. Still, we like to think of Evan’s sudden elevation from Rug Doctor bottling plant worker to near-equal partner of the most celebrated avant-garde filmmaker of the day as the kind of plot twist that could only occur in Guy Maddin’s universe).

WHAT THE CRITICS SAY:

“What narrative momentum there is has the choppy feel of unrelated serials crudely stitched together into a chaotic assemblage that operates, like all Mr. Maddin’s work, on hallucinatory dream logic. As a viewer you can supply whatever subtext comes to mind.”–Stephen Holden, The New York Times (contemporaneous)

216. SCHIZOPOLIS (1996)

“PERSONS attempting to find a motive in this narrative will be prosecuted; persons attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot.”–Mark Twain, “The Adventures of Huckleberry Finn”

Recommended

DIRECTED BY:

FEATURING: Steven Soderbergh, Betsy Brantley, David Jensen

PLOT: Fletcher Munson, a corporate functionary, is tapped to write a speech for T. Azimuth Schwitters, the founder of a pseudo-religious self-help movement called Eventualism. One day, still struggling to come up with a draft, he notices his exact physical double in a parking lot—a dentist who, it turns out, just happens to be having an affair with Munson’s wife. Meanwhile, we occasionally peek at the life of nonsense-speaking exterminator and Lothario Elmo Oxygen, whose connection to Munson’s storyline will not become entirely clear until the final act.

Still from Schizopolis (1996)

BACKGROUND:

  • Steven Soderberg served as writer, director, and lead actor. This was his first appearance on film and to date is his only leading role.
  • Soderberg made Schizopolis for about $250,000, shooting in Louisiana with his old LSU film school buddies, in between shooting the big-budget Hollywood movies The Underneath (1995) and Out of Sight (1998).
  • Soderberg did not have a shooting script but wrote new parts each day, and incorporated improvisations from the cast.
  • Actress Betsy Brantley, who plays Steven Sorderberg’s wife in the film, was Soderberg’s real-life ex-wife.
  • Soderberg’s opening narration was added after Schizopolis‘ negative reception at Cannes.

INDELIBLE IMAGE: Shot with handheld video cameras in a bland suburbia, often in a vérité style, Schizopolis is very much a work of words and ideas, not images. Therefore, the most representative image is actually a picture of a word: a sign reading “idea missing.” The meta-joke is that Schizopolis is aware it is built out of ideas, and is confident enough to joke about its own dependence on concepts.

THREE WEIRD THINGS: Pantsless titles; nose army; dentist doppelgänger

WHAT MAKES IT WEIRD: Schizopolis translates as “divided city” or, informally but more appropriately in this case, “city of schizos.” When the film opens with the director standing on an empty stage, backed by carnival music with periodic changes of focal length as if you were watching the intro through an optometrical device, warning that the upcoming movie may confuse you and you should prepare yourself to see it multiple times,  you should be fairly warned that your mind is about to be toyed with, and toyed hard.


Original trailer for Schizopolis

COMMENTS:  After Schizopolis bombed at Cannes, writer/director/star Steven Soderbergh appended a prologue where he stood on Continue reading 216. SCHIZOPOLIS (1996)

READER RECOMMENDATION: KILL BILL (VOLS. 1 & 2) (2003-2004)

Reader recommendation by Caleb Moss

DIRECTED BY:

FEATURING: , , , Lucy Liu, Michael Madsen, Vivica A. Fox

PLOT: A woman known only as “the Bride” awakens from a coma and sets off to wreak revenge on Bill and the team of assassins that betrayed her.

Still from Kill Bill
WHY IT SHOULD MAKE THE LIST: By the sole merit of being Quentin Tarantino’s most self-indulgent, ambitious and proudly artificial film. Not only is this Tarantino at the height of his formalistic film-making capabilities, this kinetic and entertaining work of ultraviolent pornography may perhaps be the most aesthetically alienating and divisive in his filmography, even to the adamant Tarantino fanbase. It’s therefore worth considering for the List not only as representative of Quentin Tarantino, but as being the seminal representative of the postmodern exploitation genre at its tautest and most entertaining.

COMMENTS: Have you ever been curious what kind of film  would direct if he was perpetually stuck with the brain of a hyper-intelligent, hyperactive 14-year old and had an obsessive penchant for wanton violence, manga, and endlessly deconstructing pop-culture ephemera? This is your movie.

Adhering to the already well-established standard on this website in which the quality of the film discussed can merit inclusion on the List when the degree of weirdness is more or less questionable, I will waste no further time on exalting the blood-drenched beauty of this film, and instead shall provide three reasons why this is Tarantino’s weirdest film:

1. Aesthetic Design: If you’re the film-obsessive type, then every frame of this movie will feel as if you’re being treated to a Nouvelle Vague-themed candy store whose wares are arranged in an array of colorful nods to exploitation and B-movie cinema (see the crimson skies inspired by the Certified Weird film Goke in Volume 1!) The film alternates so frequently between different cinematic modes and filters ranging from anime (a segment animated by  of Funky Forest fame!) to black and white to the striking image of the faces of Uma Thurman’s enemies superimposed over hers in a garish red hue.

2. Unreal and Hyperstylized Violence: Tarantino, a renowned purveyor of aestheticized violence, slices and dices himself a place within the annals of such maestros of perverse, arty carnage among the likes of Sam Peckinpah, , and Sergio Leone. Blood spurts out like ribbons from expertly cut limbs. Our revenge-bent protagonist literally survives a gunshot to her temple simply through the revitalizing force of pure hatred. Uma Thurman dismembers over eighty-eight Yakuza grunts—and then some—effortlessly. A custom-made katana can literally tear down both man and deity alike.

3. Non-Linear Chronology: As in Pulp Fiction, the Kill Bill series structures itself after postmodern narrative, preferring to splice up its epic story as if the entire film was being projected as the murderous fever-dream of an over-caffeinated geek.

Unlike Pulp Fiction, however, the Kill Bill series manages to achieve what its widely-loved predecessor only aims at: rendering pure, unadulterated pulp into a cinematic showcase for gloriously nihilistic Pop-Art. Motifs of blood, sharpened steel, and fantastical dismemberment recur frequently until it all blurs together, a savage yet strangely mesmerizing poetry.

WHAT THE CRITICS SAY:

“A strange, fun and densely textured work that gets better as it goes along… Few filmmakers have ever had the freedom and resources to make such a piece exactly as they wished, and Tarantino takes it so far that it becomes a highly idiosyncratic and deeply personal excursion into a world of movie-inspired unreality.”–Todd McCarthy, Variety (Vol. 1, contemporaneous)

 

CAPSULE: 88 (2015)

DIRECTED BY:  April Mullen

FEATURING: Katharine Isabelle, , Tim Doiron,

PLOT: A woman wakes up in a diner with a gun in her handbag and no memory of how she got there; she accidentally shoots a waitress and goes on the run while experiencing a series of flashbacks that explain her personality change.

Still from 88

WHY IT WON’T MAKE THE LIST: 88 is confusing and has some hallucinations, but it never gets really weird (or truly interesting).

COMMENTS: 88 shifts back and forth between two timelines, in each of which Katherine Isabelle has a separate personality—for easy reference, she’s generally a hot-blooded sociopath when she’s in red and a confused innocent in blue. There are also fractured flashback montages to even earlier times within each separate storyline, and a few hallucinations thrown in too (although these are obvious and generally don’t affect the plot). It’s tangled, but you never get the sense the knots are worth working out, a suspicion confirmed in the final reveal. Isabelle is formidably sexy and distinct in her dual roles as Gwen and Flamingo, but neither character is well-written or believable, and as nice as she is to look at we don’t care much what happens to either of her personalities. Christopher Lloyd makes for a surprisingly good heavy and seems to legitimately enjoy playing nasty, but there is only so much he can do as a cardboard villain. The script is pure B-movie contrivances, full of shootouts with magic bullets that mow down extras at will but swerve around principals, only wounding them at plot-specific moments when they’ll have a chance to wheeze out some final exposition with their dying breaths. If you told this story front to back, it wouldn’t be very good; chopping it up hides the narrative deficiencies for a while, but they catch up eventually.

Although the action scenes are ridiculous, director Mullen stages generally competent scenes, especially when doing music video-type stuff like filming montages of Isabelle dousing herself in milk and smoking a cigarette in the shower. Milk is a recurring image—Flamingo is obsessed with drinking a particular brand with a sexy spokesmodel whom she resembles—and the beverage is used to humorous effect at times. Mullen takes a turn in front of the camera in the movie’s worst scene, a side trip to visit a quirky gun runner that looks like it was ripped off from a bad ripoff. This digression feels out of place when the rest of the movie is like a bad ripoff: Memento with a hot chick. Together, Isabelle’s sex appeal and Lloyd’s professionalism—and the general trashy ambiance—keep it just watchable; it would make decent late night pay-cable filler.

WHAT THE CRITICS SAY:

“…the movie works best in theory rather than execution; it lacks the budget and wherewithal to push things to the envelope, settling instead for something that feels edgy and looks it from a distance but that’s actually rather pedestrian upon closer examination.”–Martin Liebman, Blu-ray.com (Blu-ray)

188. EDEN AND AFTER (1970)

L’éden et après

“The curtain falls and the audience applauds a bit, a smattering of polite applause. Then the host of the festival appears, the curtain opens, and he introduces Catherine Jourdan. Thundering applause! I think, ‘Good. It’s going well.’ I walk onstage all dressed up in my tux… Howls of disapproval! I wait for them to quiet down and say, ‘Please note, I’m the director of this film. This young woman has been in many films, but you never noticed her before. If you liked her in this film, perhaps I had something to do with that.'”–Alain Robbe-Grillet, recalling the debut of Eden and After at the Berlin Film Festival

Weirdest!

DIRECTED BY:

FEATURING: Catherine Jourdan, Pierre Zimmer

PLOT: A group of college students take drugs and play games of chance (like Russian roulette) at a cafe called “Eden.” One day, a stranger appears and offers the students a taste of his “fear powder,” which Violette accepts. The man winds up dead, and a valuable cubist painting is missing from Violette’s room; the convoluted trail leads to Tunisia, and to sexual slavery.

Still from Eden and After (1970)
BACKGROUND:

  • This was Alain Robbe-Grillet’s first color film. In an interview he explains that he was offered the opportunity to do 1968’s The Man Who Lies in color but turned it down, partially because it was set in a forest and he did not believe Eastman Color film stock conveyed the color green very well. When he visited Tunisia and found locations with almost no green anywhere in the landscape, he decided that this would be where he would shoot his first color film.
  • Catherine Jourdan was a last minute replacement for another actress who had to drop out when her hair fell out after a botched dye job.
  • In making Eden and After Robbe-Grillet was inspired by the twelve-tone serial music of his friend Pierre Boulez. Instead of a regular plot, he listed twelve recurring “themes” for the movie, which would play off each other in a non-linear way: the story would be “a-narrative” or “a-diagetic” in the same way serial music was “a-tonal.”
  • Robbe-Grillet recut Eden and After, shuffling scenes in a different order, incorporating some unused footage, and adding new narration to make an entirely different (though equally surreal) movie titled N. Took the Dice (N. a pris les dés…—an anagram of L’éden et après). Dice was based on principles of aleatory (randomized) music, and was only shown on French television.

INDELIBLE IMAGE: Originally a novelist by trade, Robbe-Grillet was known more for narrative playfulness than for visual imagination. Eden and After‘s sensual beauty and sadomasochistic tableaux marked his progression as a visual artist. This is arguably the director’s most sensuous film, filled with startling images. Nude, leggy French actresses, often victimized, constitute one of the film’s key recurring motifs. The picture of mini-skirted Violette, fetishistically shod in black leather boots, encountering her double in the blank Tunisian desert is a titillating but printable candidate. Perhaps the most unforgettable composition, however, is a shocking view of three dead, bound women posed against Inquisition-style torture equipment, one impaled on a bed of spikes, with blood spattering the white walls. That bloody fantasy is indelible, but perhaps a bit too strong, so officially, we will pick the similar but  tamer scene that Redemption Video selected for its Blu-ray cover (with the nudity cropped out). Three women lie in cages in a white void. Two wear white nightgowns, one is nude; two cages sit on the ground and one is suspended in the air; two wear blindfolds, one covers her eyes with her arm. A lamp, two halves of a wrought iron gate, and a white patio chair furnish the scene. What it signifies is anyone’s guess.

WHAT MAKES IT WEIRD: Fairly summarized as “Alice in Wonderland” meets “Justine” meets The Trip, Eden and After is what happens when a dyed-in-the-wool Surrealist (and unrepentant bondage fetishist) makes an acid movie for the collegiate set, composing the experimental script on principles analogous to the serial music of Pierre Boulez. Weird? A tad.


Clip from Eden and After

COMMENTS: You could construct a coherent story from Eden and Continue reading 188. EDEN AND AFTER (1970)

175. L’IMMORTELLE (1963)

Recommended

“-Do you know the poems of Sultan Selim?

‘They are full of flowers and perfumes,

greenery, cool fountains, and slim jets of water.’

-Which Sultan Selim?

-I don’t know. Whichever. They were all named Selim and they all wrote the same poems with the same cliched imagery that recurs like fetishes. Or passwords you utter to pass through the garden gate and enter the palace of your sleepless nights.”- L’Immortelle

DIRECTED BY:

FEATURING: Françoise Brion, Jacques Doniol-Valcroze, Catherine Robbe-Grillet

PLOT: A professor vacationing in Istanbul comes across a mysterious, vivacious woman who weaves in and out of his life during a fateful summer. The impenetrability of the woman ignites an obsession in the professor, one that leads him into the shadowy, knotted heart of the city and the underbelly of his own desire.

Stil from L'Immortelle (1963)

BACKGROUND:

  • Already a staple in French New Wave as a successful screenwriter (Last Year in Marienbad), Alain Robbe-Grillet was trying to break into motion pictures as a director, but was unable to find the funding. A Belgian producer agreed to fund his first feature on the condition that he use funds legally tied up in Turkey (due to an inability to convert the Turkish pound, which had left a wool-trading friend of the producer’s unable to use his profit anywhere else in the world). Robbe-Grillet shot the film there and used the location as a central narrative device, in the vein of a cinematic arabesque.
  • Robbe-Grillet’s own wife Catherine plays the oft-mentioned Catherine Sarayon (or Carayon). Robbe-Grillet met her in Turkey, which is similar to the way the protagonist meets the woman he falls for in L’Immortelle. Catherine wrote several novels of sadomasochistic erotica, sometimes under the pseudonym “Jean de Berg.”
  • During filming, Turkey erupted into a violent revolution in which the heads of government were all hanged. Robbe-Grillet, whose production company had made deals with the ousted government, had to get out hastily and wait in France for the volatile situation to die down before returning to complete the film.
  • Although it was reasonably well-regarded at the time of its release, screening at the Berlin Film Festival, L’Immortelle since fell between the cracks and was not released on home video in any form until 2014.

INDELIBLE IMAGE: This film is rife with iconic, spellbinding imagery, but chief among them is the mystical and sacred moment in the mosque as the professor, already deeply entranced by the woman of his waking dreams, searches for her in the darkness. He shambles around a corner with desperation in his gait (slowly, though, as if no wait was long enough), and spies the woman kneeling on the ground kneeling in prayer, perfect and impregnable. She rises to meet him like a goddess of torturous pleasure; her grace and beauty combined with his love-struck agony in the shadows is a moment of understated, haunting beauty.

WHAT MAKES IT WEIRD: L’Immortelle operates less like a film and more like a state of mind, using baffling, at times purposely repetitive shots to create something that transcends the world of the nominal. It is a movie based in philosophy, emotion, and spirituality, not plot and structure. It does not want to entertain or make sense, it wants to touch below the surface, and it does through the tried-and-true tactic of not explaining a single thing, compounding each image placed on screen into an enigma that never diminishes as time rolls on.


Original French language trailer for L’Immortelle

COMMENTS: The narrative tradition is a lie. From our earliest fables to the towering epics of our own time, we tell stories in the way that is the most Continue reading 175. L’IMMORTELLE (1963)

168. MR. NOBODY (2009)

“Oh, my God, and when you got up in the morning, there was the sun in the same position you saw it the day before—beginning to rise from the graveyard back of the street, as though its nightly custodians were the fleshless dead—seen through the town’s invariable smoke haze, it was a ruddy biscuit, round and red, when it just might as well have been square or shaped like a worm—anything might have been anything else and had just as much meaning to it…”–Tennessee Williams, The Malediction

Must See

DIRECTED BY:

FEATURING: , Toby Regbo, Sarah Polley, Natasha Little, Rhys Ifans, , Diane Kruger, Linh Dan Pham

PLOT: In 2092, after all disease has been conquered through cellular regeneration technology, 119-year old Nemo Nobody is the last mortal man left in the world. He recounts his life story to a psychiatrist and a reporter, but his memories are wildly inconsistent and incompatible, and at times fantastic and impossible. In his confused recollections he is married to three different women, with multiple outcomes depending on choices that he makes in the course of his life; but which is his real story?

Still from Mr. Nobody (2009) BACKGROUND:

  • The genesis of this story came from Jaco Van Dormael’s 1982 short film “È pericoloso sporgersi,” about a boy who must make an “impossible” choice between living with his mother or with his father.
  • According to Van Dormael the script took seven years to write, working about five and a half hours a day, every day.
  • Van Dormael published the Mr. Nobodoy screenplay (in French) in 2006, one year before production began and three years before the film was completed.
  • Despite being made in 2009, the movie was not released in the U.S. until 2013, and then only in an attempt to capitalize on the Oscar buzz surrounding Jared Leto’s performance in Dallas Buyers Club.
  • Leto temporarily retired from acting after Mr. Nobody, spending the next four years focusing on his band Thirty Seconds to Mars.
  • Mr. Nobody’s first name, Nemo, means “nobody” in Latin.
  • The movie is full of visual tricks and illusions, some of which are so subtle that they’re easy to miss. For example, watch for a scene where Nemo enters a bathroom then focuses on his own image in a mirror. When he turns around and the camera follows him back out of the room, we now see the perspective as if we had passed through the mirror; the reflection seamlessly swaps places with the real world.

INDELIBLE IMAGE: Mr. Nobody‘s essential image is of branching, criss-crossing railroad tracks; if you want something with a little more surreal zip, however, check out the scenes of a fleet of helicopters delivering slices of ocean, slowly lowering them into place on the horizon.

WHAT MAKES IT WEIRD: Essentially an experimental narrative film disguised as a big-budget science fiction extravaganza, Mr. Nobody, an epic fantasia in which the protagonist lives a dozen different lives and a dozen different realities, was doomed to be a cult film from its inception. Even with a healthy dose of romantic sentimentality and whimsy a la , it is far too rare and peculiar a dish for mainstream tastes. The opening is confusing, the moral ambiguous, and reality won’t sit still; it’s got unicorns, godlike children, helicopters delivering the ocean, a future world where everyone has their own genetic pig and psychiatrists are known by their facial tattoos, and a malformed sub-reality where everyone wears argyle sweaters. It’s unique, unforgettable, and utterly marvelous.


Original trailer for Mr Nobody

COMMENTS: One of the enigmatic Nemo Nobody’s many possible past identities is a TV science lecturer who explains such esoteric concepts as Continue reading 168. MR. NOBODY (2009)