Monthly Archives: April 2012

Miscellanea

WEIRD HORIZON FOR THE WEEK OF 4/20/2012

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A look at what’s weird in theaters, on hot-off-the-presses DVDs, and on more distant horizons…

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

FILM FESTIVALS: TRIBECA FILM FESTIVAL (New York City, Apr. 18-29)

The Tribeca Film Festival, started by Robert De Niro (and others) in 2002, has quickly become one of the most important US film festivals—although it’s still a distant second to Sundance on the indie scene. This year, they’ve even scored a mainstream coup, hosting the premiere of the summer comic book blockbuster The Avengers (yawn—but in a nice gesture, they’re allocating all the tickets to first responders: police, firefighters and military personnel). We’re more impressed by the fact that Tribeca Film distributed the Certified Weird male-janitor pregnancy comedy The Immaculate Conception of Little Dizzle (2009); for that, the organization will always hold a special place in our hearts. Here’s a few weird ones to look out for if you’re in NYC this week:

  • “Avant-Garde Masters: A Decade of Film Preservation” – A special screening of seven avant-garde short films made between 1950 and 1986, including ‘s “Rabbit’s Moon.” Screening 4/21.
  • Chicken with Plums [Poulet aux prunes] – After his beloved violin is destroyed, a master musician loses the will to live and suffers a series of hallucinations, flashbacks and visitations from Sophia Loren and the Angel of Death. Live action from the makers of Persepolis.  4/22 & 24.
  • Consuming Spirits – Experimental animation with a story involving three rust belt newspapermen with weird names: Gentian Violet 42, Victor Blue 38, and Earl Gray 64. 4/23-25.
  • The Fourth Dimension – Per the festival synopsis, this triptych of short films with temporal themes is “weird, ominous, cool, compelling.” One of the three pieces is the Harmony Korine/Val Kilmer motivational speaker project we mentioned several months ago. 4/24-25, 27.
  • Francophrenia (or: Don’t Kill Me, I Know Where the Baby Is) – Psychological thriller (?) constructed from “repurposed” behind-the-scenes footage from James Franco’s recent role as a performance artist on the “General Hospital” soap opera—confused yet? 4/22, 24-25, 28.
  • Postcards from the Zoo – Indonesian film about a young woman raised in a magical realist zoo and what happens when she journeys into our drab world. 4/21, 23, 25, 28.
  • Rat King – Another European film (see also Poland’s @Suicideroom) about teenagers sucked into a video game reality.

Tribeca Film Festival home page.

IN THEATERS (LIMITED RELEASE):

Monty Python and the Holy Grail (1975): It’s a re-mastered, hi definition version of the ultimate comedy cult classic. If you’ve never heard knights say “Ni!” in remastered stereophonic sound, you’re in for a treat! Also with a 12-minute mystery short subject. Playing in Boston and Detroit next week, with stops in Philadelphia, Washington DC and St. Louis the following week. Oops! We forgot to mention this re-release when it played NYC & Seattle the past two weeks! Monty Python and the Holy Grail announcement from Rainbow Releasing.

NEW ON DVD:

Dead Or Alive 2 (2000): Takashi Miike‘s Dead or Alive (1999) was a Yakuza adventure with an apocalyptically weird ending; this sequel starts where that one ended and is completely surreal from start to finish, with the hitmen spouting wings or changing into children without explanation. There is a Dead or Alive 3 (which takes the series in a science fiction direction); to our knowledge, this is the first time the second film has been released separately in Region 1 (it was previously available as part of Kino’s three-film box set). Buy Dead Or Alive 2.

“Ernie Kovacs: The ABC Specials” (1961): Kovacs, the TV comedian who pioneered both experimental video techniques and absurd humor, may be the strangest funnyman you’ve never heard of. This disc collects five of his final specials for ABC TV, filmed at the height of his comedic powers just before he died in a car accident at the age of 42 on the brink of stardom. (This is a one-disc “best of”-type compilation of Shout! Factory’s 6-disc The Ernie Kovacs Collection, released last year). Buy “Ernie Kovacs: The ABC Specials”.

A Trip to the Moon (1902): A major restoration of the 13 minute A Trip to the Moon, ‘ seminal film fantastique and possibly cinema’s first blockbuster, which restores the original hand-tinted color from a single surviving print discovered in Spain. Featuring a new soundtrack by the electronic band AIR. The package contains a much longer documentary on Trip to round out the running time. This is take two on this release; as we reported in last week’s Weird Horizon, the DVD/Blu ray combo pack was released but almost immediately recalled due to problems with the Blu version.  Hopefully everything is sorted out now. Buy A Trip to the Moon (Restored) [DVD/Blu-ray combo].

NEW ON BLU-RAY:

A Trip to the Moon (1902): See description in DVD above. Buy A Trip to the Moon (Restored) [DVD/Blu-ray combo].

FREE (LEGITIMATE RELEASE) MOVIES ON YOUTUBE:

Reefer Madness (1936): From the prologue: “[Marijuana’s] first effect is sudden, violent, uncontrollable laughter; then come dangerous hallucinations – space expands – time slows down, almost stands still ….fixed ideas come next, conjuring up monstrous extravagances – followed by emotional disturbances, the total inability to direct thoughts, the loss of all power to resist physical emotions… leading finally to acts of shocking violence… ending often in incurable insanity.” According to the movie, cannabis also makes you want to listen to piano music played really fast. Maybe it’s not what we typically think of as “weird,” but it certainly bears no resemblance to reality.

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.

Alfred Eaker's Fringe Cinema

TOP HAT (1935)

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The Hollywood musical has pretty much gone the way of the dinosaur. Contemporary audiences, corn-fed on laser battles with green aliens and tights-wearing, invulnerable superheroes who defy gravity, somehow find the idea of a film in which actors suddenly burst into song as “intolerably unrealistic!”

The genre’s peak era began at the dawn of sound, in the early 1930s, with Busby Berkeley at Warners and RKO’a teaming of the inimitable Fred Astaire and Ginger Rogers. The musical climaxed twenty later, in the 1950s, with the “arty” musicals of Gene Kelly, Vincent Minelli, and Stanley Donan.

Mark Sandrich directed a number of the RKO musicals with Astaire and Rogers. His first teaming with them was The Gay Divorcee (1934). This was followed by Top Hat (1935), Follow the Fleet (1936), Shall We Dance (1937) and Carefree (1938). Later, he directed Astaire with Bing Crosby in 1924’s Holiday Inn (which some people still confuse with the inferior 1954 remake, White Christmas) and Blue Skies (1946).

Still from Top Hat (1935)Top Hat is Astaire and Rogers’ at their near-peak, although some revisionists have argued that honor should actually go to the George Stevens directed Swing Time (1936). I’m not siding with the Swing Time revisionists, because I  have my own revisionist opinion, which I will cover down a later RKO road. Top Hat is a near-perfect film from Hollywood’s near-perfect decade, and it’s pure class, catapulting Depression-era man from his oppressive environment for 101 minutes of “Heaven, I’m in heaven” (well almost 101 minutes. More on that later). Astaire’s choreography blends seamlessly with the musical direction of the great composer Max Continue reading TOP HAT (1935) →

Canonically Weird (The List)

110. FELLINI SATYRICON (1969)

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AKA Satyricon; The Degenerates

“…to eliminate the borderline between dream and imagination; to invent everything and then to objectify the fantasy; to get some distance from it in order to explore it as something all of a piece and unknowable.”–Federico Fellini on his motives for adapting Petronius’ Satyricon

Recommended

DIRECTED BY:

FEATURING: Martin Potter, Max Born, Hiram Keller, Mario Romagnoli

PLOT: Two students, Encolpio and Ascilto, argue over their dual ownership of the handsome slave boy Giton, whom Encolpio loves and Ascilto has sold. Encolpio seeks Giton through a series of adventures that take him across the ancient Roman world, encountering a pompous actor, a wealthy merchant who holds nightly orgies and fancies himself a poet, unscrupulous slavers, and other long dead satirical targets. Eventually Encolpio becomes involved in a plot to kidnap an albino hermaphrodite demigod, is cursed with impotence, and seeks the services of a witch.

Still from Fellini Satyricon (1969)

BACKGROUND:

  • Petronius wrote the rambling, erotic, and highly literary “Satyricon” during the reign of Emperor Nero, 1st Century A.D. It is sometimes considered the world’s oldest surviving novel.
  • The original Roman satire survives only in fragments, which explains the often incoherent nature of the story in Fellini’s movie. Fellini invented a few small details (and one major one, in the hermaphrodite character who replaces the penis-god Priapus’ role in the story) to bridge gaps or help the story flow in the direction he wanted to. The director refers to the fragmentary nature of the source narrative by allowing the story to jump forward in time, and even ends a scene in mid-sentence (as Petronius’ surviving work ends in the middle of a sentence).
  • Fellini’s name appears in the title not out of vanity, but to distinguish the movie from a competing adaptation directed by Gian Luigi Polidoro which was also released in 1969. Polidoro registered the title Satyricon first. United Artists purchased the international distribution rights to both films and sat on Polidoro’s movie while they promoted Fellini’s more marketable name.
  • Fellini used international actors for the main parts (joking that he did so because there were no Italian homosexuals). The director saw that dubbing into Italian was deliberately made slightly out of sync with the actors’ lip movements to create an additional feeling of strangeness.
  •  was offered the small but important role of Trimalchio, but was too ill to accept it (Karloff died in February of 1969).

INDELIBLE IMAGE: Picking a single image to represent Satyricon is like trying to single out one scene that captures the essence of a sprawling carnival. The film is a nonstop parade of extreme imagery, grotesque tableaux and freakish costuming.  No one scene sticks out as more bizarre than another, and nothing is supposed to; everything inside  the borders of the known world of Satyricon is as weird as everything else, from the whorehouse at the center of the empire to the blank spot at the edge of the map where monsters be. Forced to select something, we went with the image appearing five minutes into the film of the actor Vernaccio, dressed in a porcine pink helmet with a fin on top, carefully placing a tiny pill-like object on his outstretched tongue. It’s Fellini’s signal to the Summer of Love crowd that the movie is dosing itself right now—strap yourselves in for the trip to come.

WHAT MAKES IT WEIRD: Fellini seizes upon the fragmentary nature of his classical source material as an excuse to fly off on flights of phantasmagorical fancy; he sets his camera to observe these imaginary denizens of gluttonous old Rome as if they were alien lifeforms. Satyricon is the work of a master filmmaker at his most self-indulgent—but when tremendous talent indulges itself, the results are typically spectacular.


John Landis on the trailer for Fellini Satyricon

COMMENTS: The surviving text of the Satyricon begins with randy bisexual student Encolpio in Continue reading 110. FELLINI SATYRICON (1969) →

List Candidates, Shorts

CAPSULE: LA JETÉE (1962)

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Note: In the third reader’s choice poll, 366 readers voted to make La Jetée a candidate for the List of the 366 Best Weird Movies ever made; we’ve upgraded its status accordingly.

Must See

DIRECTED BY:

FEATURING: Jean Négroni (narrator), Davos Hanich, Hélène Chatelain (models)

PLOT: After World War III, a man is trained as a time traveler to try to find a cure for the devastation, but he is more interested in locating the woman on a pier whom he briefly glimpsed as a child and whose image burned itself into his memory.

Still from La Jetee (1962)

WHY IT WON’T MAKE THE LIST: La Jetée has all the cinematic quality it would need to qualify for the List, and a significant enough level of weirdness to justify inclusion. The film’s only drawback is its length; at a mere 30 minutes, it would need to be ghost-of-Hunter-S.-Thompson-on-a-peyote-trip bizarre in order to take a spot on the List away from a movie that’s three or four times its length. It is, however, a historically important film with links to lots of other weird movies, and any serious student of cinematic surrealism should be sure the name “La Jetée” at least rings a bell.

COMMENTS: The credits introduce La Jetée not as a film, but as a photo-roman (photo-novel). Filmmaker Chris Marker made this experiment, his only significant fiction film, between his usual essay-style documentaries; the story is told entirely through still photographs (with one blink-and-you’ll-miss-it motion sequence), third-person narration, and sound effects. The technique is surprisingly effective and remarkably cinematic, and it dovetails with the movie’s theme of memory; each image is itself like one of the nameless hero’s stored memories, which he accesses as if he’s browsing an interior museum. Sometimes the pictures fit together in sequence to compose a fragmented scene, and other times they make giant leaps into the future or past, in the same way that the mind jumps back and forth between present and past as it composes reality in real time. The story is vague in its details—we get no information about the war that nearly destroyed the world, and the potentially troubling etiquettes of romancing a woman across a gulf of time are glossed over—but we accept the fabulous story more easily and focus on its emotional and intellectual messages better without a lot of distracting Continue reading CAPSULE: LA JETÉE (1962) →

Capsules

CAPSULE: HELLACIOUS ACRES: THE CASE OF JOHN GLASS (2011)

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DIRECTED BY:

FEATURING: Navin Pratap, Jamie Abrams

PLOT: An amnesiac man awakens in the post-apocalyptic future encased in a protective suit

Still from Hellacious Acres: The Case of John Glass (2011)

and patrols the desolate landscape searching for explanations.

WHY IT WON’T MAKE THE LIST: With its microbudget aesthetic of abandoned barns and homemade black leather cyborg-suits, this sci-fi indie set on the post-apocalyptic Canadian prairie is nothing like a Hollywood movie; but the minimal story is not engaging enough to justify considering it for a List of the 366 Best Weird Movies of All Time.

COMMENTS: In a sense, it may be pointless to review Hellacious Acres. This is a movie that doesn’t care what you think of it; it just wants to be itself. It stars a character who wakes up trapped in a synthetic, computerized black protective suit without knowing who he is or why he’s there, and who ends up in a hallucinatory delirium without accomplishing whatever his goal was. In between, he consults his video-game console glove for info on the world around him, learns how to eat and expel waste through the hose attached to his suit, and walks, walks, WALKS. (The trailer takes a perverse pride in pointing out the amount of WALKING in Acres, as does the soundtrack, which launches into an epic, doom-laden sludgy drone whenever John Glass puts his heels to the prairie grass). Events play out in real time. When Glass needs to find something to eat, most movies would either skip the sequence or compress the action through editing; here, we watch every second of him searching every inch of an abandoned house, forcing his way into a stubborn cabinet, studying each label he finds, laboriously sawing through the tin can, then discovering the contents are rancid—and starting all over again with a new can. It sounds like a cruel joke on the audience, but Acres‘ subtle sense of humor about its own lack of pace helps win you over: that involuntary wince you give when you see Glass reach for that second can, or the way he throws up his hands in exasperation as he circles through a menu on his control panel while trying to arm his deadly plasma weapon in the middle of a melee. The effects are not that special but Tremblay has uses his minimal budget with maximum effectiveness; the faceless costuming is creepy, and the video-game interface looks futuristic enough for the film’s purposes. The blasted farmland setting, with its almost comical number of barns repurposed to house teleporters, is also novel; it’s a more laid-back, rural apocalypse than we’re used to seeing in the movies. Most importantly, there’s plenty of weirdness filling up the empty spaces: a psychedelic opening with a disembodied voice giving the backstory while we look at a heat-imaging map of the resuscitated John Glass, a mutant baby encased in a jar, Glass carrying around (and carrying on conversations with) the severed hand of a fellow soldier, bad trips caused by teleportation drugs, a hallucinated waiter of the wasteland, and of course the lightbulb-shaped alien energy jellyfish that now prowl the Earth. In a final spit in the face to storytelling conventions, the tale ends in futility, with the protagonist insane, having failed at a mission that was never really clearly explained, having learned nothing of importance about himself and having unlocked no significant mysteries about the strange world he found himself in. This whole exercise in perverse pacing and post-apocalyptic hallucination is likely to leave even weird movie buffs perplexed about what they’ve just seen; imagine how “normal” folks would feel if they rented this by accident looking for a straight sci-fi adventure?

‘s first film was the still-unreleased surrealist experiment Heads of Control: The Gorul Baheu Brain Expedition (2006). He was last seen at 366 trying to provide us with a top 10 weird movies list (he was unable to limit himself to just ten titles).

WHAT THE CRITICS SAY:

“Hellacious Acres is bizarre… It really is one awkward flick that some folks may dig but others will blatantly hate.”–Ramius Scythe, Horror Chronicles (DVD)

DISCLAIMER: A copy of this movie was provided by the distributor for review.