All posts by Gregory J. Smalley (366weirdmovies)

Gregory J. Smalley founded 366 Weird Movies in 2008 and has served as editor-in-chief since that time. He is a member of the Online Film Critics Society, and his film writing has appeared online in Pop Matters and The Spool.

LIST CANDIDATE: THE NINTH CONFIGURATION (1980)

The Ninth Configuration has been promoted onto the List of the 366 Weirdest Movies of All Time. Please post any comments on the official Certified Weird entry. This post is closed to comments.

AKA Twinkle, Twinkle, Killer Kane

Recommended

DIRECTED BY:

FEATURING: , Scott Wilson

PLOT: A U.S. Marines psychiatrist is assigned to an experimental program in a castle housing soldiers who are suffering delusions; he bonds with a militantly atheist and misanthropic astronaut, but harbors a deep secret of his own.

The Ninth Configuration

WHY IT MIGHT MAKE THE LIST: Obsession is fertile soil for a weird movie. The Ninth Configuration is a movie set 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, and invokes a passion that carries the story over some rough patches.

COMMENTS: The Ninth Configuration posits that a world without God is a madhouse. An unexplained epidemic of apparent insanity strikes Vietnam War vets and other military types, including a NASA astronaut who’s now afraid to go to the Moon. The suspected malingerers are sent, naturally, to a castle in the Pacific Northwest, where they await the arrival of one Colonel Kane, a military psychiatrist with some odd ideas of his own. By the end of the film, Kane’s unorthodox therapeutic methods involve the inmates putting on a Shakespeare play cast entirely with dogs, roleplaying that they are prisoners of war and the hospital staff Nazi concentration camp officers, and inexplicably flying through the castle corridors in a jet pack. In other words, it’s sort of a wacky combination of M*A*S*H* and the early reels of One Flew Over the Cuckoo’s Nest with a touch of Spellbound (a movie which is explicitly referenced—whether as a hint or a red herring, you’ll have to watch to find out).

That outline makes Configuration sound like an anti-authoritarian satire—which it is, at times. The main point of departure is that the comedy is tinged with a very melancholy performance from a world-weary Stacy Keach, and the characters argue a lot about the existence of God. The movie itself is, in fact, more schizophrenic than its Corporal Kliner-esque caricature patients, bouncing around from mood to mood and finding time to shoehorn in a hallucination where the astronaut encounters a crucifixion on the Moon and a barroom brawl that pits a single Marine against a motorcycle gang. The origin of the plague of mental illness is never explained, although we can presume it’s a metaphor for the situation of men who have lost faith in something larger than themselves.

It’s no spoiler to point out that the argument that Blatty advances for God’s existence here is that a seed of universal love can be the only explanation for a man taking the irrational action of sacrificing his life for his fellow men. It seems to me that there is a fatal logical paradox with this argument from altruism, however. If someone wants to commit a selfless act—say, to quiet their own doubts, or assuage their own guilt—then by definition, the act will not be selfless. In his defense, I don’t think Blatty is naive enough to suggest that he has discovered the magic bullet proof of God’s existence with The Ninth Configuration; he merely finds that the existence of altruistic love suggests and supports the idea of a created universe. Whether you agree or not, you have to admit it’s the kind of subject that doesn’t get addressed often in movies, even weird ones. As the work of a passionate first time director shooting for the moon, The Ninth Configuration is recommended, but more for what it attempts than for what it achieves.

WHAT THE CRITICS SAY:

“I’ve got a weakness for a certain kind of wacky personal filmmaking—movies… that aren’t ‘well made’ by any standard but clearly mean so much to their creators that all aesthetic rules crumble in the face of their bizarre, unaccountable intensity. William Peter Blatty’s The Ninth Configuration may be a classic of this peculiar genre…”–Dave Kehr, The Chicago Reader

(This movie was nominated for review by Kat, who said that there was an “atmosphere of overwrought emotion and barely concealed hysteria about the whole thing that left me feeling a bit creeped out.” Suggest a weird movie of your own here.)

220. REALITY (2014)

Réalité

“It is sometimes an appropriate response to reality to go insane.”–Philip K. Dick

Recommended

DIRECTED BY:

FEATURING: , Kyla Kenedy, Jon Heder, Jonathan Lambert, Élodie Bouchez, , John Glover

PLOT: A young girl (improbably named “Reality”) spies a videotape inside the entrails of a wild hog her father shoots. Meanwhile, Jason, a French-speaking novice director, gets the green light for a screenplay he is working on about killer television sets, but only if he can find an Oscar-caliber scream of pain to insert in the film. Jason’s producer is also funding a fiction film from a former documentary director who, coincidentally, is using Reality as his lead actress, while the stressed would-be filmmaker finds he is having nightmares that are increasingly difficult to wake from.

Still from Reality (2014)
BACKGROUND:

  • Réalité, Quentin Duepieux’s fifth film, was a French/Belgian co-production. The story is set in southern California, although many of the characters primarily speak French.
  • Although Duepieux usually scores his own films, the only music in this film is a repeated phrase from Philip Glass’s “Music with Changing Parts.”
  • The male Award Presenter in Jason’s dream is Michel Hazanavicius, Academy Award-winning director of The Artist (the female Presenter is Rubber‘s ).

INDELIBLE IMAGE: Jason’s recurring dream where he is at an awards ceremony, awaiting announcement of the award for best groan in movie cinema history. He’s the lone human in a sea of blank-faced mannequins in tuxes.

THREE WEIRD THINGS: Viscera video; eczema on the inside; this film doesn’t exist yet

WHAT MAKES IT WEIRD: In his short five film career, Quentin Dupieux has established a distinctive—and divisive—comic vision. His absurd sense of humor takes killer tires, dog-turd detectives, and electronica-snob cops and tosses them into twisted, self-aware scenarios. Reality sees him take a darker turn, venturing deeper into his subconscious, foraging for nightmares.


U.S. theatrical trailer for Reality

COMMENTS: In Reality, a mother reads a bedtime story to her Continue reading 220. REALITY (2014) →

CAPSULE: A WOMAN IS A WOMAN (1961)

Une Femme Est une Femme

Recommended

DIRECTED BY:

FEATURING: , , 

PLOT: When striptease artist Angela says she wants a baby, reluctant boyfriend Emile dares her to conceive with his best friend Alfred, who has a crush on her.

Still from A Woman Is a Woman (1961)

WHY IT WON’T MAKE THE LIST: Une Femme has that certain Godardian edge to it, but it’s not strange enough to grace a list of the weirdest movies ever made.

COMMENTS: Just as Godard’s debut feature, 1960’s Breathless, deconstructed gangster movies by contradicting cinematic conventions and defying audience expectations, his followup A Woman Is a Woman deconstructs the already unreal world of the Hollywood musical. In these early films Godard shows a fondness for the genre material, even as he rips it to shreds– he’s only taking it apart, like a curious schoolboy, to see how it works. For an alleged musical—Godard actually called it “the idea of a musical”—there are remarkably few songs, and those that do come and  go in fragments. Michel Legrand wrote a lush score for the film, but Godard chops it up and doles it out in bits and pieces, just to call attention to the emotional artifice of film music. When Emile and Angela argue over whether they should have a baby, a few seconds of angry strings punctuate each of their statements; at other times, happy woodwinds pipe up, but are laid over the dialogue, partially obscuring the couple’s words. As Angela walks down a Paris street, the soundtrack cuts back and forth at random between orchestral cues, loud street noise, and silence. When she sings her cabaret number while stripping out of a sailor suit, the piano accompaniment conspicuously stops whenever she opens her mouth to sing. A background chanson cuts off as soon as she drops a coin into a jukebox and punches in the numbers. And so on.

The jokes are in the lightly absurd mode we expect from hip French films of this era (see also Zazie; Catherine Demongeot grinning off the cover of “Le Cinema” magazine is one of the many nods to his contemporaries that Godard spreads throughout the film). When they are not speaking, Angela and Emile carry on heated arguments using the titles of books they collect from their apartment’s shelves. Angela flips an omelet into the air, runs off to answer a phone call, then excuses itself and returns to catch it as it falls back onto the skillet a minute later. The subject matter (unmarried Bohemians, one of whom dances naked for strangers, casually discussing having a child out of wedlock) and a glimpse of female nudity (not from Karina) made it a naughty picture in 1961, though it was far too sweet-natured to be a dirty one. There’s a pleasant silliness to this souffle that we do not associate with Godard, who usually comes across as angry even when he’s joking (especially when he’s joking). That could be due to the presence of the vivacious Anna Karina, the Danish pixie girl Godard offers up here as the nouvelle vague’s answer to Audrey Hepburn. Between her pout and her smile there isn’t room to fit in a centimeter of cynicism. Godard married Karina during the shoot; they divorced four years later. Perhaps not coincidentally, the director’s work turned towards the sour soon thereafter.

WHAT THE CRITICS SAY:

“Analytical whimsy, captivating dissonance… Infinitely inventive gaiety is but a veil for anxiety…”–Fernando F. Croce, Cinepassion (DVD)

219. THE PORNOGRAPHERS (1966)

“Erogotoshitachi” yori Jinruigaku nyūmon

“What kind of fish is that? What is it doing there?

“Very strange…”–dialogue spoken over the opening credits of The Pornographers

Recommended

DIRECTED BY: Shôhei Imamura

FEATURING: Shôichi Ozawa, Sumiko Sakamoto, Keiko Sagawa, Masaomi Kondô

PLOT: Ogata makes illicit pornographic films to support his widowed landlady, who is also his lover, and her two teenage children. The widow believes her ex-husband was reincarnated as a carp she keeps in a fishbowl next to the bed and that he disapproves of the arrangement, but she cannot control herself. When she dies, she insists Ogata marry her daughter, but the pornographer has become impotent and obsessed with building a mechanical woman to be the perfect mate.

Still from The Pornographers (1966)

BACKGROUND:

  • Shôhei Imamura apprenticed as an assistant director under Yasujirô Ozu, and although he was considered a major figure in the Japanese New Wave, his movies are little known outside his native land. In the West, The Pornographers is his best-known work.
  • The scenario was based on a 1963 novel by Akiyuki Nosaka (who also wrote the story on which Grave of the Fireflies was based).
  • The Pornographers was made by Nikkatsu studios, who ironically turned from producing art films to making pornography (“pink films”) soon after the scandal over ‘s “incomprehensible” Branded to Kill in 1967.

INDELIBLE IMAGE: Shôhei Imamura frames many of the shots in The Pornographers oddly, including a couple of bedroom scenes viewed through a fish tank; the idea is that we are watching the jealous carp as he spies on his human wife making love to Ogata. The weirdest of these shots, however, has to be a Haru’s deathbed scene, also shot through the carp cam—improbably, this time, from above, as if the fish is looking down from heaven on the spouse who is soon to join him.

THREE WEIRD THINGS: Carp ex-hubby; slow schoolgirl porn star; Ogata floats away

WHAT MAKES IT WEIRD: A cavalcade of perversions flecked with short dream sequences and unannounced flashbacks, almost every scene in The Pornographers is eccentric, if not flatly surreal. The main character delivers a philosophical monologue as he walks though an orgy, the matron freaks out to the surf-rock soundtrack in her head, and a new wife strips to garter and stockings as she walks down the corridor to meet her mother-in-law for the first time. Although the story is based in realism, the film’s tone is melodramatic and dreamily erotic—but, ironically, hardly pornographic at all.


Original trailer for The Pornographers

COMMENTS: The key to understanding The Pornographers may be Continue reading 219. THE PORNOGRAPHERS (1966) →

CAPSULE: THE LAST DRAGON (1985)

AKA Berry Gordy’s The Last Dragon

DIRECTED BY: 

FEATURING: Taimak, Vanity, Julius Carry, Christopher Murney

PLOT:  Leroy Green (nicknamed “Bruce Leroy”), a kung fu student in Harlem, searches for a master to achieve “the glow,” while defending a music video hostess from an evil businessman and his army of toughs.

Still from The Last Dragon (1985)

WHY IT WON’T MAKE THE LIST: The Last Dragon isn’t truly weird, but it’s unusual, quirky, and culty enough to earn an honorable mention, and the recent Blu-ray release gives us an excuse to recommend it to those inclined towards 1980s camp.

COMMENTS: The Last Dragon, a mix of blaxploitation and kung fu tropes performed in the innocent style of The Karate Kid, blooms with camp pleasures. A scene early in the picture embodies the curious aesthetic, which reflects urban audiences’ fondness for East Asian martial arts movies (Shaw Brothers pics were staples of Times Square grindhouses, where cheap chopsocky imports played next to peep shows). In one such theater, an awed “Bruce Leroy” watches Enter the Dragon (eating his popcorn with chopsticks!) among a multiracial crowd who howl at the screen. The disreputable patrons include a transvestite, a Rastafarian indulging in his sacrament, and a couple of teenagers who disrespectfully set up a boombox in the aisle and start breakdancing (!) In bursts giant Sho’Nuff (“the Shogun of Harlem”) and his retinue to challenge the skilled but humble Leroy to dishonorable combat.

Sho’Nuff, who says things like “kiss my Converse, sucka!” and dresses like a samurai pimp in an outfit stitched together from leftovers from a Michael Jackson music video, is The Last Dragon‘s batty heart and soul. Hero Bruce Leroy, who walks through Harlem streets wearing a conical bamboo hat and is mocked by his streetwise companions for being a “jive coolie,” doesn’t make nearly the same impression. Leroy is played by Taimak, who was hired for his considerable martial arts prowess rather than his inconsiderable acting talent. His lack of emotion is put to good use, however; his flat line readings make him a true ghetto outsider, someone who has devoted his life to absorbing stoic Asian philosophy rather than learning how to smooth talk girls. Which is bad luck for him, as the girl in his life turns out to be none other than 80s bombshell Vanity. Vanity doesn’t get to do much other than be endangered and pretty, but she undeniably lights up the screen. Other characters include Leroy’s wisecracking younger brother (who also has a crush on Vanity) and a gangsterish video game magnate with a wannabe pop star girlfriend (she’s a cross between Madonna and Cyndi Lauper, with less talent than the two combined). You should also watch closely for bit parts by a young William H. Macy and Keisha Knight Pulliam (“The Cosby Show”‘s Rudy).

The Last Dragon was criticized for its predictable “damsel in distress” plot, but its crazy cartoonish characters and remarkable set pieces (including the aforementioned grindhouse showdown and a climactic battle where Sho’Nuff and Leroy glow while fighting) made it into a box office hit with younger audiences. Its legend only grew when it became a pay cable programming staple. Watch it for nostalgia, or to see what your parents thought was rad when they were teenagers. On a technical level its not great moviemaking, but as a guilty pleasure, it’s a blast.

The alternate title Berry Gordy’s The Last Dragon naturally raises the question, who the hell is Berry Gordy? Turns out Berry was the founder of Motown records. He put up the dough for this one, and made sure that acts he controlled found their way onto the soundtrack (Debarge’s horrid “Rhythm of the Night,” featured prominently here, became a #3 Billboard charting hit). Why Gordy thought his name would bring kids into the theaters is a mystery. Vanity, thy name is Berry Gordy. (Well, in this case that’s confusing, but you get the idea).

WHAT THE CRITICS SAY:

“…utterly wigged-out kung-fu disco extravaganza…”–Time Out London