354. URUSEI YATSURA 2: BEAUTIFUL DREAMER (1984)

“It’s no use, Mr. James — it’s turtles all the way down.”–J. R. Ross, “Constraints on Variables in Syntax”

Recommended

DIRECTED BY:

FEATURING: Voices of Toshio Furukawa, Fumi Hirano, Machiko Washio, Akira Kamiya, Takuya Fujioka; Wayne Grayson (as Vinnie Penna), Roxanne Beck, Marnie Head, Draidyl Roberts (English dub)

PLOT: Students in the town of Tomobiki prepare for a fair the following day. One of the teachers, suffering from exhaustion, develops a strange feeling of déjà vu, finds his apartment covered in dust and mushrooms, and hypothesizes that the entire town is living the same day over and over. As the school nurse launches an investigation, people gradually begin disappearing from the town until only she and a small group of high schoolers are left.

Still from Urusei Yatsura 2: Beautiful Dreamer (1984)

BACKGROUND:

  • “Urusei Yatsura” began as a manga (by Rumiko Takahashi) in 1978 and was adapted as a long-running animated television show in Japan starting in 1981 and ending in 1986. It was also known as “Lum, the Invader Girl,”  titled after its main character, when it played on the BBC. The series incorporated a wide variety of influences and was especially known for mixing science fiction with Japanese folklore. It had an “anything can happen” quality to it; eating mysterious candy might make hearts appear over your head, or one of the characters might find a camera that sent those it photographed to alternate dimensions. Even so, Beautiful Dreamer was a radical departure from the series’ comic formula.
  • Mamoru Oshii worked on 106 episodes of the “Urusei Yatsura” television series and was credited as lead director on two. He is also the credited director on the first Urusei Yatsura movie, For You, but was only brought in after a previous director quit, and considered his work on that film a “rush job.”
  • This excursion departs from the series’ usual focus on Lum and aliens, but is partly inspired by a previous episode of the series, “Wake up to a Nightmare.”
  • Beautiful Dreamer contains many references to the Japanese folk tale Urashima Tarō, about a fisherman who marries a spirit princess and spends what seems like a few years in her kingdom, but returns to his village to find that centuries have passed. This is an old and recurring theme in folk tales, which Washington Irving took as the basis for America’s “Rip Van Winkle.” In Urashima Tarō’s story the fisherman is originally rewarded for rescuing a turtle, which is why there are so many references to turtles in the movie.
  • Beautiful Dreamer also references the baku, a mythological monster who eats dreams and nightmares. It has no Western equivalent.
  • Beautiful Dreamer was Eric Young‘s staff pick for a Certified Weird movie.

INDELIBLE IMAGE: The main characters briefly escape Tomobiki on a Harrier jet, only to look back and see that their city rides on a turtle’s back, à la Hindu cosmology.

THREE WEIRD THINGS: Nazi tea shop; copyrighted piglet; town on a turtle

WHAT MAKES IT WEIRD: Beautiful Dreamer co-stars an amorous flying turquoise-haired alien in a tiger-striped bikini. Not only is that not the weirdest thing in the movie, it’s the touchstone of normality in a film that drops the romantic slapstick conventions of the TV series it was adapted from in favor of a mind-bending trip, bearing its characters into dreamlike worlds on the back of a cosmic turtle.


Original trailer for Urusei Yatsura 2: Beautiful Dreamer

COMMENTS: What would happen if you took a beloved Japanese Continue reading 354. URUSEI YATSURA 2: BEAUTIFUL DREAMER (1984)

CAPSULE: BROTHERHOOD OF THE WOLF (2001)

Le pacte des loups

Recommended

DIRECTED BY: Christophe Gans

FEATURING: Samuel Le Bihan, Mark Dacascos, , Émilie Dequenne,

PLOT: It’s 1764 and a vicious monster is terrorizing the French province of Gevaudan; the king sends his foremost naturalist, along with his Iroquois companion, to track down and slay the beast.

WHY IT WON’T MAKE THE LIST: Convoluted plot and Matrix-style combat in a period drama do not a Weird Movie make, but darn it if it doesn’t come close.

COMMENTS: When contemplating this wondrously over-the-top film, I was struck (once more) with too many ways to open a review. Perhaps, “Wikipedia informs me that Brotherhood of the Wolf is a ‘French historical action horror film'”; or alternately, “Reader, be warned that along-side the ‘Recommended’ tag slapped at the top should be an as-prominent ‘Ridiculous’ tag.” I’ll settle, instead, on the following: “Baroque ’90s action hits its peak in Christophe Gans’ period drama, Brotherhood of the Wolf.” This movie crams in so many rehashed film techniques that it becomes a gloriously Bruckheimer-Woo-Ritchie-Besson-esque romp through mid-eighteenth century France.

The French Revolution is in full swing, but within minutes we careen back to half a century prior. Two horsemen in the rain approach a gaggle of thugs (dressed in drag) who are harassing an old man and his daughter. Down jumps Mani (Mark Dacascos), an Iroquois warrior, and after a bit of slow-motion, quick-cut bandit-thrashing, he remounts and continues his journey with the other rider and soon the two arrive at the castle of Gévaudan’s local aristocrat. Who are these mysterious strangers? Along with Mani is the much-laureled Grégoire de Fronsac (Samuel Le Bihan), a natural philosopher and some-time adventurer, who is determined to solve the mystery of the “Beast of Gévaudan.” What follows involves French-court courtship, martial-arts, French-court politics, a mess of cultists, and even some aristocratic incest. And of course there’s that big wolf monster cutting down the peasantry with impunity.

The stylistic approach Christophe Gans employs is apt for a narrative as convoluted as Brotherhood of the Wolf. Granted, he allows himself one-hundred and forty minutes to spin his yarn, but a miniseries’ worth of characters, events, and twists is jammed therein. The cinematic bombardment is pinned onto the plot bombardment: slo-mo combat set pieces, where one man (typically Iroquois) dispatches the baddies with an unchanging expression; staggered “pan and pause” shots setting things up for some not-so-subtle action foreshadowing; and even a few reverse chromatic effects for no reason other than, “Hey, you know what would look cool?”-ism. Having immersed myself during the ’90s in some of the best action movies the decade had to offer, I saw all their elements distilled in the service of an obscure eighteenth-century wolf legend1)Admittedly not as obscure to residents of France, but still.. I was overwhelmed with what could be best described as “smirking nostalgia.”

Alas, while Brotherhood of the Wolf stands as tour-de-force that attains considerable novelty through its impressive derivativeness, it is something of a “weekend warrior” in the realm of weird movies. Gans keeps the movie’s tone turned up throughout the run time, but despite being the director of the second (ever) Certified title, he seems more commercially inclined with this “French historical action horror” romp. But I have no complaints about that what-so-ever.

WHAT THE CRITICS SAY:

The Brotherhood of the Wolf plays like an explosion at the genre factory… I would be lying if I did not admit that this is all, in its absurd and overheated way, entertaining.” –Roger Ebert, Chicago Sun-Times (contemporaneous)

References   [ + ]

1. Admittedly not as obscure to residents of France, but still.

CAPSULE: CANNIBAL! THE MUSICAL (1993)

Recommended

DIRECTED BY: Trey Parker

FEATURING: Trey Parker, Matt Stone, Dian Bachar, Ian Hardin, John Hegel

PLOT: Alferd Packer and a small band of hopeful gold-rushers lead an ill-fated expedition from Utah to Colorado through the snowy Rocky Mountains. Six walk in; one walks out. It’s also a musical.

Still from Cannibal! the Musical (1993)

WHY IT WON’T MAKE THE LIST: The base premise of a comedy-musical about a historic cannibal gold-rusher is certainly attractive enough to watchers of weird. Beyond that, Cannibal! The Musical, while funny and charming, doesn’t shoot for the extremes of weirdness commonly seen on the List. It’s not even the first musical western comedy we’ve reviewed here, and it’s way at the end of the line of movies we’ve considered.

COMMENTS: Fans of the animated franchise “South Park” can already tell you how skilled Trey Parker and Matt Stone are at writing musicals; the theatrical feature South Park: Bigger, Longer & Uncut was a surprising hit with show-stopping numbers, and then “The Book of Mormon” (the play, not the book) cemented their reputation. And of course, black humor is a given with this creative pair. So it’s interesting to see their work on this low-budget production when they were still students at University of Colorado-Boulder, before “South Park” made them famous. It released originally as Alferd Packer: The Musical in 1993 before Troma Entertainment, spiritual peers to Parker/Stone, picked it up for distribution as Cannibal! The Musical.

For a hopeful few seconds it meets the expectation you have for a Troma movie, when the film opens with a deranged cannibal attacking and taking bites out of hapless settlers in the snowy woods. This turns out to be a flashback from a courtroom, circa 1883, where defendant Alferd Packer (Trey Parker) is on trial for murdering his traveling party. Later, in his cell, a local reporter who’s attracted to bad boys goads him into telling her his story, by segue of talking about his horse, Liane. And so we’re swept into the musical tale of the ill-fated Alferd Packer’s Gold Rush expedition in 1874, accompanied by a ragtag band of optimistic hangers-on—teenagers James Humphrey (Matt Stone) and George Noon (Dian Bachar), Mormon priest Shannon Bell (Ian Hardin), butcher Frank Miller (Jason McHugh), and twinkle-toed Israel Swan (John Hegel)—none of whom have the slightest clue about gold-mining or surviving treks through the Rockies in the dead of winter.

Of course, for a campy comedy musical, the movie treats the historical Packer’s tale with about as much accuracy as Mel Brooks recounting the Spanish Inquisition. Townspeople and random pioneers on the trail warn the party of grave doom, Indians, and a cyclops (who proves disappointingly un-Harryhausen). The group stays disciplined by putting individuals on time out when things get uncivil. Bad luck haunts the crew in every way from losing the horse (to which Packer will sing an ode) to stumbling into random bear traps, and the crew gets lost enough to chance upon the Grand Canyon on their way from Utah to Colorado. A band of punk-rock trappers taunt the party along the way. Asian kung-fu Indians beset the party. While not a lot makes sense, the story moves at a swift enough clip that you’ll barely mind. Be wary after watching it so you aren’t caught idly singing “Hang the Bastard” in inappropriate contexts.

Formed from the quirky imaginations of the Parker/Stone team, Cannibal! The Musical is an enjoyable romp with plenty of the team’s trademark dark humor. The production at times is patterned after Oklahoma! There’s parody of tropes both musical (songs break down mid-verse as the singers argue about chord theory) and western (“Look at all these teepees we have; because we’re Indians!”), yet despite the gory opening scene there’s barely a whiff of a horror aspect: our Troma expectations fizzle after the first five minutes and don’t rekindle until the final twenty. Considering it was a student effort that started out as a fake trailer for film class before the professor called the team’s bluff, the movie is an excellent, if silly, effort. Its legacy is a cult following, the occasional stage revival, and the introduction of “shpadoinkle” into weirdophile vocabulary. But it only has passing business flirting with the wild west of weird cinema.

WHAT THE CRITICS SAY:

“It’s all pretty stupid, but at times, there are refreshingly ludicrous notes that even people old enough to see this movie without a guardian can appreciate. One approach: Imagine the film taking place in South Park animation. If Cartman were ripping that man’s arm off and eating it, it might be cute.”–Anita Gates, The New York Times (1998 revival)

BILLY THE KID VERSUS DRACULA AND JESSE JAMES MEETS FRANKENSTEIN’S DAUGHTER (1966)

In 1966, William “One-Shot” Beaudine produced two western-horror hybrids, which were rare for the period. True to Beaudine’s M.O., they were also two of the year’s worst movies.

Billy the Kid Versus Dracula is the better known of the two, primarily because it stars as the vampire. Carradine had a pragmatic approach to film acting: if you paid him a good salary, he gave a good performance. If you gave him a cheap salary, he gave a cheap performance. What meager budget this film had must have all gone to paying Carradine, because he’s easily the best thing about it—which is not to say he’s good. He’s not, but he’s entertaining, giving what looks like a fifty-dollar, bug-eyed, ham performance that hardly compares to his work in The Grapes of Wrath, Stagecoach, etc.

Still from Billy the Kid Versus Dracula (1966)Dracula has left Transylvania and is traveling out West via stagecoach. He puts the bite on Folgers Coffee lady Virginian Christine and an Indian girl, turns into a bat (with clearly visible strings), and then takes on the identity of Jack Underhill so he can vampirize pretty Betty (Melinda Plowman). Unfortunately for Drac, Betty is engaged to wholesome hombre (?!) Billy the Kid (Chuck Courtney).

Christine, under Drac’s control, is no Dwight Frye, but she’s almost as much fun here as she was selling coffee. Plowman is pure decor, and she doesn’t seem to affect Courtney, who’s a dreadfully neutered Billy. Without Carradine’s repeated barking, hypnotizing, and wired bat flights to liven up the many dull stretches, the film wouldn’t even qualify in a bad lover movie list. Well into alcoholism, Carradine looks flamboyantly dead already. His showdown with Billy is in a silver mine, and although bullets pass right through Drac, he gets conked out by the butt of a pistol. Of course, he doesn’t get to actually slaughter anyone.

Baron Frankenstein’s granddaughter, Maria (Narda Onyx) lives out West, too, in Jesse James Meets Frankenstein’s Daughter. She has a lab and wants to make a new monster.

Meanwhile Jesse James (John Lupton) and his wounded henchman Hank (Cal Bolder) need a doctor. The local Mexican girl Juanita (Estelita, milking all the south-of-the-border cliches ) warns them against taking Hank to Lady Frankenstein: “These Frankensteins are bad people. My people will return when the last Frankenstein is gone.” The law on his heels, Jesse doesn’t listen, but wonders if Juanita is onto something when Maria takes him into a library with no books. Hmmm. Jesse kisses Juanita. Juanita is now in love and runs to the sheriff to save Jesse from those Frankensteins, even thought she knows Jesse is wanted and will be hung—but Juanita will wait for him (?!?) Lo and behold, Maria, wearing  what looks like a pride flag motorcycle helmet, transforms Hank into Igor, shouting “I am in command. You will obey! Kill, kill!” Well, apparently he could have used a better brain, or a touch of tenderness, because he kills Maria.

Still from Jesse James Meets Frankenstein's Daughter (1966)Onyx is a campy hoot, and again a bad performance enlivens Beaudine’s listless direction and a moronic script by Carl Hittleman. Although neither film is trashy or charming enough, the titles, and a couple of cheez whiz performances, may be enough to convince you to add it to a seasonal party playlist. Or, perhaps not.

WHAT’S IN THE PIPELINE

Only 13 more movies left to Certify Weird!

Next week Alfred Eaker starts off our coverage with ‘s bafflingly bad duo of Western horrors, Billy the Kid vs. Dracula and Jesse James Meets Frankenstein’s Daughter. Pete Trbovich keeps it out west with the reader-suggested Cannibal! The Musical, until Giles Edwards whisks us to 18th century France to investigate rumors of werewolves in Brotherhood of the Wolf (also reader-suggested). Then, it’s off to Japan with G. Smalley for a look at ‘s brilliantly bizarre dream hijack of a popular anime comedy: Urusei Yatsura 2: Beautiful Dreamer.

Weird search terms are back! For whatever reason (perhaps you guys figured out how to turn off your privacy filters, as we requested) we are now able to see between five and ten percent of all searches (rather than the one percent we were seeing a couple of weeks ago). Although this only gives us a hundred or so search strings to examine—meaning that there’s still quite a lot of weird searches out there hidden from our eyes—we at least have enough material to highlight some for your amusement. For example, there’s “i remember two kids finding a necklace and they end up at a castle with really big furniture! they find a creature and it rides in the backpack,” which sounds like a cool experience—someone should make a movie out of it. Then there’s the startling “movie milk cat to stay alive” (we hope it never comes to that). Our official Weirdest (and Yuckiest) Search Term of the Week, however, is “movie scene where a knight has sex with a dead woman hanging on a door.” We suspect that’s a real movie—maybe it’s from the necrophilia porn parody of the Seventh Seal?

Time for our weekly cut n’ paste disclaimer regarding the reader-suggested review queue below: since we will definitely not be getting to all of these (although we will pick out the occasional title), you can consider this a list of “honorable mentions” for your own perusal and amusement. That out of the way, here’s how the ridiculously-long reader-suggested review queue now stands: Cannibal! the Musical (next week!); Brotherhood of the Wolf (next week!); Continue reading WHAT’S IN THE PIPELINE

WEIRD HORIZON FOR THE WEEK OF 10/12/2018

Our weekly look at what’s weird in theaters, on hot-off-the-presses DVDs and Blu-rays (and hot off the server VODs), and on more distant horizons…

Trailers of new release movies are generally available at the official site links.

IN THEATERS (LIMITED RELEASE):

Bikini Moon (2017): When a documentary crew takes a personal interest in their subject—a delusional female African American war vet—both ethical and perceptual boundaries start to blur. Logline: “a documentary about a fairy tale”; as far as we can tell, playing NYC (and smaller late-season film festivals) only. Bikini Moon official site.

MFKZ (2017): In “Dead Meat City,” Angelino starts seeing strange creatures—alien invaders?—after a motorcycle accident. U.S. distributor GKids renamed this French feature from it’s festival title, Mutafukaz, for obvious reasons; two-night-only screenings (Oct. 11 & 16) across the U.S. (check official site for locations). GKids MFKZ official site.

FILM FESTIVALS –Festival of Disruption (Los Angeles, CA, Oct. 13-14):

As much a music festival and symposium as a film festival, this curious assembly was curated by none other than . Highlights of particular interest to us include a Q&A with Lynch, a screening of Wild at Heart (1990), chamber music’s Dover Quartet playing the music of ,” and a “Peaks” virtual reality game. Also with bands, lectures, and seminars on Lynch’s beloved Transcendental Meditation. Surely a worthy way for Los Angelinos to spend a weird weekend.

Festival of Disruption home page.

IN DEVELOPMENT (post-production):

1000 Kings (2019?): An upcoming surrealist feature film debut from Georgian director Bidzina Kanchavel. All we have to go on is this mysterious synopsis—“in an artificial world of colors and shapes a beehive society strives for light”—and some intriguing stills of a robed woman with spheres hovering over her head. If you want to see them, check out their Facebook page.

CERTIFIED WEIRD (AND OTHER) REPERTORY SCREENINGS:

The Rocky Horror Picture Show (1975). We won’t list all the screenings of this audience-participation classic separately. You can use this page to find a screening near you.

What are you looking forward to? If you have any weird movie leads that I have overlooked, feel free to leave them in the COMMENTS section.

Celebrating the cinematically surreal, bizarre, cult, oddball, fantastique, strange, psychedelic, and the just plain WEIRD!