Tag Archives: Obscure/Out of Print

READER RECOMMENDATION: ESCORIANDOLI (1996)

AKA Trash – T.R.A.

Reader recommendation by “Tracian”

DIRECTED BY: Antonio Rezza

FEATURING: Antonio Rezza, Valeria Golino, Claudia Gerini, Isabella Ferrari, Valentina Cervi

PLOT: Five connected stories where the protagonist is always played by Rezza. An affair during a funeral is spiced up by the occasional comments of the deceased; the two lovers of a woman suddenly exchange their ages; a terminally bored girl is forced to join a totalitarian rehab clinic; a poet consumes his life searching for forgiveness for having stepped on a man’s toe; and a professional event-crasher loses control of his own body and is forced to cut it to pieces until only the head remains.

Still from Escoriandoli (1996)

WHY IT SHOULD MAKE THE LIST: Because it is a rare example of an arthouse film that is not pretentious but actually fun, highly committed to weirdness and yet serious in its (admittedly well-hidden) message.

COMMENTS: While you have to understand Italian to fully appreciate the lyrical, offbeat and hilarious dialogues, everyone will be amazed by the physical and vocal contortions of the protagonist(s). Pretty much everything in Escoriandoli (the title itself is a pun that roughly means “confetti-like joy in excoriating them”) is odd: an example may be how all the actors on a bus react to its movements—although the vehicle is explicitly shown as being still—but almost no scene can be considered “normal”.

WHAT THE CRITICS SAY:

“Italian surreal comedy consisting of a series of satirical vignettes… Fun at times, but the acting is way too silly.”–Zev Toledano, The Worldwide Celluloid Massacre

255. RUBIN & ED (1991)

“People try to make me sound a lot… weird… and just, strong, you know, I’m strong!”–Crispin Glover on “Late Night with David Letterman”

“Talk about el weirdo.”–Ed, on Rubin

Recommended

DIRECTED BY:

FEATURING: Howard Hessman, , , Michael Greene

PLOT: Ed is a recently-separated loser who joins “the Organization,” a cult-like real estate pyramid scheme. Rubin is a shut-in nerd whose mother takes away his boom box and refuses to return it until he makes a single  friend. When Ed tries to recruit Rubin to attend an Organization seminar, Rubin agrees to go, on the condition that Ed helps him find a place to bury his dead pet cat.

Still from Rubin and Ed (1991)


BACKGROUND:

  • Rubin & Ed was Utah-based director Trent Harris’ first feature film after making the three documentary/narrative hybrid shorts known as “The Beaver Trilogy” (the first installment is a documentary featuring an oddball kid who performs in drag as Olivia Newton-John, while the next two recreate the first using actors and Crispin Glover, respectively).
  • Glover created Rubin Farr for another role that never materialized. He convinced Harris, who was looking for a project for his feature film debut, to write a script around the character.
  • In 1987, three years before Rubin & Ed began filming, a stuttering, awkward Crispin Glover appeared in character as Rubin on “Late Night with David Letterman.” Letterman thought Glover was there to promote River’s Edge, and walked off his own set when Glover almost kicked him in the head while wearing Rubin’s giant platform shoes. The segment only lasted a little over four minutes. Many Americans who saw it live assumed Glover was wasted on psychedelic drugs.
  • Although it had a reasonable degree of star power and was produced by major independent Working Title Films (who released the Palme d’Or winning Barton Fink the same year), Rubin & Ed initially received terrible reviews made a mere $15,000 in its original theatrical run. The film flopped so badly that the studio pulled funding for another Trent Harris project that had already been greenlit. Rubin & Ed later found a small cult following on VHS.

INDELIBLE IMAGE: Rubin’s happy hallucination, which features his previously-dead cat alive and waterskiing while its owner relaxes in a floating inner-tube wearing shoes with two foot heels, on which the bikini babe motoring the speedboat compliments him.

THREE WEIRD THINGS: Weaponized platform shoes; waterskiing cat; insole slurping

WHAT MAKES IT WEIRD: Though structured as a quirky comedy, not too different from the usual outing of the period, Rubin and Ed has a gaggle of weird points in its favor, including a hallucination scene with a water skiing cat and a lunatic Crispin Glover playing something very near the Crispin Glover-iest character ever written. Its sense of humor is so eccentric that it’s been forced off-road to become strictly a cult curiosity.


Trailer for Rubin & Ed

COMMENTS: “It’s going to get weird now, isn’t it?,” frets Ed, after Continue reading 255. RUBIN & ED (1991)

LIST CANDIDATE: ANGEL’S EGG (1985)

Tenshi no Tamago

DIRECTED BY:

FEATURING: Voices of Mako Hyôdô, Jinpachi Nezu, Kei’ichi Noda

PLOT: In a desolate city, an angelic young girl cherishes an egg.

Still from Angel's Egg (1985)

WHY IT MIGHT MAKE THE LIST: This haunting animation more or less entirely forgoes dialogue and narrative for a large helping of theistic symbolism and rich visuals.

COMMENTS: It’s often said that we anime fans fetishize the “otherness” of anime—or, put less pretentiously, it’s often said we like stuff simply because it’s Japanese.

To be honest, there’s some accuracy to that. But can you blame us? As one of the only non-Western entertainment mediums to gain measurable popularity here, anime represents, for many of us, the one substantial deviation from our entertainment norms. Hell, for many people, it’s more or less the only reminder that a norm even exists.

Of course, it’d be obscenely simplistic to say that’s what makes a work like Angel’s Egg so deeply engaging—but it’s definitely a factor.

Released in 1985, this 71-minute OVA (non-theatrical video feature) is the brainchild of director Mamuro Oshii (best known, at least around here, for his sci-fi philosophy-fest Ghost in the Shell) in collaboration with artist Yoshitaka Amano. One of the earlier efforts—and his second OVA—on Oshii’s extensive resume, Egg showcases that familiar blend of surrealism, introspection, and distinctly grit-flavored sci-fi that defines not only Oshii’s own work, but also a great deal of anime’s other “weird” offerings (End of Evangelion and “Serial Experiments Lain” come to mind).

Like so many of the movies featured here, Angel’s Egg largely supplants narrative with hefty symbolism and visual indulgence. Set in a grey and empty city of desolate Victorian/Gothic architecture—every single frame of it rendered with almost dizzying artistic excellence—the film follows a young girl who ekes out a lonely existence scavenging among the ruins and, for reasons known only to her, collecting hundreds of glass bottles of water. The girl tends to a large egg, carrying with her everywhere, believing that it holds a beautiful bird within it.

One day, a young man wielding a cross-shaped staff intrudes on the girl’s lifeless world, following her to her lonely abode. Other stuff happens, but really, to try and describe any aspect of this film with words is to sell it short.

Angel’s Egg is—again, like so many of the List’s films—a work of cinema defined by more than what happens on screen. It is defined by its atmosphere; a heavy, heavy atmosphere. The Gothic elements of this animation extend well beyond the architecture. Every frame of this film oozes ghostliness and desolation. The girl and the young man exist in a world of crumbling greyness and deafening silence, and every moment of the film’s striking visuals, ominous choral soundtrack, and heavy, lingering shots ensures that the viewer shares in every bit of the characters’ haunting isolation. Some may Continue reading LIST CANDIDATE: ANGEL’S EGG (1985)

LIST CANDIDATE: THE ATROCITY EXHIBITION (2000)

DIRECTED BY: Jonathan Weiss

FEATURING: Victor Slezak, Anna Juvander, Michael Kirby, Rob Brink, Diane Grotke, Caroline McGee, Robert Morgan, Mariko Takai

PLOTIn a mental institution, a doctor has enticed patients and staff into staging bizarre microdramas and recording them on film. Is he recording his own mental breakdown, or the larger ills of society?

reagan_sex_s7

WHY IT SHOULD MAKE THE LIST: Inasmuch as cult author J.G. Ballard can still be called “weird” nowadays, the film perfectly captures the clinical nature of his themes and uneasy alliances. One scene is a fashion shoot in the midst of a surgical operation. Another memorable sequence has Traven emerging from a 1950s  black sedan on an airport runway shouting “Marilyn Monroe” and breaking into a run with the sound of helicopters on the soundtrack; he inexplicably ends up back at the sedan, vomiting over the front hood.

COMMENTS: The Atrocity Exhibition is another one of the many “unfilmable” novels that some filmmaker, at some point, takes on as a challenge. first took the plunge, being the first to adapt Ballard’s other “unfilmable” novel, Crash, in the mid-90’s, and largely succeeding. “The Atrocity Exhibition“, however, was slightly more challenging for an adapter: there’s no real plot, just linked incidents; the main character is undergoing a mental breakdown affected by mass media; each chapter represents an aspect of the protagonist’s psychosis (his name changes in each segment); and most of the action is psychological. The book is a collection of themes and ideas showing up in Ballard’s work at the time (the mid to late 1960’s), some of which would be fleshed out/explored further in works like “Crash” and “High Rise,” and is much more fragmentary than most novels.

Jonathan Weiss’s approach in adapting Ballard’s work is geared to the experimental film work in the 1960’s and 1970’s. Using stock-film sequences interspersed with new footage, the film is presented as the artifact from Dr. Traven’s project, staged mini-dramas reflecting his obsessions (assassinations, war, celebrity, plastic surgery, the Space Race) which document his—and by extension, society’s—surrender to psychosis. But is it a surrender, or merely an adaptation to the new order?

Exhibition is perhaps the purest adaption of Ballard’s work to date. The low-budget, as well as the unusual nature of the main role, excluded any casting of name stars, and the movie was shot over the period of several years. It’s not as polished or sexy as Cronenberg’s Crash, but it’s even more intellectually rewarding.

the-atrocity-exhibition

DVD INFO: The Atrocity Exhibition had limited festival screenings in the early ’00’s, but no true theatrical release. It seemed it would languish in obscurity until its release on DVD in 2006 by Reel 23, a European company—Region 0, but on the PAL system—now a pricey import, if you do some hard looking. You get a good transfer of the film in picture and sound, highlighting the score by J.G. Thirwell (“The Venture Bros.”, “Foetus”), subtitles in French, Spanish, German and Dutch, and an informative commentary track by the director. But what makes this release special is a second commentary track with the director and J.G. Ballard together. Ballard doesn’t stick around for the last 20 minutes of the film, pretty much having said whatever he needed to.

A contentious interview with Jonathan Weiss can be found on the “Ballardian” website, along with the review that touched things off.

Oswalds Mill Audio (OMA), selling high-quality and high-end audio equipment, is Jonathan Weiss’ current venture.

WHAT THE CRITICS SAY:

“Weiss works superbly with the material here, creating the most Ballard-like visual representation of the author’s work on the screen… They are all meaningfully integrated into the screenplay – if not in any immediately comprehensible way, at least in a way that is true to how Ballard envisioned it in his writing – and thankfully not in any pretentious rapid-fire montage.”–Noel Megahy, The Digital Fix

LIST CANDIDATE: SYMBOL (2009)

Shinboru

DIRECTED BY:

FEATURING: Hitoshi Matsumoto, David Quintero, Luis Accinelli

PLOT: A Japanese man wakes up in an enormous white chamber whose walls and floor are littered with cherubic phalluses; meanwhile a Mexican luchador, “Escargot Man,” prepares for a wrestling match.

Still from Symbol (2009)

WHY IT MIGHT MAKE THE LIST: The main narrative, following the action in the white room, is so absolutely removed from reality it demands a place on the List, while the Mexican wrestling scenes remain incongruous and weirdly exotic throughout.

COMMENTS: It’s difficult to talk about why Symbol is so arresting and oddly rewarding without spoiling details of the story or the reveals near the film’s end. Suffice to say the two seemingly unrelated narratives come together in a most unexpected and ridiculous way, and the torture experienced by the Japanese protagonist in the white room leads to a truly transcendent revelation by the film’s end.

The film is structured under three headings: “Learning, Practice and Future.” Learning refers to the rough education the Japanese man receives in the white room from the mischievous owners of the Cherubic phalluses, while the particulars of Practice and Future I’ll leave viewers to discover on their own.

Much of the early joy of the film involves watching Matsumoto interact with the white room and the objects released therein, seeing his mounting frustration at the “bait and switch” as the Cherubs deliver alternately helpful or useless items. They give him an endless stream of sushi rolls, but no soy sauce until after he’s eaten the very last one; 3D glasses direct him to press a particular button, only to have an enormous Cherub behind break wind on him. Another scene sees him releasing an endless pile of chopsticks before he finally presses a different phallus, sending an office trolley careening into his shin. This comedic torment in the vein of silent film comics like or Harold Lloyd continues until Matsumoto recognizes a means of escape…only to be led to earth-shattering alternatives.

There is very little to fault in this film; from its production values to its execution it is equally unique, vibrant and visually arresting. The pacing is surprisingly jaunty for an episodic film, and it actually rewards a re-watch to see how all the various threads build towards the film’s close. Some viewers may find the ridiculous payoffs a little too surreal to be satisfying; to them I can only recommend the consolation to be found in the philosophical treatise “In Praise of Silly,” the book never written by comedian Mike Myers’s father, who believed silliness “was our natural state, and we only get serious to get to silly.” Symbol contains moments of textbook Japanese cinematic weirdness.

A possible weak element of the film (other than two unnecessary moments of flatulence humor) could be identified in Matsumoto’s performance; while his timing is excellent and he works as a hapless, unassuming everyman, his constant screaming is often irritating. A more skilled slapstick performer like , Lee Evans or Rowan Atkinson could have made the physical comedy transcendent and ballet-like rather than merely solid and amusing. This is a rare case where I would not mind a U.S. remake.

I know little about director and star Matsumoto, other than he is one half of a comic duo—the boke or “funny man” of a team called “Downtown”—on Japanese television, just like his contemporary Takeshi “Beat” Kitano (Hana-bi, Violent Cop) was at the beginning of his career. The comparison to Kitano is apt due to the similar career trajectory the two men have followed, although Matsumoto only has four feature film directorial credits to his name and none of the Kitano’s international recognition—at least for the time being. Also, from a cursory YouTube glance, Matsumoto’s TV persona appears to be that of a histrionic, put-upon weed (the character he develops here follows a similar vein) whereas Kitano’s comedy always came from his role as bully.

WHAT THE CRITICS SAY:

“…one of the most bizarre, impenetrable films of the year. That doesn’t mean it is not funny, intriguing and visually impressive, just don’t expect to come out being anything less than baffled.”–Owen Van Spall, “Eye for Film” (contemporaneous)

(This movie was nominated for review by many people, but “Roy” was first when he advised us in 2010 “You gotta check out this flick ‘Symbol’ by the director of Big Man Japan.” Suggest a weird movie of your own here.)

226. CONSPIRATORS OF PLEASURE (1996)

Spiklenci Slasti

Conspirators is actually a film about liberation, and about gaining a freedom.”–Jan Svankmajer explaining why he considered Conspirators his most Surrealistic film up to that point

Recommended

DIRECTED BY: Jan Svankmajer

FEATURING: Petr Meissel, Gabriela Wilhelmová, Barbora Hrzánová, Anna Wetlinská, Jirí Lábus, Pavel Nový

PLOT: A man enters a newsstand and furtively buys a pornographic magazine as the owner nods conspiratorially at him. At home, he leafs through the pages but is interrupted by the postwoman, who has him sign for a letter that simply reads “on Sunday.” Over the next several days the man constructs an elaborate chicken costume; meanwhile, the postwoman, his next door neighbor, the newsstand owner, and another couple are all involved in their own strange, surreptitious projects.

Still from Conspirators of Pleasure (1996)

BACKGROUND:

  • Conspirators of Pleasure began life as a screenplay for a short written in 1970 but never filmed. That short would have told the parallel stories of the “chicken man” and his neighbor across the hall. Svankmajer resumed work on the project in 1996, thought of four more characters to include, and expanded the film to feature length.
  • In 1975 Svankmajer wrote a (satirical?) essay entitled “The Future Belongs to Masturbation Machines.”
  • Originally known for his stop-motion animated shorts, Conspirators was Svankmajer’s third feature film, and it continued a trend of having less and less animation in each successive film (there are only a few accent scenes here, which amount to about one minute of animation).
  • The end credits list Sacher-Masoch, the , Freud, , and Bohuslav Brouk (a Czech psychoanalyst who wrote up a series of case studies about masturbatory practices) as having provided “professional expertise.”
  • The , animators who paid tribute to the Czech director with the 1984 film “The Cabinet of Jan Svankmajer,” are listed in the credits as “musical collaborators” (although the soundtrack is prerecorded classical music).

INDELIBLE IMAGE: The man in a chicken suit doing a ritualistic (and sometimes literally animated) dance in front of a doll-like effigy tied to a chair.

THREE WEIRD THINGS: Stop-motion submissive; dough-snorting; carp shrimping

WHAT MAKES IT WEIRD: We follow six people engaged in complicated, intensely personal fetishistic rituals; adding to the odd, voyeuristic atmosphere, there is no dialogue, other than what’s overheard in the background on television. Each of the conspirators crosses the others’ paths, but continue to work on their own private obsessions, until all of them appear to receive their ultimate gratification. Then, Jan Svankmajer launches us into a new stratosphere of strangeness at the finale, when the chickens come home to roost (so to speak).


Short clip from Conspirators of Pleasure

COMMENTS: Case study: a man, Eastern European, balding but fit Continue reading 226. CONSPIRATORS OF PLEASURE (1996)

READER RECOMMENDATION: PHILOSOPHY OF A KNIFE (2008)

Reader recommendation by Simon Hyslop

DIRECTED BY: Andrey Iskanov

FEATURING: Tetsuro Sakagami, Yukari Fujimoto, Manoush, Elena Probatova

PLOT: War prisoners are subjected to various horrifying experiments in the Japanese Imperial Army’s infamous Unit 731 facility.

Still from Philosophy of a Knife (2008)

WHY IT SHOULD MAKE THE LIST: Between the dreamlike cinematography, the unconventional, fractious narrative, and the bizarre attempts to blend a documentary with an arthouse film, this is definitely among the least conventional works of World War II cinema.

COMMENTS: A few short years before the outbreak of World War II, one General Shiro Ishii of the Japanese Imperial Army—a man who possessed a fatal combination of power, patriotism, intelligence and absolutely no regard for human life—oversaw the construction of a military facility in the Chinese province of Manchuria. Officially registered as a water purification plant, this facility—Unit 731, as it would come to be known—housed not only military personnel, but several thousand Chinese and Soviet prisoners, and a team of some of Japan’s top scientists. Over the next few years, these prisoners would be subjected to a series of horrifying, inhumane experiments in the name of helping the Japanese war effort. Prisoners were infected with deadly diseases, exposed to bomb blasts, and amputated and dissected without anesthetic.

And thanks to vested Cold War interests on the part of the USA, most of the perpetrators of these atrocities would walk away unpunished, and go on to enjoy prosperous careers.

This is the story that 2008’s Philosophy of a Knife—from one of modern Russia’s resident oddball directors, Andrey Iskanov—tells. Or, at least, purports to tell.

There’s a lot that needs to be said about Philosophy of a Knife, mostly because there’s so much of it. The film clocks in at over four hours; and while, admittedly, there are instances when it’s acceptable for a film to do that, I’m not convinced that Knife is one of them.

If there’s a key mistake this film makes, it’s in its genre. The film, it seems, is making a bold attempt to blend an art film with a documentary, combining stock footage, interviews and voiceover with heavily stylized reenactments of the experiments conducted at Unit 731. And while this is a debatable issue, I can’t see that blend as other than doomed to failure, since those genres are, in my opinion, irrevocably opposed. After all, any documentary worth its salt is going to try and be objective; while art, in any form—in my opinion— is inherently subjective. At least, until we’ve invented painting robots.

But even a viewer who disagrees with that particular perspective will probably agree that, as a documentary, Philosophy of a Knife‘s efforts are half-hearted at best. The voiceover segments—narrated by what sounds like a castrated Robbie Williams—cover only the most Continue reading READER RECOMMENDATION: PHILOSOPHY OF A KNIFE (2008)

212. AFTER LAST SEASON (2009)

“This movie makes no sense. I don’t mean the story doesn’t make sense, it almost does. I mean the movie as a thing that exists doesn’t make sense.”–Rob Steele

Beware

DIRECTED BY: Mark Region

FEATURING: , Peggy McClellan

PLOT: Matthew and Sarah are med students with an interest in neurology. A fellow student is knifed to death by a serial killer. Matthew runs a telepathy experiment with Sarah, who sees visions of the killer, and together they try to visualize the murderer.

Still from After Last Season (2009)

BACKGROUND:

  • After Last Season made a minor stir on the Internet in 2009 when its nonsensical (but, as it turns out, completely representative) trailer was released on YouTube and other video sites.  The piece was so thoroughly anti-cinematic, with its laughable props and the meaningless minutiae of its dialogue, that many people assumed it was a parody of a low-budget indie film created by an established director. The frenzy reached it’s peak when “Entertainment Weekly” published an article repeating rumors that the trailer was a hoax by notorious prankster Spike Jonze intended (somehow) to draw attention to his upcoming film Where the Wild Things Are.
  • After Last Season got a one week release in four U.S. theaters.
  • Director Mark Region claimed the film cost $5 million to make. Few believed him.
  • After the original run, producer/distributor Index Square stopped offering new DVDs for sale, and actor Jason Kulas said Region has told him there are no plans to produce more.

INDELIBLE IMAGE: The astoundingly crude computer-generated animation, which often looks like it could have been drawn in MS Paint. The best moment is when a killer’s knife (which looks like an ice cream cone held upside down) emerges from out of a blank wall.

THREE WEIRD THINGS: Cardboard MRI; Photoshopped telepathy; invisible ghost

WHAT MAKES IT WEIRD: “Huh?,” “um…,” and “whah?” are all equally valid responses to After Last Season.  This movie may go down as this generation’s Beast of Yucca Flats: stultifyingly dull at times, but so full of misguided directorial choices and  failed attempts at cinematic poetry that it takes on a dreamlike character. Watching After Last Season is like trying to follow a old-timey radio serial on an AM station with fading reception: you can tell there’s a voice trying to make itself heard, but the transmission is so garbled that the basics of the story become lost in static and long stretches of dead air. It’s difficult watching, for sure—thus the “beware” rating—but for intrepid curiosity seekers looking to experience the weirdest of the worst, it’s a must see.


Original trailer for After Last Season

COMMENTS: There’s a concept in cinema theory called “film grammar;” it refers to sets of filmmaking conventions that  have been Continue reading 212. AFTER LAST SEASON (2009)

JOHN WATERS’ MULTIPLE MANIACS (1970)

Multiple Maniacs (1970) was second feature-length movie (his first was 1969’s Mondo Trasho). Shot in grainy black and white, it lives up to its “Cavalcade Of Perversions” tagline. Even for those familiar with Waters’ early work (and everyone should at least sample one of them), Multiple Maniacs may be considered an extreme challenge. Comparatively, Pink Flamingos (1972), Female Trouble (1974), Desperate Living (1977) and especially Polyester (1981) might be seen as -styled celebrations of white trash.

Shot on a two thousand dollar budget (Pink Flamingos came in at $5,000 and Polyester, $200,000), Multiple Maniacs opens with the camera panning down credits typed out on white paper.

, as a carny broker, introduces us to Lady ‘s “Cavalcade Of Perversions.” As the locals ready themselves in a canvas tent, Lochary, in best tent revival tone, assures us: “This is the show you want: the sleaziest show on earth. Not actors, not imposters, but real, actual filth. These assorted sluts, fags, dykes, and pimps know no bounds. They have committed acts against God and nature that would make any decent person recoil in disgust.”

These are not mere words, and before we can scream “,” we are privy to a woman licking a bicycle seat, a hippie eating a bra, two men licking the hairy armpits of a topless girl, a Human Ashtray, and two-cent choreography of a naked human pyramid that makes us thankful Adam invented the fig leaf.

Mere warm-up acts: “See two actual bearded queers French kissing! See a heroin addict in Fruit of the Looms, writhing among the leaves… Now I give you Lady Divine.”

After Divine robs the audience and killing one of its members (with a pop gun), Lochary, , and gang cruise and dance to Elvis (without permission to use the music, which is one of the reasons Multiple Maniacs has never been made available on DVD and only appeared briefly on VHS). All that 1950s devil music inspires even more hedonism, and soon Lochary and Pearce are doing the nasty, despite the fact that David is Divine’s lover. Enter to spill the beans to Divine in a phone call.

Hell hath no fury like an oversized drag queen scorned, but before Divine can get her hands on the cheating beau, she is accosted by rival queens. Fortunately,  she is consoled by her guardian angel, the Infant of Prague, who takes Lady Divine by the hand and gets her to the church on time.

With blasphemy rivaling L’ Age d’ Or or Viridiana, Divine gets a “rosary job” from on the sacred pews of St. Cecilia, as the narrative literally parallels St. Francis’ “Way Of The Cross.” Perhaps even more blasphemous than Stole inserting prayer beads into anal orifices is future egg-lady Massey as the virgin Mary, meeting Jesus on the way to Calvary. Like before him, Waters actually knows the orthodox dogma he satirizes, which makes the film effective guerrilla heterodoxy. Multiple Maniacs is Waters’ weightiest, most literal, penetrating, and spiritual film (yes, I said that). Divine (she is divine for a reason) delivers a voice-over narrative: a conjoined, meditative, idiosyncratic homily between actor and director, advocating for the societal outcast forever opposed by the smug, suburbanite Pharisees.

Made at the height of the Manson murders, Waters catapults Divine and Stole into the mayhem that had paralyzed American culture in a frenzy of fear. Caught in a perverse, religious fervor, our heroines are ordained as Waters’ SS Perpetua and Felicity, martyrs of the Multiple Maniacs.  Unlike his country, Waters was anything but appalled. Rather, his brand of faith remained lucid and unwavering.

Still from Multiple Maniacs (1970)You can rest assure that neither the kitsch martyrdom of Dick Burton or Vic Mature included being raped and stigmatized by a lobster on a passion play couch. Perhaps that is the reason Moses forbade shellfish, which actually makes sense in a Waters’ universe. If only the hopelessly self-righteous Cecil B. would have been demented enough to know, he might have spared us those 1950s Hollywood Bible epic pornos. However, given 20/20 camp-value hindsight, perhaps it is better that constipated hypocrite wasn’t in on a Waters joke. Multiple Maniacs may just be seen as a healthy response to a sanctimonious Ten Commandments (1956).

CAPSULE: THIS FILTHY EARTH (2001)

DIRECTED BY: Andrew Kötting

FEATURING: Rebecca Palmer, Shane Attwooll, Demelza Randall, Xavier Tchili

PLOT: A cruel framer destroys young Francine’s humble but idyllic life when he marries her sister for her land.

Still from This Filthy Earth (2001)
WHY IT WON’T MAKE THE LIST: This weirded-up anti-pastoral portrait of agrarian sin would certainly find champions among this site’s readers; but although it shows artistry, it lacks the necessary significance to be compete as one of the best weird movies of all time.

COMMENTS: The key images in This Filthy Earth occur in a postmortem montage: time-lapse photography of decaying corpses of a rabbit, fox and pigeon. Time is so compressed that their bodies seem to explode into a writhing mass of worms in an instant. Decay and rot are the movie’s reality, and the fecundity of the “filthy” earth is only implied by the massive sheaves of wheat that must be reaped in the farmers’ fields (which themselves lead to death from overwork, continuing the cycle). There are lots of time-lapse shots in this movie, along with blurry, out-of-focus shots, weaving drunken cameras, stock footage, and bits shot in Super-8 with out-of-balance color. These digressive video doodads, done in the experimental tradition of , are not always as meaningful as the rotting corpses, nor do they always fit well into the gritty naturalism of the story, any more than does the anachronistic electronica soundtrack. Combined with explicit shots of rutting cattle (and humans) along with pus, urine, and pigs rooting in filth, they do create a nightmarish pastoral, however, sort of an English countryside version of Gummo.

This Filthy Earth was loosely adapted from Emile Zola’s “La Terre” (“The Earth”), a sprawling novel about the 19th French peasantry that was deemed obscene on publication due to its depictions of casual sex, incest, blasphemy, and general degeneracy among the lower classes. This may explain some confusion in the plot; certain minor characters (like “Jesus Christ”), formally major players, serve no real function in the condensed narrative. The ending of the novel has been changed significantly, and, surprisingly, lightened; Zola’s truly horrific and disturbing rape here passes by as an almost mundane occurrence. However controversial, “La Terre” had a sociological purpose in documenting an agrarian society at a very specific place and time. This Filthy Earth is set in a nameless village in an indeterminate time period that could be anywhere from the 1960s to the present day. Unfortunately, rather than making the setting timeless, these dislocations in time and space remove context from the despair, making the movie unpleasantly nihilistic in tone.

This Filthy Earth was barely screened in Britain, and received virtually no distribution at all outside the country. Nonetheless, the film was released on Region 2 DVD by the British Film Institute with a thick pamphlet, one that unfortunately contains some of the worst examples of obscurantist academic film writing (along with one much better piece by John Roseveare and some humorous tidbits from Kötting). Americans with multi-region players may want to turn on close captioning to help with the accents, particularly when the toothless father speaks (to the untrained ear, his incoherent second-childhood babbling is often indistinguishable from the obscene insults he hurls at his children).

WHAT THE CRITICS SAY:

“… mixes a grainy, indistinct celluloid and smudged sound with a kind of magic-lantern effect of still images, giving a faintly hallucinatory, ahistorical feel to an uproariously grim tale.”–Peter Bradshaw, The Guardian (contemporaneous)

(This movie was nominated for review by “kostman,” who described it as a “weird film based on Emil Zola’s novel La Terre with its grotesque country scenery and the sick relations between the village’s people .” Suggest a weird movie of your own here.)