Tag Archives: Tim Curry

CAPSULE: THE SHOUT (1978)

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DIRECTED BY: Jerzy Skolimowski

FEATURING: Alan Bates, Susannah York, ,

PLOT: A stranger wanders into the lives of a British composer and his wife, demonstrating powerful magic he learned from Aborigines in Australia as he torments the man and takes his wife hostage.

The Shout (1978)

WHY IT WON’T MAKE THE LIST: Like many British horror tales of the 1970s, The Shout flirts with weirdness at every other step, but in the end we have to reluctantly conclude that it only gets as weird as necessary to tell its unconventional tale. Tim Curry, the man who gave the world Dr. Frankenfurter and its most memorable Pennywise, sits here in a sweater, as passive and conservative as a judge—making that two weirder movies you’ve seen Tim Curry in right there.

COMMENTS: Robert Graves (Tim Curry) visits the grounds of a mental hospital to referee a cricket match, when the Chief Medical Officer introduces him to Charles Crossley (Alan Bates). Crossley tells Graves the story of (another?) man named Crossley, who possesses a strange, magical power. Crossley invades the lives of a local composer and sound engineer and his wife, Anthony and Rachael Fielding (John Hurt and Susannah York). Anthony Fielding is now a patient at said hospital, and Crossley tells his tragic tale.

It turns out Crossley is a world-weary traveler who spent eighteen years in the Australian Outback, where he communed with Aborigine natives and learned their most powerful magic. Crossley, helping himself to the Fielding household, regales them with tales of his adventures punctuated by such shocking claims as having sired, then murdered, his children. But he has many more surprises, as he demonstrates with an Aborigine spell called “the shout,” which has the power to knock all who hear it stone dead. Crossley, an intimidating alpha male pulling primate rank on the too-polite couple, soon employs his dark magic to shatter their marriage. The couple are clearly no match for Crossley, who toys with them like a cat pawing at mice, for about the same reasons.

The story from there on out gets a little muddled, since it’s largely told with symbolism, atmosphere, and cut-in scenes which may be flashbacks or flash-forwards. Anthony is more Foley sound engineer than musician, and we’re treated to several scenes where he manipulates objects to produce bizarre sounds for recording in his studio. These scenes and their sounds punctuate the story. Another scene shows the couple asleep in their bed, while their sorcerer visitor appears in the mirror over their bed. Anthony wakes up and looks around, but doesn’t see Crossley. Was he there and disappeared, does he have the power to blank Anthony’s mind, or was Crossley only suggested in the mirror or perhaps even Anthony’s dream? The cumulative effect of all this muddling about is a film which is not like a conventional narrative, but instead like the memories as a real human brain, faulty and prone to distraction, would remember them. The pacing may be low-gear at times, but thanks to the excellent direction and hypnotizing performances, we’re too entranced by every detail to notice the time.

Lovingly shot in the British countryside of Devon, the film feels like a dreamy faerie tale in the old-fashioned Grimm style, with lots of Freudian subtext and horrors coming out of the sexual closet rather than from under the bed. Mr. Fielding is just about the victim of cuckoldry, overpowered and exiled from his own home by a master of dark forces. Early on, Mrs. Fielding finds a large bone in the sand and quickly buries it before her husband can see it, and there’s your symbolic foreshadowing. At the same time, we have the classic “unreliable narrator” puzzle. The story is told to us from inside an insane asylum: we are left to wonder how much is true, how much is a delusion, and how much is simply a lie. Perhaps this is nothing but a fanciful exaggeration of a cheating-wife story? The shifting structure of the film, given to us in layers and flashbacks, doesn’t help us settle our minds about it, but does mirror the presumed mental state of the characters. A widely-praised film of its time, which won Jury’s Grand Prize at the 1978 Cannes Film Festival, The Shout deserves a second look by any British horror fan looking for a peer to The Wicker Man or Don’t Look Now.

The Shout was formerly available on video-on-demand but those contracts seem to have expired. It’s currently only available on British import DVD or Blu-ray so Americans will need an all-region player.

WHAT THE CRITICS SAY:

“Robert Graves’s weird story becomes a weird movie…”–Adrian Turner, Radio Times

(This movie was nominated for review by reader jason slicker, who called it a “very creepy atmospheric cool piece of film.”  Suggest a weird movie of your own here.)

156. STRANGE FRAME: LOVE & SAX (2012)

“How fortunate are those who can frame the beauty of the strange.”–opening title of Strange Frame

DIRECTED BY: G.B. Hajim

FEATURING: Claudia Black, Tara Strong, Ron Glass, 

PLOT: In the 28th century, saxophonist Parker falls in love with songwriter and escaped debt slave Naia on Jupiter’s moon Ganymede. The two women form a band, which catches the eye of a music producer. When the producer kicks the sax player out of the band to set Naia up as a solo act, hooks the singer on drugs and isolates her from the outside world, Parker teams up with two interplanetary trash haulers to penetrate the corporate defenses that separate the women.

Still from Strange Frame: Love & Sax (2012)
BACKGROUND:

  • This is the first feature film from Hawaii-based director G.B. Hajim and the first script and soundtrack from co-writer/co-composer Shelley Doty.
  • Hajim and Doty began discussing the project in 1999, and began writing the script in 2002. They envisioned Love & Sax as the first in a series of four films.
  • More than forty Hawaiian high school students worked as interns on the film over its seven years of production.
  • The black and white live action footage edited into the film comes from the all-black feature The Duke Is Tops (1938), starring Lena Horne as a singer who is manipulated into leaving her lover behind with promises of becoming a star in New York City.
  • “Star Trek” alumnus George Takei has a vocal cameo.

INDELIBLE IMAGE: Strange Frame is at its visual best when it’s a free-flowing montage: cut-out mutant space lesbians in the foreground, swirling psychedelic backgrounds drifting in and out of focus in the background. It is therefore a difficult task to isolate a single strange frame from this movie; every image is in a constant state of flux. One of the best sequences occurs when Satanically suave agent Dorlan Mig plies the women with powders and rare liquors in an upscale Ganymede nightclub populated by horned celebrity dominatrices and their monocle-wearing cat-person managers. Immediately before the lovers are launched into a trip that’s visually unhinged even by this movie’s extreme standards, we see them reflected in his mirrored shades, one girl improbably and perfectly framed in each lens, before their visages dissolve and morph into pink lips and tongues. That’s about as standout a standalone image as you’ll be able to find in this Heraclitan river of psychedelic cinema.

WHAT MAKES IT WEIRD: This story of two renegade lesbian rock stars gigging among the moons of Jupiter is a bit odd, but really not all that weird in and of itself. It’s the visuals that (as the movie’s legend promises) “frame the beauty of the strange.” Imagine dropping a hefty dose of LSD on the set of Blade Runner, and you walk through a door and suddenly you’re in the Star Wars cantina. Now, imagine that experience animated by the team behind Fantastic Planet working under the direction of , take that result and square the weirdness quotient, and you have some inkling of Strange Frame‘s visuals.


Original trailer for Strange Frame

COMMENTS: Strange Frame is an animated psychedelic lesbian science fiction musical. Just to be clear, I would have been happy with any three Continue reading 156. STRANGE FRAME: LOVE & SAX (2012)

CAPSULE: ALICE (2009)

DIRECTED BY: Nick Willing

FEATURING: Caterina Scorsone, Andrew Lee Potts, Kathy Bates, Matt Frewer, Colm Meaney, Philip Winchester, Eugene Lipinski, Tim Curry, Harry Dean Stanton

PLOT: Karate-instructor Alice finds herself in Wonderland, 150 years after her

Still from Alice (2009 miniseries)

predecessor of the same name; things have changed drastically, as the Red Queen now rules a totalitarian society with an economy that depends on a fresh supply of people from our world to keep the natives pacified.

WHY IT WON’T MAKE THE LIST: Alice is an imaginative, solid fantasy/adventure/comedy/romance, but it has only a few shadings of weird to it.  A SyFy channel production, it passes as “surreal” by basic cable standards, but this is the big time, guys.

COMMENTS: Tonally, Alice is only distantly related to Lewis Carroll’s “Alice in Wonderland,” but at least the movie has a decent explanation for that: 150 years have passed since Alice first fell down the rabbit hole, in which time technological advances and two world wars changed our world’s landscape and psyche forever.  An equal length of time passed in Wonderland, and things there have changed for the worse, as well.  They’ve developed automatic weapons, for one thing; for another, the anthropomorphic animals have evolved into full-fledged humans, with complex motivations and back stories.  Most importantly, thanks to the Queen of Hearts’ tyrannical rule, the halcyon days of whiling away the time with wordplay, nonsense verse and tea parties have been replaced by a deadly power struggle between the Queen, who controls the populace through narcotizing potions of curious manufacture, and various underground resistance movements.  That synopsis makes Alice sound a bit darker than it actually is; in fact, there’s plenty of comedy and whimsy running about in this postmodern Wonderland.  Much of the silly fun is provided by Kathy Bates’ arrogant Queen (always a plum role in Alice adaptations), who reminds Alice that she’s “the most powerful woman in the history of literature.”   The most memorable comic performance; however, goes to Matt Frewer’s White Knight, a bumbling, mumbling relic with delusions of grandeur.  As we might hope in an Alice movie, the costumes and set design are a plus.  Instead of a castle, the Wonderland monarchy has set up shop inside a 1960’s mod casino that might have come out of an Austin Powers movie.  Weird notes are struck by an assassin with a Brooklyn accent and a porcelain rabbit’s head, and Alice’s hypnotic interrogation in “The Truth Room” by the Naziesque Drs. Dee and Dum.  All of the major characters from Carroll’s books are referenced, often in clever ways, and part of the fun of the movie is in catching the cameos and tributes to minor characters (the unexpected appearance of the Borogoves is a particular favorite).  Downsides to the production are cheap CGI (a disappointing Jabberwock), action sequences that often fall flat (karate instructor or not, it’s difficult to credit the sylphlike Alice repeatedly knocking grown men about like cardboard cutouts), and a grand finale that swiftly gallops from merely contrived to the utterly cornball.  The cameos by cult icons Curry (as Dodo) and Stanton (as Caterpillar) are short and disappointing.  Still, Alice‘s strengths overcome it’s weaknesses, and the movie delivers solid entertainment.  The adventure and romance threads are balanced with narrative skill, the comic relief generally works, and its three hour running time allows it to invest Wonderland and its characters with an impressive amount of detail without ever seriously dragging.

British director Willing specializes in the underutilized miniseries format.  He made a star-studded, straightforward adaptation of Alice and Wonderland for NBC in 1999, featuring Whoopi Goldberg, Ben Kingsley, Martin Short, and Miranda Richardson, and others.  He also helmed Tin Man, a 2007 “re-imaging” that did for Frank Baum’s The Wizard of Oz what Alice did for Carroll’s books.

WHAT THE CRITICS SAY:

“What ultimately sinks ‘Alice’ is that it is too normal. Carroll’s nonsense, anarchy and druggy weirdness always turned the tale into a fevered dream. Here, Alice disappears instead into a tired missing-father subplot.”–Randee Dawn, The Hollywood Reporter (TV broadcast)

28. THE ROCKY HORROR PICTURE SHOW (1975)

“You’ve seen all kinds of movies, but you’ve never seen anything like The Rocky Horror Picture ShowThe Rocky Horror Picture Show is wonderfully weird.  It’s fabulously freaky… The story is strange…  the scenery is smashing… the cast is completely crazy!”–ad copy from the extended 3 minute trailer

DIRECTED BY:

FEATURING: Tim Curry, Susan Sarandon, Barry Bostwick, ,

PLOT:  In this musical, Brad and Janet, a very square, newly engaged couple, get a flat tire in the middle of nowhere in a rainstorm and seek shelter in a nearby castle.  Inside, they find the building populated by a strange assortment of characters dominated by Dr. Frank-N-Furter, a “sweet transvestite from Transylvania.”  Frank-N-Furter has created a blond bodybuilder named “Rocky Horror” for his own erotic enjoyment, and when the cast starts bedding each other jealousy rules the day—until a rival scientist in a wheelchair complicates matters even further when he arrives looking for his murdered son.

Still from Rocky Horror Picture Show (1975)

BACKGROUND:

  • The film was an adaptation of writer/actor Richard O’Brien’s hit stage show that began in London in 1973.  The show also played Los Angeles with Tim Curry starring with a mostly American cast, including singer Meat Loaf as Eddie.  The play opened on Broadway shortly before the film version debuted and was a flop, closing after a mere forty-five performances.
  • Fox Studios wanted to cast popular musicians of the day in the main roles (including Mick Jagger as Frank-N-Furter), but the producers accepted a lower budget in order to keep the cast from the stage production mostly intact.  Meat Loaf had recorded a top 100 single years before, but would not become a major rock star until 1977 with the release of “A Bat Out of Hell”.
  • The film bombed on release, but gradually found cult audience through midnight screenings.  As early as 1976 audiences had begun shouting their own dialogue back at the screen.  This gradually developed into the unprecedented Rocky Horror audience participation ritual, where the audience is not only an active part of the movie experience, but the main attraction.  Fans come to screenings dressed as their favorite characters, speak their own scripted counterpoint dialogue to the screen (being particularly rude to Barry Bostwick’s Brad) and bring along props (e.g., water pistols to simulate the rainstorm).  In the more elaborate productions, amateur actors appear on a stage in front of the screen, dancing and pantomiming the lines during the musical numbers.
  • Rocky Horror has shown continuously in theaters since 1975, making it the longest running theatrical release of all time.  The film has taken in almost $140 million in receipts, making it the 215th highest grossing film of all time (unadjusted for inflation).
  • MTV Networks has announced plans to remake the movie.

INDELIBLE IMAGE:  No question; Tim Curry in full femme makeup and black leather and satin drag, dressed to make glam-era David Bowie look as macho as an NFL defensive lineman by comparison.  The image will never leave your mind; for some, it will haunt your nightmares.

WHAT MAKES IT WEIRD: It’s a rock n’ roll musical inspired by old sci-fi and horror B-movies

Original trailer for The Rocky Horror Picture Show

about an alien transvestite. From the moment Richard O’Brien conceived the idea, there was no doubt that it would be weird; the only question was whether he could mold it into something that was even mildly watchable.

COMMENTS:  Because we’re interested in weird movies here, not in weird sociological Continue reading 28. THE ROCKY HORROR PICTURE SHOW (1975)