Tag Archives: Vandalism

116. DAISIES (1966)

Sedmikrásky

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“If there’s something you don’t like, don’t keep to the rules – break them. I’m an enemy of stupidity and simple-mindedness in both men and women and I have rid my living space of these traits.”–Vera Chytilová in a 2000 interview with The Guardian

DIRECTED BY:

FEATURING: Ivana Karbanová, Jitka Cerhová,

PLOT: Two doll-like young women in bikinis theorize that because the entire world is becoming spoiled, they will be spoiled too. They set off on a series of anarchic adventures, many of which involve them permitting old men to take them to expensive dinners. Their surreal, sexy excursions are interrupted by Dadaist collages and sudden changes of film stock, and climax in a slapstick pie fight.

Still from Daisies (1966)

BACKGROUND:

  •  Although Daisies is frequently interpreted as a feminist statement, director Vera Chytilová denied that was her intent and preferred to describe the movie as “a philosophical documentary in the form of a farce.”
  • In 1966 film composer made his acting debut in two films: a small role as the butterfly-collecting beau in Daisies and in the major part of an absurd apparatchik in A Report on the Party and Guests.
  • Writer Ester Krumbachová co-scripted the screenplays for both Daisies and Report and also designed the sets and costumes for Daisies.
  • The Czechoslovakian censors banned Daisies in 1967 (at the same meeting in which they banned Jan Nemec’s overtly political A Report on the Party and Guests). Chytilová made one more feature in 1969, the equally surreal We Eat the Fruit of the Trees of Paradise, after which she was forbidden to make any more films for six years until she successfully appealed the government ban on her work.

INDELIBLE IMAGE: Marie II (I think; the blond one with the circlet of wildflowers) modestly trying to hide her nudity behind her suitor’s butterfly cases is an image that’s so highly charged it graces every DVD cover. The picture perfectly encapsulates Daisies‘ knowingly naughty innocence.

WHAT MAKES IT WEIRD: Watching the bright colors and bratty joie de vivre of Marie I and II as


Short clip from Daisies

they slash and burn their way through square society, cutting up phallic symbols and the film stock itself with scissors, it’s hard to believe that Daisies wasn’t produced under the influence of drugs. Made a year before and half a world away from San Francisco’s Summer of Love, this proto-flower power film nonetheless captures the anarchic spirit of Sixties psychedelia; it’s a relic from an alternate universe populated by sexy Czech hippy chicks with serious cases of the munchies. Alternately described as a feminist manifesto, a consumerist satire, and a Dadaist collage, it seems that no one—possibly including the director herself—is quite clear on what Daisies is supposed to be about. Does it matter? No, it doesn’t.

COMMENTS: Imagine, for a moment, that you’re a censor in Communist Czechoslovakia in Continue reading 116. DAISIES (1966)

93. TRASH HUMPERS (2009)

Beware

“Why castigate these creatures
Whose angelic features
Are bumping and grinding on trash?
Are they not spawned by our greed?
Are they not our true seed?
Are they not what we’ve bought for our cash?”–poem from Trash Humpers

DIRECTED BY: Harmony Korine

FEATURING: , Harmony Korine, Brian Kotzur, Travis Nicholson

PLOT:  Four rednecks in wrinkled geriatric masks wander around nearly deserted streets drinking wine, demolishing abandoned television sets, tormenting the bizarre outcasts they come across in their wanderings, and humping trash. One of the humpers explains to the camera that, unlike the suburbanites sleeping in their homes, they “choose to live like free people.” By the end of the video the focus shifts to a single humper who may be having doubts about the trashy lifestyle.
Still from Trash Humpers (2010)

BACKGROUND:

  • Trash Humpers was basically unscripted, although the characters and aesthetic had been thought out beforehand.  According to Korine, the cast wandered through Nashville for a few weeks, sleeping outdoors, and filmed their in-character improvisations; the most interesting bits were edited into the final product.
  • Korine assembled this film quickly in reaction to his negative experiences making his third feature film, the relatively big-budget Mr. Lonely; he found the bureaucracy surrounding that production creatively stifling.
  • Trash Humpers is distributed by Drag City, an independent music label that has only recently branched out into underground film.  Their other 2009 release, Vernon Chatman’s absurdist Final Flesh, was previously inducted onto the List of the 366 Best Weird Movies Ever Made.
  • American DVD-by-mail rental giant Netflix originally declined to stock copies of Trash Humpers.  Drag City circulated a press release suggesting that the movie was refused because of its provocative content, and pointing out other controversial movies the company stocked.  Trash Humpers was accepted into the rental program soon after the press release.
  • Trash Humpers was one of two winners of the second “reader’s choice” poll asking 366 Weird Movies’ readership to select films that had been reviewed but passed over for inclusion on the List of the 366 Best Weird Movies ever made.

INDELIBLE IMAGE: It seems impossible to think of the title without immediately calling up the mental picture of actors in creepy geriatric masks in an alley grinding their groins against garbage bags.

WHAT MAKES IT WEIRD: Any film in which four rednecks in latex masks that make them look like escapees from a nursing home for the criminally insane force a pair of Siamese twins connected at the head by what looks like a giant tube sock to eat pancakes doused in Palmolive has weirdness in its corner.


Festival teaser trailer for Trash Humpers

COMMENTS: Weirdness obviously counts for a lot.  For a movie that goes so far out of its way Continue reading 93. TRASH HUMPERS (2009)

LIST CANDIDATE: TRASH HUMPERS (2009)

NOTE:  Please go to Trash Humpers Certified Weird entry for an in-depth discussion of the film.  Trash Humpers was one of the two winners of the second Reader’s Choice poll, and has been promoted to the List.  Comments are closed on this version.

Beware

DIRECTED BY: Harmony Korine

FEATURING: Rachel Korine, Harmony Korine

PLOT: A narrativeless, shot on VHS chronicle of four rednecks in wrinkled geriatric masks

Still from Trash Humpers (2010)

who wander around a nearly deserted suburbs drinking wine, demolishing abandoned television sets, torturing and murdering the bizarre outcasts they come across in their wanderings, and (of course) humping trash.

WHY IT MIGHT MAKE THE LIST: Any film in which four rednecks in latex masks that make them look like escapees from a nursing home for the criminally insane force a pair of Siamese twins connected at the head by what looks like a giant tube sock to eat pancakes doused in Palmolive obviously has weirdness in its corner.  But among Trash Humpers many qualities, weirdness isn’t the pre-eminent one: the movie is also repetitive, ugly, pointless, unsavory, deliberately annoying, and tedious.  In fact, the weirdness here is likely just another blunt weapon used to bludgeon the viewer; the film is intended as an anti-audience provocation rather than a movie.  As one reviewer sagely put it, “Harmony Korine dares you to hate this movie…and I accept.”

COMMENTS: Mimicking the lo-fi aesthetics of VHS tape, complete with horizontal hold tracking errors and blocky-fonted “play” and “rew” legends appearing on the screen, is a great trick to give Trash Humpers an antiquarian, found footage feel. But the look isn’t the only anachronistic thing about the movie, which evokes (like a third or fourth generation dub) the punk spirits of earlier shock auteurs like Paul Morrisey (1960s), John Waters (1970s), and Nick Zedd (1980s). First rejecting conventional cinematography for the camcorder’s glare, Trash Humpers next dispenses with narrative in favor of disconnected episodes celebrating the beauty of vandalism and sadism. In between bouts of garbage copulation, the nameless humpers break TVs with sledgehammers and ride around a deserted, trash-strewn Nashville with baby dolls dragging behind their bicycles. In the course of their wanderings they meet a boy in a Sunday suit whom they teach to slip razor blades into apples, pancake-making fake Siamese twins, overweight prostitutes who serenade us with a Continue reading LIST CANDIDATE: TRASH HUMPERS (2009)