Tag Archives: Philosophical

LIST CANDIDATE: GRENDEL GRENDEL GRENDEL (1981)

Recommended

DIRECTED BY: Alex Stitt

FEATURING: Voices of Peter Ustinov, Arthur Dignam, Ed Rosser, Ric Stone

PLOT: Baffled by the rise of little men who fear him, Grendel chews over his strange life experiences while talking to his silent mother, questioning the nature of his existence until his purpose is made obliquely clear when he visits a nearby dragon.

Still from Grendel Grendel Grendel (1981)

WHY IT SHOULD MAKE THE LIST: After fruitless efforts to find reasons why it shouldn’t make the List of the Weirdest Movies Ever Made, I realized that Grendel Grendel Grendel must deserve a slot. There’s marvelously unrealistic animation, witty soliloquies, and even a few musical numbers—none better than when a singing Grendel interrupts a ballad with, “Who’s the beast that looks so swell? G-R-E-N-D-E-L. What’s his purpose, can’t you guess? N-E-M-E-S-I-S!” Yes, this little monster ‘toon from Australia has what it takes.

COMMENTS: In my brief but busy history here at 366, I’ve encountered many kinds of weird movie. Scary-weird, grotesque-weird, unnerving-weird, incomprehensible-weird… but Grendel Grendel Grendel marks the very first time I’ve encountered cute-weird. Through its simplistically expressive animation, Grendel brings us the less-known story of the eponymous monster (charmingly voiced—and sung—by the great Peter Ustinov). The novelty of the perspective, the coloring-book-come-to-life feel of the imagery, the drollery, and the musical numbers collide in a wonderful spectacle of light, sound, whimsy, and weird.

On a “Tuesday Morning, Scandinavia, 515 AD”, we see warriors troubled by a massive footprint. Thus appears the first sign of Grendel. Indeed, as we learn early on in a song, this monster is a hulking 12’4″ and covered in scales and fur. He eats forest game and the occasional human—but kills far fewer humans than the humans themselves. The humble origins of the up-and-coming King Hrothgar (Ed Rosser) show a man of only slightly greater intelligence than his peers who has, in effect, a three-member posse and a kingdom in name only. But as Hrothgar’s kingdom grows, so grows the body count (with, admittedly, a few in the tally racked up by Grendel). It is only through a misunderstanding that things take a serious turn and the King calls for an exterminator.

So we’ve got our adorable anti-hero, our petty humans, and wondrous color-block environment. Grendel is urbane and witty— similar to Peter Ustinov. The narrative conceit is that Grendel talks to his (unspeaking) mother, with an interruption every now and again for song. Simultaneously the “shaper” Hrothgar hires for his mead hall forges a mighty ballad about the King’s nose and its battle-earned scar. Also, a mystical dragon discloses facts of life to Grendel, in song and dance form. By the time Beowulf arrives on the scene, we know exactly for whom we won’t be rooting—although Grendel ‘s Beowulf is hilariously snide and lecherous. All told, there’s not much going on in this movie that one would describe as “normal”, particularly for a G-rated animated feature.

With its unlikely ingredients, Grendel comes together far, far better than one would readily think it should. The director, Alex Stitt, also wrote the screenplay and produced, so we’ve obviously got a labor of love here. It was a fortunate turn of events that his labor was executed with competence, grace, and ample style. It was also fortunate that the (also great) James Earl Jones turned down the lead role when offered to him (ostensibly when he found out it would be an animated picture). Peter Ustinov provides one of his greatest and most memorable performance as the lovable Grendel. His personality underscores the beast’s humanity, and allows us an anchor in the vibrantly fanciful world of Grendel Grendel Grendel.

WHAT THE CRITICS SAY:

“One’s appreciation with likely depend on your tolerance for listening to omniscient dragon sages singing about Manichaeism and lilting folk-synth ballads describing Grendel’s horrifying features. Personally, I found it to be a well-suited mix of profound modernist absurdity and classical nursery rhymes… I can only hope that the spirit of risk-taking eccentricity that inspired its production will get reincarnated in other projects.”–Film Walrus (DVD)

259. THE NINTH CONFIGURATION (1980)

AKA Twinkle Twinkle Killer Kane

“Kane said quietly, ‘Why won’t you go to the moon?’

‘Why do camels have humps and cobras none? Good Christ, man, don’t ask the heart for reasons! Reasons are dangerous!'”

–William Peter Blatty, The Ninth Configuration (novel)

Recommended

DIRECTED BY:

FEATURING: , Scott Wilson, Ed Flanders

PLOT: Col. Kane, a U.S. Marines psychiatrist, is assigned to an experimental program in a castle housing delusional military officers who are suspected malingerers. There, he bonds with Cutshaw, a militantly atheist and misanthropic astronaut, with whom he engages in passionate dialogues about the existence of God. One night, Cutshaw breaks out of the compound and heads for a bar frequented by a rough motorcycle gang; Kane follows.

Still from The Ninth Configuration (1980)

BACKGROUND:

  • William Peter Blatty (“The Exorcist”) adapted the screenplay from his own 1978 novel, which was itself a reworking of a 1966 novel (“Twinkle, Twinkle, ‘Killer’ Kane”) with which he had been dissatisfied. This was his directorial debut (in a career that reached three films with 2016’s Legion).
  • Blatty originally wrote a “Kane” screenplay that he hoped would be filmed by in the early Seventies, but they could not find a studio willing to produce it. Blatty and Friedkin collaborated on The Exorcist (1973) instead.
  • Although the script made the rounds in Hollywood for years, no studio would back The Ninth Configuration. Blatty eventually funded the film half with his own money and half with a donation from Pepsico, who were willing to provide funds for complicated international tax reasons so long as the film was shot entirely in Hungary.
  • Blatty has fiddled with the editing through the years, deleting and restoring scenes, so that cuts run anywhere from 99 minutes to 140 minutes.
  • According to Blatty, The Ninth Configuration‘s Cutshaw is the same character as the astronaut who attended the dinner party in The Exorcist.

INDELIBLE IMAGE: What else could it possibly be besides the crucifixion on the moon?

THREE WEIRD THINGS: Lunar Calvary; lunatic with a jet-pack; dog Hamlet

WHAT MAKES IT WEIRD: Obsession is fertile soil for a weird movie. The Ninth Configuration is a movie in a madhouse that sets out to do nothing less than to prove the existence of God; it doesn’t, naturally, but the ambition involved makes for some strange choices, invoking a passion that carries the story over some rough patches.


Clip from The Ninth Configuration

COMMENTS: The Ninth Configuration posits that a world without Continue reading 259. THE NINTH CONFIGURATION (1980)

254. THE FACE OF ANOTHER (1966)

Recommended

他人の顔; Tanin no kao

“The world in which Abe, Teshigahara, and Takemitsu came of age as expressive artists was not one for which they had been prepared by their forebears or by any social legacy. The values of prewar Japan had been utterly discredited by their nation’s defeat, the society emasculated by foreign occupiers for the first time in Japanese history. The so-called democracy that was being layered onto the Japanese body politic by temporary American rulers seemed ill fitted to a culture that had never valued individualism or freedom of expression. They wandered forth into a strange new world that had no identity of its own and was distorted by poverty and foreign occupation. Everywhere were symptoms of an existential dilemma on a vast national scale. In retrospect, it seems hardly surprising that the compelling themes of Japanese artists of the day were those of alienation, the search for identity, and the struggle for survival in a wasted landscape…”–Peter Grilli, writing for the Criterion Collection

“Yield to the mask.” —The Face of Another

DIRECTED BY:

FEATURING: , Mikijirô Hira, Machiko Kyô, Miki Irie

PLOT: Left with a disfigured face after an industrial accident, Okuyama spends his days in bandages while complaining to his wife. Hatching a scheme of questionable ethics with his psychiatrist-surgeon, things change for Okuyama after a cunningly designed mask is crafted to allow him, at least part of the time, to be “normal.” However, the doctor’s warnings of personality shift come true as Okuyama attempts to seduce his own wife to wreak emotional revenge.

Stoll from The Face of Another (1966)

BACKGROUND:

  • Like 1962’s Pitfall and 1964’s Woman in the Dunes (also Certified Weird), The Face of Another was based on the work of novelist Kôbô Abe. While the psychiatrist appears only passingly in Abe’s book, his role was greatly expanded in the film to allow for a more tangible counterpart to Okuyama.
  • Director Hiroshi Teshigaraha stuck with the classic “academy ratio” and black and white film one last time with this movie, despite the then-current popularity of color and CinemaScope. He surrendered to modernizing pressures with his next movie, The Man Without a Map.
  • The incongruous waltz playing in the opening credits (as well as the German night-club song at the biergarten) was written by Teshigahara’s and Abe’s collaborator, composer Tôru Takemitsu, whose score was also instrumental in Pitfall and Woman in the Dunes.
  • Despite being commercially and critically well-received in its home country, The Face of Another met with a tepid audience beyond Japan’s borders. A number of critics, it seemed, had had just about enough of the intellectualist, art-house cinema that had been bombarding the movie scene for some years by then.
  • Another of Teshigahara’s art buddies — Arata Isozaki — stepped up to the plate, designing the psychiatrist’s morphing, glass-filled office. An architect by vocation, Isozaki went on to design numerous famous buildings, including the MOCA in Los Angeles and the stadium for the 1992 Summer Olympics in Barcelona.

INDELIBLE IMAGE: Though any shot with Okuyama bandaged sticks in the mind, the most jarring scene occurs when he’s fully disguised as a normal person. Having just been released into the custody of his psychiatrist after an arrest for assault, Okuyama and the doctor face a swarm of sack-clay masked citizens descending upon the streets. The doctor looks unnerved by the sight; his patient less so. Before their dramatic “goodbye”, they are utterly enveloped in a sea of faceless faces.

THREE WEIRD THINGS: Ever-mutating doctor’s office; sunbeam cooks incestuous brother; the faceless masses

WHAT MAKES IT WEIRD: The Face of Another  is essentially a Japanese New Wave art-house musing on the nature of identity. But cranking things into the realm of bizarre is a series of sets and scenes—the doctor’s uncannily undefinable office space, mirrored mirrors, and so forth—as well as strange veering between philosophical and vengeful tones. Throw in a second (and even an obliquely referenced third) story line, a German biergarten in downtown Japan, and the occasional symbolist image (among them a Doorway to Whirling Hair and spontaneous transfiguration to slaughtered livestock), and, well, you could say you’re facing something pretty weird.

Trailer for The Face of Another

COMMENTS: The meaninglessness of personal identity is a troublesome thing to ponder. The interchangeability of any given cog in society’s wheel flies in the face of notions of individuality and the Continue reading 254. THE FACE OF ANOTHER (1966)

250. THE CREMATOR (1969)

Spalovac Mrtvol

“The Lord arranged it very well when he told people: ‘Remember, dust thou art and to dust thou returnest.’ A crematorium, dear friends, is clearly a God-pleasing object, because it helps God to speed up the transformation of people into dust.”–Kopfrkingl, The Cremator

Recommended

DIRECTED BY:

FEATURING: Rudolf Hrusínský, Ilja Prachar, Milos Vognic, Jana Stehnová, Jirí Lír

PLOT: Kopfrkingl is a crematorium operator in Czechoslovakia in the late 1930s who holds odd opinions about the liberating nature of death, based largely on his self-study of the Tibetan Book of the Dead. Because he has German blood, an old army buddy recruits him into the Czech branch of the Nazi party. His beloved wife’s half-Jewish parentage, however, soon becomes an issue that threatens his advancement both in the party, and in his chosen profession.

Still from The Cremator (1969)

BACKGROUND:

  • The movie is based on a novel by Ladislav Fuks, a Czech who had been a forced laborer (arbeitseinsatz) during the Nazi occupation. Fuks collaborated with director Juraj Herz on the screenplay.
  • Although he was their contemporary, Herz did not consider himself part of the In school he studied puppetry (in the same class as ) rather than film, and had few friends in the New Wave clique. (One exception was director , who plays the small role of Dvorák in The Cremator). He did sneak in to film screenings at FAMU (the national film school that incubated the New Wave movement) and filmed a segment for the 1966 anthology Pearls of the Deep, which was rejected because of its length (30 minutes).
  • The Cremator began filming during the Prague Spring, but was interrupted by the Soviet invasion in 1969, which made completing it a challenge. The film was released and screened but removed from circulation soon after.
  • Czechoslovakia submitted The Cremator to the Oscars as Best Foreign Film, but the Academy did not grant it an official nomination.
  • The Cremator won best film, actor (Rudolf Hrusínský) and cinematography (Stanislav Milota) at the Sitges Film Festival, but not until 1972, three years after its initial release.

INDELIBLE IMAGE: Most likely it’s frequently tuxedoed cremator-in-chief Rudolf Hrusínský’s round face, the subject of so many closeups, that will stick with you the most. We chose to highlight the moment when he is invited into the rear tent at the freaskshow to gaze at the embalmed two-headed specimens and faces ravaged by syphilis, in which he shows a strange fascination.

THREE WEIRD THINGS: Buddhist Nazism; the throne in Lhasa; girl in black

WHAT MAKES IT WEIRD: A WWII drama soaked in an atmosphere of Gothic psychological horror, The Cremator seems like a screenplay might have written if he’d lived to see the Holocaust. Distorted lenses and madcap montages track the cremator’s bent descent from eccentric mortician to megalomaniacal tool of ultimate evil.


Second Run DVD trailer for The Cremator

COMMENTS: The IMDB categorizes The Cremator as, among other Continue reading 250. THE CREMATOR (1969)

LIST CANDIDATE: I [HEART] HUCKABEES (2004)

DIRECTED BY: David O. Russell

FEATURING: , Dustin Hoffman, Lily Tomlin, , , ,

PLOT: Albert (Schwartzman) is an activist fighting the gigantic Huckabees corporation, which is building a Target-style store in the nearby woods. Enlisting the help of a pair of “existential detectives” (Tomlin and Hoffman), Albert soon encounters two Huckabees operatives—the beautiful blonde couple Brad (Law) and Dawn (Watts)—as well as a disillusioned fireman (Wahlberg). Eventually, everyone’s lives are changed.

Still from I [Heart] Huckabees (2004)

WHY IT MIGHT MAKE THE LIST: Because it is so willfully, obstinately pretentious, unfunny and heavy-handed as to be all but impenetrable. Still, fans of the bizarre will likely get something out of it, as it definitely goes all-out in its manic insanity and breaks a ton of storytelling rules.

COMMENTS: Director David O. Russell once said that I [Heart] Huckabees was his least favorite of his own films. It may not have been fun to make (find the YouTube videos that show Russell throwing a tantrum—among other things—at Tomlin), because it certainly isn’t fun to watch.  A labyrinthine mess, Huckabees makes no sense and doesn’t seem to want to. Despite fine performances (particularly Wahlberg’s) from its all-star cast, the movie is (apparently intentionally) unappealing from beginning to end. Granted, this is a polarizing picture (no one is likely to have a “meh” reaction to it), but yours truly could barely sit through the film.

After this debacle, Russell made Nailed, which was left unfinished and shelved for years, but followed it up with three artistic and commercial triumphs in a row: The Fighter (also with Wahlberg), Silver Linings Playbook, and American Hustle. I [Heart] Huckabees, by contrast, is like a transmission beamed in from an alternate, unpleasant universe in which nothing means anything. (Perhaps that was the point of the “existential detectives”). The film reaches one its many nadirs when Albert has a -like vision of Brad as a lactating Virgin Mary, or something.  Meanwhile Dustin Hoffman sports a hairstyle reminiscent of the Beatles circa 1964, Tippi Hedren drops an F-bomb, Schwartzman’s real-life mother (Talia Shire) shows up to play Albert’s mother, and Shania Twain pops up as herself (I can’t see her fan base enjoying this picture). None of this is amusing or at all entertaining. It is, however, genuinely bonkers. What the point of this silliness is  remains a mystery, but one that most people didn’t care to find out when the film opened in 2004. That was the same year that the equally challenging , but far superior, Eternal Sunshine of the Spotless Mind was released. That film had a heart as well as a brain. Huckabees, on the other hand, is like an endless series of interlocking puzzle pieces that can never be put together correctly. It’s not a good movie, but it’s definitely a weird one, and it just might make it onto the List.

WHAT THE CRITICS SAY:

“Weird does not necessarily equal funny.”–Linda Cook, Quad City Times (contemporaneous)

(This movie was nominated for review by “sam.” Suggest a weird movie of your own here.)

CAPSULE: THE PROPHET (2014)

AKA Kahlil Gibran’s the Prophet

DIRECTED BY: Roger Allers (supervising); Paul Brizzi, Gaetan Brizzi, Joan C. Gratz, Mohammed Saeed Harib, , , , , Michal Socha (segments).

FEATURING: Voices of , , , Alfred Molina, , , John Rhys-Davies, John Kassir

PLOT: Based on the book of poems of the same name by Kahlil Gibran. A foreign poet, Mustafa, has been held under house arrest for several years. With the arrival of a ship, he is set free to return to his home country. Escorted to the ship by a couple of soldiers, he converses with them and with the townspeople; but circumstances change along the way.

Kahlil Gibran's The Prophet (2014)

WHY IT WON’T MAKE THE LIST: While some of the segments illustrating Mustafa’s sayings/writings are appropriately abstract, taken as a whole together with the framing story, The Prophet is extremely ambitious, but not weird.

COMMENTS: The Prophet has long been a passion project of Salma Hayek-Pinault; thankfully, she had enough experience and intelligence to realize that animation was the best medium to adapt Gibran’s book, a prose poem in long form that would be a challenge to fashion into a conventional narrative.

Enlisting Roger Allers, the director of The Lion King, was a good decision, since both tales are essentially illustrated journeys of messianic figures. Allers takes the basic framing device of the title character heading to a ship that’s taking him home and expands upon it, adding new characters Kamila (Hayek), Mustafa’s housekeeper, and her daughter Almitra (Wallis), who has become a mute troublemaker since her father’s death. These two are the characters for the audience to identify and sympathize with. The film adds a political dimension—Mustafa has been under house arrest for several years, and the journey to the ship may not be quite as innocent as presented—and the ending is different than in the book, although it is spiritually consistent.

Another smart decision was the idea to have different animators bring to life the various sermons by Mustafa, eight of which have been chosen: “On Freedom” (Socha), “On Children” (Paley), “On Marriage” (Sfar), “On Work” (Gratz), “On Eating & Drinking” (Plympton), “On Love” (Moore), “On Good and Evil” (Harib) and “On Death” (the Brizzi’s). Along with giving each story its own personality, the method also retains the metaphorical qualities of the sermons—if it were done in live-action, most of the visualization would’ve probably been literalized and not worked as well.

It’s a refreshing change to have animation appropriate for both adults and children that doesn’t involve talking animals or pop culture one-liners, and is an adaptation of an acclaimed literary work, to boot. G-Kids acquired the movie for theatrical release in the U.S. and home video. The DVD and Blu-ray include two featurettes about the movie, one with interviews of Hayek and Allers, the second concentrating more on the technical aspects (although none of the segment animators are featured). There’s also an animatic used in the making of the film.

PROPHETTHE-KAMILA

WHAT THE CRITICS SAY:

“Half-baked animated fantasy Kahlil Gibran’s The Prophet is a kids film for anyone who mistakenly thinks that the one thing that would improve animated masterpiece Fantasia is an overwhelming number of pretentious aphorisms.”–Simon Abrams, The Village Voice (contemporaneous)

229. ROSENCRANTZ & GUILDENSTERN ARE DEAD (1990)

“No! I am not Prince Hamlet, nor was meant to be;
Am an attendant lord, one that will do
To swell a progress, start a scene or two,
Advise the prince; no doubt, an easy tool,
Deferential, glad to be of use,
Politic, cautious, and meticulous;
Full of high sentence, but a bit obtuse;
At times, indeed, almost ridiculous—
Almost, at times, the Fool.”
–T.S. Eliot, “The Love Song of J. Alfred Prufrock”

Recommended

DIRECTED BY: Tom Stoppard

FEATURING: , Tim Roth, , Iain Glen

PLOT: Two of Hamlet’s old school chums are summoned to Elsinore to glean what afflicts the moody prince. Along their journey they encounter a traveling troupe of Players, whose leader offers to a put on a performance for them. Magically transported to the castle from the Players’ stage, Rosencrantz and Guildenstern find themselves trapped within the convoluted machinations of the royal court, confused as to their own identities and struggling to keep their heads while discussing basic questions of existence and fate.

Still from Rosencrantz & Guildenstern Are Dead (1990)

BACKGROUND:

  • Adapted from his own 1967 hit play, Rosencrantz & Guildenstern Are Dead is the first and (so far) only film directed by accomplished playwright and screenwriter Tom Stoppard (who also contributed to Brazil).
  • The title comes straight from “Hamlet,” from the very last scene (Act V, Scene II). Arriving in Denmark to find nearly everyone in the royal court dead, the English ambassador bemoans, “The sight is dismal,/And our affairs from England come too late./The ears are senseless that should give us hearing,/To tell him his commandment is fulfill’d,/That Rosencrantz and Guildenstern are dead.”
  • Though it received tepid-to-positive reviews from contemporary critics (with most of the negative reviews comparing it unfavorably to the stage experience), Rosencrantz & Guildenstern did bag the top prize at the 1990 Venice Film Festival.

INDELIBLE IMAGE: I suspect I take no risk of spoiling the ending (the title itself gives something of a hint as to our heroes’ ultimate fate) by singling out the execution scene of Guildenstern and Rosencrantz. The former has a look of a man of reason who’s been broken by the illogical; the latter sports the complementary look of a man of whimsy who’s been worn down by niggling reality. Both accept their fate in states of differing exasperation.

THREE WEIRD THINGS: “Heads,” “heads,” “heads”…; am I Rosencrantz or are you Guildenstern?; play within a play within a play within a movie

WHAT MAKES IT WEIRD: Tom Stoppard’s semi-medieval world is one of modern wordplay, post-modern comedy, existentialism, tragedy, and ambiguous identity. As it stands, the movie is perhaps the only example to be found in the “Nihilistic Farce” genre of cinema.


Clip from Rosencrantz & Guildenstern Are Dead

COMMENTS: Sometimes it’s just better to stay home. This lesson is Continue reading 229. ROSENCRANTZ & GUILDENSTERN ARE DEAD (1990)

CAPSULE: GOODBYE TO LANGUAGE (2014)

Adieu au Language; Goodbye to Language 3D

Beware

DIRECTED BY:

FEATURING: Héloise Godet, Kamel Abdeli

PLOT: A squabbling couple who speak in philosophical fragments adopt a stray dog.

Still from Goodbye to Language (2014)

WHY IT WON’T MAKE THE LIST: Godard might as well have called this one Film Socialisme 2: This Time, It’s Even More Inscrutably Personal. After a 55 year filmmaking career, Godard has earned the right to amuse himself with indulgent experiments. That doesn’t mean we have to like it.

COMMENTS: Random quotes. Snatches of flamenco tunes or classical music. Audio channels switching from side to side, turning on and off. Sudden explosions of abrasive noise. Clips of classic Hollywood movies. Brief slice-of-life episodes from a couple’s love life. Contextless voiceovers declaiming on historical, political and philosophical topics. Clips from the Tour de France in supersaturated color. A dog exploring the woods. Intertitles with words like “language,” “oh” or “la metaphore” flashing onscreen. Mary Shelley composing “Frankenstein” in real time, with an ink pen. No overarching plot, discernible conceit, or visible structure. Godard approaches Adieu au Language like a senior thesis film student, breaking narrative and cinematic rules with the glee of a budding avant-gardist who believes he’s taking cinema into bold new territories no one has yet imagined. But of course, someone has already created the radically fragmented anti-cinema Adieu strives to discover: Godard himself!

Godard’s dog is the third most prominent being (you could not call them “characters”) in the film. I wonder if perhaps Adieu isn’t Godard’s attempt to view the world the way he imagines his dog sees it: a non-linguistic reality where words are just part of the bewildering barrage of nearly incomprehensible sensory information, and the non-food bits are wholly uninteresting.

I should add a caveat: Goodbye to Language was originally released in 3D. Most of us will have to imagine whether viewing the film in pop-out format would have improved it. Since I don’t find this film visually spectacular—and I have never seen any film in my entire life, with the possible exception of Cave of Forgotten Dreams, that was improved by the gimmick—I doubt the extra dimension would have made a huge difference to my recommendation.

A former film critic himself, Godard has always deliberately aimed over the heads of ordinary people, making emotionless intellectual art for the theorist elites. I believe that Godard made this movie (at least partially) with the intent to annoy. I’m not sure I am part of the core audience he intends to annoy, but he hits the mark with me.

WHAT THE CRITICS SAY:

“…the everyday world is made vivid and strange, rendered in a series of sketches and compositions by an artist with an eccentric and unerring eye.”–A.O. Scott, The New York Times (contemporaneous)

196. 2001: A SPACE ODYSSEY (1968)

“Can someone tell me what the hell this is all about?”–Rock Hudson, walking out of the premiere of 2001: A Space Odyssey early

Must See

DIRECTED BY: Stanley Kubrick

FEATURING: Keir Dullea, Douglas Rain (voice)

PLOT: On the primordial savannah, early hominids discover a strange black monolith; immediately afterwards, they learn to use simple weapons to hunt and to fight rival ape tribes for scarce resources. Millions of years later, a lunar explorer discovers an identical artifact buried on the Moon.  Following a signal being beamed out by the lunar monolith, a manned spacecraft is dispatched to Jupiter, but a malfunctioning artificial intelligence unit threatens the mission’s success.

Still from 2001: A Space Odyssey (1968)
BACKGROUND:

  • Stanley Kubrick and science fiction author Arthur C. Clarke collaborated on the screenplay, an expansion of Clarke’s 1948 short story “The Sentinel.” Clarke’s full-length novel treatment of 2001 was written at the same time as he was working on the script.
  • The movie was released on April 2, 1968 at the height of the Space Race. One year later, Neil Armstrong walked on the Moon. Humanity has not returned to the Moon since 1972.
  • MGM wanted Alex North to supply original music; Kubrick wanted to use specific classical pieces. North dutifully composed a score, but Kubrick eventually won out. North reworked the themes which eventually appeared in Shanks, among other films.
  • More music trivia: almost everyone can hum the iconic opening melody from Richard Strauss’ “Also Sprach Zarathustra,” mainly due to its prominent use in 2001 as the “monolith theme.” But when the movie was made Decca was afraid that association with 2001 would cheapen the music, and only allowed Kubrick to use Herbert von Karajan’s Vienna Philharmonic recording if the conductor and orchestra were not listed in the credits. After the movie became a massive hit, Decca re-released von Karajan’s recording with a sticker reading “as heard in 2001!” The version of “Zarathustra” appearing on the official soundtrack album was recorded by a different orchestra than the performance heard in the film.
  • The rumor that the name of the computer HAL was derived by displacing the letters of IBM by one letter persists to this day, despite both Kubrick and Clarke’s insistence the name was derived from a contraction of “Heuristic ALgorithmic Computer.”
  • 2001 won an Academy Award for Special Effects. Kurbick was nominated for Best Director (losing to Carol Reed for Best Picture winner Oliver!) and the screenplay scored the movie’s other Oscar nomination. 2001 was not nominated for Best Picture.
  • Ranked as the 6th greatest movie of all time on Sight & Sound’s 2012 poll (2nd in the director’s poll).
  • A 1984 sequel, 2010, was directed by Peter Hyams from Clarke’s novel and script. Clarke wrote two more sequels, set in 2061 and 3001.

INDELIBLE IMAGE: Monolith or star child? After much internal debate we went with the star child, gazing down at earth from his celestial amniotic sac, as Kubrick’s best, most outrageous, and final bit of millennial iconography,

WHAT MAKES IT WEIRD: To many average moviegoers, 2001: A Space Odyssey is a plodding, baffling exercise in obfuscation. Devotees of this site, on the other hand, will find it one of the more straightforward and easily comprehensible films we cover–which is not at all to imply that this masterpiece lacks depth or mystery. 2001 is singular in its unconventional narrative structure, in its blend of arthouse reflection and big-budget spectacle, and in its use of avant-garde techniques to inform a classical allegory. It is, simply put, unique, unmissable, and necessary for anyone who loves movies, weird or otherwise.


2014 re-release trailer for 2001: A Space Odyssey

COMMENTS: Arthur C. Clarke said that Stanley Kubrick’s instructions in crafting 2001: A Space Odyssey were to create not merely a Continue reading 196. 2001: A SPACE ODYSSEY (1968)

CAPSULE: MY DINNER WITH ANDRE (1981)

Recommended

DIRECTED BY:

FEATURING: , Andre Gregory

PLOT: Struggling playwright Wallace Shawn has dinner with his old friend, theater director Andre Gregory, who describes the mystical experiences he’s had visiting experimental theater workshops and communes around the world.

Still from My Dinner with Andre (1981)
WHY IT WON’T MAKE THE LIST: It’s not weird enough. The concept of a movie that is almost entirely a single dinner conversation is successfully experimental, and some of Gregory’s theories approach the bizarre, but Louis Malle has a couple of better candidates for the List of the weirdest movies of all time out there.

COMMENTS: Based on the description—there’s no plot per se, just two intellectuals sitting down for dinner at a swank restaurant having a conversation–you probably have no interest in seeing My Dinner with Andre, no matter how many times cinephiles tell you it’s a classic. I admit, the synopsis held no great attraction for me; I like Wallace Shawn and Louis Malle, but I never would have sought this movie out on my own, and I approached the prospect of viewing it more with trepidation than anticipation. Frankly, I was hoping it would not be as boring as it sounds—I mean, I like a good chat about life when I’m a participant, but I don’t see talking as a spectator sport. I needn’t have worried; although My Dinner with Andre assumes that you are reasonably intelligent and have a basic liberal education, it’s more accessible than it sounds. And, if you engage with it, it’s also more dramatic than it sounds.

The movie stars playwright/actor Wallace Shawn as a struggling playwright/actor, and avant-garde theater director Andre Gregory as an avant-garde theater director. The conversation is scripted, but it is based on actual discussions between the two men, who play exaggerated, fictionalized versions of themselves. The story begins with a dissatisfied Shawn complaining about his life: his career as a playwright isn’t putting food on the table and all he ever thinks about are his money problems. He is going to dinner with Andre, the theater director who produced his first play but who had recently dropped out of the New York theater scene to travel around the world, returning with strange tales of his adventures. Wally has heard Andre has been acting erratic and is nervous to meet him again. The first part of the dinner is almost a monologue by Gregory, who details his adventures in an experimental theater group in Poland where he directed a group of women who did not speak English; tells tales about his time in the Sahara with a Japanese monk who could balance on his fingertips; and relates a story about a ceremony where he was ritually killed and resurrected. Andre explains that he has been searching for experiences that allow him to be truly human, because he believes that modern man is fatally disconnected from reality. He also explains that, during this period in his life, he would spontaneously hallucinate, seeing birds flying out of his mouth when he looked in the rear-view mirror and a blue minotaur with flowers growing out of its body at midnight Mass. Although Andre is charasmatic, enthusiastic and lucid, these confessions cast him in a strange light. Is he really a mystic? Or does he have a touch of madness? Or is he just a man with an amazing imagination?

Wally listens with increasing interest as Andre relates his exploits, until, in the second half of the conversation, he starts to raise objections and fire back at Andre, whose vision of life he finds intoxicating but impractical. Wally says Andre’s lifestyle is too elitist: not everyone can have these experiences, and there is meaning to be found in reading good books and enjoying a cup of coffee. Neither Wally nor Andre gets the upper hand. Ultimately, Andre doesn’t convince Wally that it’s necessary to take extreme measures to find meaning in life. Yet, Wally still has a sense of epiphany. As he’s leaving dinner, he thinks with wonder of ordinary experiences he’s had: buying a suit, eating an ice cream… Wally comes away from dinner invigorated, not because Andre convinces him to change his life and start “really living,” but because he’s refreshed himself by an encounter with another mind, with another way of thinking about life. The reason My Dinner with Andre works is not because we take sides with either Wally or Andre, but because it reminds us of discussions we’ve had with our own dear friends, where we lose track of time and talk deep into the night. It recalls those treasured times we shared our deepest thoughts, and someone else thought enough of them to challenge us. It’s the conversation that matters, not the words spoken.

WHAT THE CRITICS SAY:

“…one of the few entrancingly esoteric, radically raw dialectics ever filmed.”–Joseph Jon Lanthier, Slant (DVD)

(This movie was nominated for review by nicolas, who simply called it “an amazing film.” Suggest a weird movie of your own here.)