All posts by Giles Edwards

Film major & would-be writer. 6'3". @gilesforyou (TwT)
Capsules

CAPSULE: BASKIN (2015)

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DIRECTED BY: Can Evrenol

FEATURING: Gorken Kasal, Ergun Kuyucu, Mehmet Cerrahoglu, and Muharrem Bayrak

PLOT: A team of five police officers is called to provide backup at an abandoned building in Inceagac, a locale of some occult notoriety; things go badly pretty quickly for the officers as they travel deeper into the film’s ominous backdrop.

Still from Baskin (2015)

WHY IT WON’T MAKE THE LIST: In an earlier age it could have been considered among the finest “B-horror” movies to grace the midnight movie scene during the ’80s through early ’90s, but as it stands, Baskin’s competent execution is marred by the tale’s derivative and meandering nature. Some token shocks do their job nicely, but the “film twist” advertises itself far too blatantly and doesn’t come off so much as, “Didn’t see that coming, did ya?” as it does, “Hey, check out what I’m doing!”

COMMENTS: Baskin starts out with a mountain of promise that it proceeds to dynamite away, taking the occasional break from destruction to rebuild the edifice. The movie starts with a flashback to the childhood of Arda (Gorkem Kasal), the main character, and so the temporal jumps begin. After some creepy behavior and a few screams and shouts, off we go to “now”, where a convivial conversation between fellow-officers contrasts with a restaurant seemingly assembled from bits cast off from Planet Terror‘s BBQ joint. Five cops: the esteemed leader, the arrogant chatterbox, the calm friend, the rookie, and the one with a migraine. After menacing the son of the restaurant’s owner (and seeing an ominous frog in the men’s room), the gang stumbles out to continue its patrol.

Much to its credit, Baskin does a lot of things right. The main fellows are easily distinguishable from one another (even when having to rely on subtitles), each of them is interesting, and the rapport struck on screen seems truly genuine; it’s apparent these policemen have worked with each other for a while. The sound design, too, adds to the realism. The dialogue always comes from the right place, and once the element of the macabre is snuck in, the various squelches, squidges, and scrapings all work to nice effect. The set piece of an abandoned Ottoman-era police barracks, too, is a perfect choice. The jump cuts convey an appropriate initial shock as well as add to a growing sense of dread. I had such high hopes.

Unfortunately, the movie falls apart by trying to do two things at once — and through this effort, succeeds at neither. Firstly, the “horror” element. Having already listed the merits above, it pains me to mention the failings. As events shuffle from the restaurant to the squad car to the crash before the evil building, things proceed apace well enough. Sure, there’s no need for the swarms of little frogs that litter the movie, and indeed the gypsy-style family by the barracks in utterly unnecessary—but, live and let live. It is when the crew descends the depths that this pastiche of classic horror collides badly with the “clever” thing the film tries to accomplish… the main impact of which I shall leave to the more adventurous reader to investigate. I will hint, though, that it’s the kind of thing I’ve only seen done well by , who was obliged to be counted among cinema’s greatest directors in order to handle his jumps correctly.

But enough cryptic ramblings. Baskin tries very hard, but comes up short. When you have a shocking horror picture, it certainly helps that your characters are great to watch interacting with one another, but that means you compromise your core asset when you begin killing them off. The 11-minute short film that the feature-length grew from, though, was a delight. Comparable setup, though (obviously) less fleshed out. However, whereas the original short managed to quickly establish and maintain a very unsettling mood, the director’s reach clearly exceeded his grasp when he tacked on another 80 minutes of movie. Still, Baskin was Evrenol’s first full-length attempt. I would certainly be willing to give his sophomore effort a try.

WHAT THE CRITICS SAY:

“A heady blend of Ambrose Bierce and Herk Hervey, of Lucio Fulci and David Lynch, and of Nicolas Winding Refn and Dario Argento (these last two channeled through director of photography Alp Korfali’s hyperreal lighting), Baskin is an astonishingly assured debut. Driven offroad by Ulas Pakkan’s unnerving ’80s synth score, it is a surreal, uncompromising, bestial and eerily beautiful descent into a hell of self-knowledge, whose precise entry and exit points remain difficult to determine.”–Anton Bitel, TheHorrorShow.TV (festival screening)

366 Underground

366 UNDERGROUND: DESTINATION PLANET NEGRO (2013)

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Destination: Planet Negro!

DIRECTED BY: Kevin Willmott

FEATURING: Kevin Willmott, Tosin Morohunfola, Danielle Cooper, Trai Byers

PLOT: In order to flee early-20th century racism and find a new home for African Americans, physicist Warrington Avery and a crack squad of Black adventurers attempt a trip to Mars, only to have their rocket ship sucked through a worm hole which transports them into the jarring reality of modern-day America.

Still from Destination Planet Negro (2013)

WHY IT WON’T MAKE THE LIST: The “time-traveling fish-out-of-water” story is a cinematic trope with a long pedigree. That these time-travelers are Black luminaries from the 1930s is something a novelty, but Destination: Planet Negro plays by the rules in an expected, but not unpleasant, manner.

COMMENTS: Having another socially conscientious movie be next on my to-do list could be viewed as a punishment for me by those who may have taken issue with my diatribe about Arabian Nights. However, my dislike of that movie did not stem from its progressive agenda, but from its wanting for anything remotely approaching “entertainment.” It was no small relief that Kevin Willmott’s satirical piece, Destination: Planet Negro (DPN) proved to be quite amusing and watchable, in addition to proffering some salient observations about modern and historical race issues.

My lingering frustration put aside, let me dive into the movie at hand. DPN starts right off with a sense of place: crisp black and white film sets the tone, and after opening-credits over a cosmic montage, we jump to an assemblage of Black luminaries in 1939. These top African-Americans are gathered to discuss, as one describes it, “the Negro problem.” Not finding the United States welcoming, nor being keen on moving to Africa (too much poverty), Europe (risk of exotification), or the U.S.S.R. (these gents are no commies), Dr. Warrington Avery (Kevin Willmott) informs the august crowd that he has a plan to colonize the Red Planet for the Black Man. The skeptics are assuaged by none other than George Washington Carver. However, some of the attendees inform the local police, so Dr. Avery, his astronomer daughter Beneatha (Danielle Cooper), speed-demon Captain “Race” Johnson (Tosin Morohunfola), and a clumsy robot with a cracker personality are forced to take the trip on the fly.

At about the half-hour mark, the movie changes from black and white to color, as the space adventurers crash-land on a far off planet. The joke’s on them, though: it’s the same planet and same country, just 75 years later. And so DPN moves on from historical commentary to  contemporary commentary. A run-in with Hispanic laborers in the back of a van suggests to them that slavery exists here. Observing a young black man making a purchase at a convenience store convinces them he’s a slave: no eye contact, no words from the black man to the white cashier. DPN continues in this vein, ably expounding on the many similarities of treatment, though occasionally veering into the realm of the silly. In particular, the montage involving “Race” Johnson learning how to “walk like a Black guy” shouldn’t have been included, much less gone on for as long as it did.

All told, DPN is a fun diversion for those seeking some observations about race relations. It didn’t surprise me upon researching DPN that Kevin Willmott was the driving force behind 2004’s speculative “documentary” C.S.A.: the Confederate States of America. There, too, he used the powers of humor and satire to make his point, all the while maintaining an appreciably light touch. Willmott seems aware that hitting people over the head with a blunt cinematic object can be counter-productive when making one’s point. While some more pruning could have helped it better maintain its momentum (after the crash-landing scene, the movie itself nearly crashes), that criticism could be laid against most movies. In brief: not weird, but not bad.

WHAT THE CRITICS SAY:

“…highly recommended, provided you’re in the mood for a campy, low-budget sci-fi whose cheesy special effects are more than offset by a profusion of insightful social statements.”–Kam Williams, Baret News Network (contemporaneous)

Capsules

CAPSULE: ARABIAN NIGHTS (2015)

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Volume 1 – the Restless One

As Mil e Uma Noites: Volume 1, O Inquieto

Beware

DIRECTED BY: Miguel Gomes

FEATURING: Crista Alfaiate, Miguel Gomes

PLOT: Vignettes of the lives and circumstances of various “everyman” Portuguese citizens are spliced together in the form of a series of tales à la Arabian Nights.

Still from Arabian Nights Vol 1: The Restless One (2015)

WHY IT WON’T MAKE THE LIST: As an almost wholly documentary-style pastiche narrative, Arabian Nights is not so much weird as relentlessly tedious and preachy. A spark of the bizarre, when the director seemingly abandons his own movie, is slow to appear and is quickly snuffed out as the film-makers go on to sermonize the audience with tales of woe.

COMMENTS: Early in the movie a massive red flag pops up when the director admits that he suspects it impossible to make a movie about tales of wonder when he’s surrounded by the uncompromising dreariness of everyday life. Indeed, he does find it impossible. He takes one of the earliest examples of fantasy as a storytelling framework to convey a series of tales that delve into the personal costs borne by Portugal’s citizenry during the Euro crisis years of austerity (from August 2013 through July 2014, as explained by an inter-title that doubles as a disclaimer about the use of the Arabian Nights name). What follows is, well, both a grind and a bore.

I mentioned earlier that there was a tiny glimmer of something interesting occurring. While the director suffers his existential crisis (something that, like the movie, only truly springs into action after twenty five minutes of dockyard and hornet nest clips dubbed over with remarks about the collapse of the shipping and honey industries), he flees his own crew and tries to hide. He is found by unidentified militants who sentence him to death for his filmic recklessness. So now we have our storyteller neck-deep in sand, and the not-so-subtle allegories begin, sporting the titles “the Men with Hard-Ons,” “The Story of the Cockerel and the Fire,” and finishing with the tripartite “Story of the Magnificents.” Each in turn becomes progressively less allegorical and increasingly polemical.

Having taken advantage of the dubious opportunity of enrolling in a “Filmmakers with a Social Conscience” seminar back in my long-distant college days, that “genre” was the first, and almost only, one that sprang to mind while watching Arabian Nights. In the vein of Soviet Socialist Realism, glorifying the common man, as well as that of Italian Neo-Realism, Arabian Nights eschews the traditional tools of (truly) cinematic storytelling in favor of capturing reality as closely as possible. While such a practice isn’t something I particularly enjoy, I don’t begrudge the fans of the genre their entertainment (or whatever word would describe the experience). However, it most certainly isn’t the way to make a weird movie.

Taking over two hours to convey its message of “austerity is unkind to the masses” (actually over six hours—there are two more installments that I am shying away from) using the same documentary/talking heads/ voiceover techniques throughout lends itself to whinging tedium. I wonder what Mr Gomes’ Iberian confrère, , might have done instead. Buñuel dabbled in documentary back in the 1930s with a short piece entitled Land Without Bread. In the space of twenty seven minutes, he not only raises the viewer’s awareness of the plight of grinding poverty in a backwards rural society, but also thoroughly tweaks the documentary genre’s nose. A modern take on Buñuel’s socially conscientious subversion might have been interesting; Gomes’ outing barely qualifies as a movie.

WHAT THE CRITICS SAY:

“…an opaque compendium of stories – like the ones Scheherazade told to stave off her own death – all responding in indirect ways to the miseries forced on Portugal by austerity, as if by a social-realist Buñuel with a bit of the novelist José Saramago’s existential musing; the same kind of absurdism and deadly serious political scepticism.”–Peter Bradshaw, The Guardian (contemporaneous)

Capsules

CAPSULE: THE CHASE (1946)

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DIRECTED BY: Arthur Ripley

FEATURING: Robert Cummings, Michèle Morgan, Steve Cochran, Peter Lorre

PLOT: A mentally fragile veteran of the U.S. Navy stumbles into the employ of an eccentric gangster and inadvertently seduces the hoodlum’s wife; his dodgy escape gets dodgier when his mind snaps and he awakens in an unfamiliar apartment.

Still from The Chase (1946)

WHY IT WON’T MAKE THE LIST: While it is rare to find an example of film noir that isn’t worth seeing, it is also rare to find one that fits the description of “weird.” The Chase dabbles with some strange encounters and has a plot explosion that very nearly carries it into 366’s warm embrace, but it comes up short enough to make one wish the film-makers had gone the distance.

COMMENTS: With a scramble of memory loss, noir grit and brevity, oddball bad guys, and a side of Peter Lorre, The Chase cruises down its narrative path with an unlikely mix of the conventional and the abnormal. We dive right into the story of Chuck Scott (Robert Cummings), a down-at-the-heels navy veteran in Florida who finds and returns the cash-filled wallet of one Eddie Roman (Steve Cochran). Both impressed and amused by the man’s honesty, Roman hires Scott as his chauffeur, firing the man’s predecessor on the spot. Scott quickly gains the trust of Roman’s captive wife, Loran (Michèle Morgan), and after a number of trips to a nearby beach, they plot an escape. An hour in, we are deep indeed in standard noir territory—and then something odd happens.

But please allow me to back-track for a moment. As characteristic as it was to start with, The Chase already seemed to have a weird undercurrent attempting to break free. The scene where Scott tracks down Roman and tries to get a meeting with him to return the wallet is a bizarre set-piece that I can only describe as repetition at the corner of creepy and amusing. Through the door’s peep-hole, Scott first explains himself to a butler (named “Job,” of all things), then holds the exact same conversation with a henchman, one “Mr Geno” (Peter Lorre). Gaining entrance, Scott explains himself a third time before Mr Geno reluctantly directs him to Eddie Roman, who is being groomed by two female attendants. Roman asks one, “How do you feel being a barber … cutting a man’s hair. Feels good, doesn’t it?”

Between this scene and the twist we see a souped-up luxury car with rear-seat gas and brake, Peter Lorre laconically quipping, a knife-throwing Cuban waiter, and a biddable Asian imports/exports shop-keeper. Or do we? There is a dimly lit transition shot of a telephone ringing and all of a sudden the movie jumps from bad things happening in Cuba to unclear things happening back in Florida.

Scott, waking up in a room we know he lives in, has no idea what’s going on. He stumbles around a little, he takes the medication he left on the desk, and makes a phone call, explaining, “…it’s happened again.” At that point, The Chase seems to shift into high-weird gear, and we start trundling down an understated but “off” string of events. Build, build, build—and oh so sweetly—only, alas, to have the weird rug pulled away to make room for an altogether too prosaic ending. I generally don’t say this, but this film seems ripe for a re-make by a director who’d be willing to go as far as coherently ((Or, for those who’d prefer, as incoherently as possible.)) possible; that said, I recommend you check this one out.

Kino Lorber’s 2016 DVD/Blu-ray release of The Chase includes commentary by none other than .

WHAT THE CRITICS SAY:

“… an especially bizarre jaunt through a nightmarish crime world… More than any classic film noir that I can think of, The Chase stands as a predecessor to David Lynch’s Mulholland Dr.“–Jeremy Heilman, Movie Martyr

Capsules

CAPSULE: LOOK WHO’S BACK (2015)

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Er ist Wieder da

DIRECTED BY:

FEATURING: Oliver Masucci, Fabian Busch, Franziska Wulf

PLOT: After a seven-decade hiatus, Adolf Hitler returns to Berlin, emerging alive from his cremation pit outside his erstwhile bunker to take modern Germany by storm when he’s mistaken for a comedian.

Still from Look Who's Back (2015)

WHY IT WON’T MAKE THE LIST: Comedies focusing on Adolf Hitler have been around since at least 1940, and have been a part of cinema in fits and starts ever since. Look Who’s Back is the latest film taking a jaded view of the whole Hitler phenomenon. It is often funny and sometimes thought-provoking, but far from weird.

COMMENTS: Look Who’s Back is a series of gambles. It aims to be a buddy comedy. It includes filmed interactions with real people. It uses the medium of film to satirize the more popular media of television and the internet. It takes on the wimps and bullies of modern politics using a mid-20th-century perspective. And, of course, the biggest gamble is the man providing that perspective: Adolf Hitler. One has to judge a movie like this on whether these gambles pay off. Do they? Mostly.

Adolf Hitler (Oliver Masucci) remains an undaunted version of his old self. Anyone who’s seen Downfall (or otherwise knows a bit of history) will recognize the strange mix of unflappability and histrionics that defined the 20th-century’s most notorious figure. Upon awakening amidst a puff of smoke, the erstwhile Führer assesses his situation. Surrounded by buildings and prosperity, as well as all manner of ethnicities, he keeps his cool as he makes his way to a newspaper stand. As Hitler finds his footing, a hapless loser of a freelance newsman, Fabian Sawatzki (Fabian Busch), becomes his guide. Together in a flower van borrowed from Sawatzki’s mother, they tour the country: interacting with locals, taking in the scenery, and having a bad run-in with a dog breeder (something that comes back to haunt them). Clips of Hitler’s shenanigans go viral, he lands a number of TV gigs, and becomes a media sensation.

Look Who’s Back is at its finest in the first half as a whimsical buddy comedy. The unlikely chemistry of Masucci’s Hitler and Busch’s Sawtzki is humorous and touching. As bombastic as he ever was, Hitler waxes grandiloquent; Sawatzki, while listening to and showing off his find, can barely believe that such a man could exist now, much less ever. In their way, they’re cute together. This chemistry gets put to the side during the second half, when things get a bit too Network-y. A TV studio picks up the act, and all the points made in the classic 1976 satire about the evils of pursuing ratings are rehashed, spiced up with YouTube and social media jabs. It seems that the modern world can accept a crazy racist with charisma; a line is crossed, however, when the truth about the dog comes out.

Running close to two hours, Look Who’s Back tries to cover a lot of ground. Its biggest gamble pays off to such an extent that whenever Hitler is not on screen, the movie sags. A couple of sub-plots involving machinations at the TV studio and Sawatzki’s romantic pursuit of a secretary (Franziska Wulf) seem tacked on and make for some cumbersome dead time. Look Who’s Back would have done better as a television show: this masterful Hitler impersonator roaming Germany and interacting with unsuspecting civilians could have made for a biting series à la Sacha Baron Cohen (whose antics this Hitler probably would have liked). As it stands, it’s definitely worth a view, but you may find yourself in the uncomfortable position of wanting more Führer for your time.

Look Who’s Back is not currently on DVD in North America—although a German Region B Blu-ray with English subtitles is available—but it was streaming on Netflix at the time of this writing.

WHAT THE CRITICS SAY:

“Masucci is well-chosen, but the film would have benefited from a much shorter, focused narrative.”–Stepahn Hedmark, “Thrill Me Softly”