Category Archives: Canonically Weird (The List)

Canonically Weird (The List)

35. DELICATESSEN (1991)

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“I have a lovely memory of my producer, Claudie Ossard, who came to see us in these sewers.  She’d come in Chanel suits and high heels.  It was surreal to see her among these Troglodists dripping in oil.”–Jean-Pierre Jeunet

Recommended

DIRECTED BY: Marc Caro, Jean-Pierre Jeunet

FEATURING: Dominique Pinon, Jean-Claude Dreyfus, Marie-Laure Dougnac, Karin Viard, Howard Vernon

PLOT:  In the near future, parts of French society have collapsed, most Parisian buildings are burned out husks, and citizens have turned to a barter economy.  Among the many shortages experienced by city folk is a lack of fresh meat, but one butcher always seems to have enough flesh to trade for corn, or sex.  Answering an ad for a handyman, an ex-clown arrives at the bizarre boarding house run by the butcher and begins a chaste romance with his daughter—but is he there to do odd jobs, or does the butcher have something else in mind?

Still from Delicatessen (1991)

BACKGROUND:

  • The first of two films co-directed by Jeunet and Caro.  The pair conceived the idea for The City of Lost Children (also on the List of the 366 best weird movies of all time) first, but it was too expensive to produce.  Delicatessen could be shot on a single sound stage, cheaply, so they produced this film first.
  • In the opening titles, Caro is credited with “direction artistique,” while Jeunet is responsible for “mise en scène.”
  • Jeunet, one of three co-writers on the film, says that the idea for the story came to him because he used to rent a room above a butcher’s shop and would be awoken by the sound of the butcher sharpening his cleaver every morning.  His fiancee would joke that the landlord was killing his tenants for meat in order to convince him to move to a new apartment.
  • Caro not only refused to participate a director’s commentary, saying that he didn’t believe in them, but also requested that footage of him not be used in the behind-the-scenes segments on the DVD.  In his commentary, Jeunet implies that Caro is too self-critical, dryly suggesting Caro thought the film a failure because a barely visible garden hose was unintentionally left in one shot.
  • Delicatessen was picked as the Best Film at the Tokyo International Film Festival.  At home in France it won four César’s, including Best First Feature, Best Screenplay, Best Production Design, and Best Editing.
  • The original trailer for the American release simply contained the entire “bed-spring symphony” scene, with the movie’s title appearing at the end.
  • At the time of release some reputable American critics reported that the film was either co-produced or “presented by” Terry Gilliam, although Gilliam’s name doesn’t appear anywhere in the credits.  It seems likely the Monty Python alum, whose early films are tonally similar to Jeunet and Caro, played some part the American distribution.

INDELIBLE IMAGE: Howard Vernon’s aquatic second floor apartment, covered in a few centimeters of algae-green water and inhabited by frogs and snails who climb over all the furniture, the record player, and even over the dozing actor.  In the corner is a giant pile of discarded escargot shells.

WHAT MAKES IT WEIRD: Wandering through Delicatessen is like taking a tour of a dilapidated French boarding house filled with insane tenants, most pleasantly eccentric, some downright creepy. You peer inside each room and find something unique and discomfiting. The film is filled with bizarre characters and absurd comic interludes, set in a decaying near-future universe that is artificially “off.”

Spanish trailer for Delicatessen

COMMENTS:  Except for Marie-Laure Dougnac’s eyes, there is no blue in Delicatessen, Continue reading 35. DELICATESSEN (1991) →

Canonically Weird (The List)

34. STALKER (1979)

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“My dear, our world is hopelessly boring.  Therefore, there can be no telepathy, or apparitions, or flying saucers, nothing like that.  The world is ruled by cast-iron laws, and it’s insufferably boring.  Alas, those laws are never violated.  They don’t know how to be violated…. To live in the Middle Ages was interesting.  Every home had its house-spirit, and every church had its God.”–Writer, Stalker

Must See

DIRECTED BY:

FEATURING: Aleksandr Kaidanovsky, , Nikolai Grinko, Alisa Freindlich

PLOT:  A mysterious phenomenon known as the Zone arises in a small, unnamed country.  The military sent soldiers in and the troops never returned; they cordon off the Zone with barbed wire and armed guards, but rumors persist within the populace that inside the Zone is a room that will grant the innermost wish of anyone who enters it.  A Stalker, a man capable of evading both the police and the traps formed by the Zone itself, leads a writer and a scientist into the Zone in search of the mystical room.

Still from Stalker (1979)

BACKGROUND:

  • For information on director Tarkovsky, see the background section of the entry for Nostalghia.
  • Stalker is very loosely based on a science fiction novel with a title translating to “Roadside Picnic” written by two brothers, Boris and Arkady Strugatsky.
  • After shooting the outdoor scenes for over a year on an experimental film stock, the entire footage was lost when the film laboratory improperly developed the negatives.  All the scenes had to be re-shot using a different Director of Photography.  Tarkovsky and Georgy Rerberg, the first cinematographer, had feuded on the set, and Rerberg deserted the project after the disaster with the negatives.
  • Tarkovsky, his wife and assistant director Larisa, and another crew member all died of lung cancer.  Vladimir Sharun, who worked in the sound department, believed that the deaths were related to toxic waste the crew breathed in while filming downstream from a chemical plant.  He reported that the river was filled with a floating white foam that also floated through the air and gave several crew members allergic reactions.  A shot of the floating foam, which looks like snow falling in spring or summer, can be seen in the film.
  • The Chernobyl nuclear disaster happened seven years after the film was released.  The quarantined area around the disaster site is sometimes referred to by locals as “The Zone,” and guides who illegally and unwisely take tourists there as “Stalkers.”
  • A popular Russian video game named “S.T.A.L.K.E.R.: Shadow of Chernobyl” involves the player penetrating a “Zone” and evokes a similar visual sense as the movie.

INDELIBLE IMAGE:  Like most of Tarkovsky’s works, Stalker is a movie full of awe-inspiring visual poetry and splendor, making it hard to pick a single sequence.  One key scene that stands out is Stalker’s dream.  The film stock changes from color to sepia—but a very warm brown, almost golden—as the camera pans over a crystal clear stream.  A female voice whispers an apocalyptic verse and the mystical electronic flute theme plays as the camera roams over various objects lying under the water: abstract rock formations, tiles, springs, gears, a mirror clearly reflecting upside down trees, a gun, an Orthodox icon, a fishbowl with goldfish swimming in it.

WHAT MAKES IT WEIRD: Stalker is an ambiguous, but despairing, existential parable containing narrative non-sequiturs wrapped inside of strange and gorgeous visuals.


Scene from Stalker

COMMENTS: It’s not fair to the potential viewer unfamiliar with Tarkovsky to start a Continue reading 34. STALKER (1979) →

Canonically Weird (The List)

33. EVIL DEAD II (1987)

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AKA Evil Dead 2: Dead by Dawn “What distinguishes Evil Dead II is that it isn’t a horror film with comic moments or a comedy with frightening moments. It is instead a true horror-comedy that taps into the fact that both comedy and horror rely on weirdness, incongruity, and shock.”–Victoria Large, Brattle Theater Film Notes

Must See

DIRECTED BY:  Sam Raimi

FEATURING: Bruce Campbell

PLOT:  Young Ash takes his girlfriend to a deserted cabin in the woods for a weekend of romance; unfortunately, the hideout was the former abode of a deceased archaeologist who had discovered a “Book of the Dead” the ancients believed could call forth an evil spirit and allow it to possess the bodies of the living and the dead.  Ash plays an old tape by the professor in which he reads the magical words of summoning, and the spirit does indeed come and possess Ash’s girlfriend (whom he is forced to dispatch gruesomely).  That’s only the beginning of Ash’s troubles, however, as, trapped in the cabin, now must fight off a horde of demonic presences, at first all alone and later with the help of the professor’s daughter and her companions.

Still from Evil Dead II (1987)

BACKGROUND:

  • Evil Dead II is much more a remake of, rather than a sequel to, Raimi’s low-budget drive-in hit The Evil Dead (1981) (although that point is technically debated among fans). Where The Evil Dead was a straightforward horror movie, Evil Dead II is a comedy in a horror setting.  Actor Bruce Campbell reprises his role as Ash from the first film; it was this performance that made him into a cult actor.
  • This was Raimi’s third feature film, after The Evil Dead and the weird, Coen brothers scripted comedy Crimewave! (1985).  He would go on to mainstream success when he was tapped to direct the Spider-Man series.
  • Powerful horror novelist Stephen King, a fan of the first Evil Dead, introduced Raimi to Dino de Laurentiis and convinced the producer to fund Evil Dead II after Raimi declined an offer to adapt King’s story Thinner.
  • Followed by a sequel, Army of Darkness (1992).  Rumors of a fourth film in the series have circulated since the mid nineties; currently, an Evil Dead IV is listed as “in development” on the Internet Movie Database, although this is far from an assurance that a fourth film will be made.

INDELIBLE IMAGE:  Ash fighting his own disembodied hand: a scene that starts out creepy, but becomes a slapstick routine, ending up in a groan-inducing pun.

WHAT MAKES IT WEIRD:  Oddly, Evil Dead II‘s credentials as a weird film are called into question by its almost unqualified embrace by critics and gorehounds alike: can anything that is so widely beloved, anything that fails to alienate either the high or the lowbrow, really be authentically weird? In fact, Evil Dead II is only slightly weird, but the events of the cabin feverish middle portion of the film—where the battered Ash seems to be hallucinating the horrific events—are just bizarre enough to make Evil Dead II eligible for inclusion. Add to those scenes the over-the-top gore, slapstick and constant surprises of the film’s last half, and you get a lovable mish-mash of a movie with a one-of-a-kind comic tone that is too exhilarating to be left off a list of the weirdest movies of all time.


Blu-ray trailer for Evil Dead II

COMMENTS:  The quality and sheer fun of Evil Dead II don’t need a defense.  It’s hard to Continue reading 33. EVIL DEAD II (1987) →

Canonically Weird (The List)

32. PHANTASM (1979)

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AKA The Never Dead (Australia)

“…when you’re dealing with a movie with this many oddball ideas, and a director who’s not afraid to ‘go weird’ just because he wants to, your best bet is probably just to keep quiet, enjoy the ride, and then see how you feel once the whole crazy experience is over with.”–Scott Weinberg, Fearnet

Recommended

DIRECTED BY:

FEATURING: Angus Scrimm, , Bill Thornbury,

PLOT:  While secretly observing services for a deceased family friend, recently orphaned 13 year-old Mike witnesses an impossible feat performed by the funeral director known only as The Tall Man.  Later, while following the older brother he adores to a tryst in a cemetery, he spoils the romantic ambiance when he tries to warn his brother of a dwarf-like creature he sees scurrying in the shadows.  The Tall Man begins appearing in Mike’s nightmares, and he journeys alone to the isolated funeral home to gather evidence to support his belief that the mortician is responsible for the strange happenings in his New England town.

Still from Phantasm (1979)

BACKGROUND:

  • The kernel of the idea for Phantasm came from a dream writer/director Coscarelli had in his late teens where he was “being pursued through a corridor by some kind of flying steel ball.”
  • Coscarelli, only 23 years old when Phantasm began production, not only wrote and directed the film but also served as cinematographer and editor.
  • The film originally received an “X” rating in the United States (a kiss of death at that time for anyone seeking wide theatrical distribution) due to the blood and violence in the silver sphere scene (and the shot of urine seeping out of the dead man’s pants leg).  The scene is frightening and effective, but relatively tame by twenty-first century standards.  According to a widely repeated anecdote, Los Angeles Times movie critic Charles Champlin, who liked the film, intervened with the MPAA to secure an “R” rating for Phantasm. Per co-producer Paul Pepperman, however, it was someone from the distribution company who convinced the ratings board to change their verdict.  Champlin’s role was actually to recommend Universal pick the picture up for distribution.
  • A scene where the Tall Man appears in Mike’s dream was selected as the 25th entry in Bravo’s “100 Scariest Movie Moments.”
  • The film cost between $300,000 and $400,000 to make, and eventually earned over $15 million.
  • Phantasm spawned four sequels, all directed by Coscarelli. None were as well received or fondly remembered as the original.  Coscarelli would eventually score an underground hit again with the bizarre horror/comedy Bubba Ho-Tep (2002).

INDELIBLE IMAGE:  Without a doubt, the unexplained appearance of the flying sphere zooming through the sublimely creepy marble halls of the mausoleum.

WHAT MAKES IT WEIRD:  Phantasm appears to be a standard horror film at first blush, but as it heedlessly races along from one fright to another, it becomes increasingly obvious that the plot is not resolving, or at least not resolving in any sensible way.  It is also obvious that this scattershot plotting, which elevates atmosphere and psychological subtext  by frustrating the literal sense, is a deliberate choice to “go weird” and not a result of incompetence.


Original trailer for Phantasm

COMMENTS: Mike wakes up to discover the Tall Man looming over the head of his bed like Continue reading 32. PHANTASM (1979) →

Canonically Weird (The List)

31. FUNKY FOREST: THE FIRST CONTACT [NAISU NO MORI: THE FIRST CONTACT] (2005)

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“Only appearing in your dream. Distorting every sound to create a world like to other. This is what they live for; jumping from one person’s dream to another. Once you have been chosen, you will lose all control of your dreams.”–from the script of Funky Forest: the First Contact

Weirdest!

DIRECTED BY: , Hajime Isimin (AKA Aniki), Shunichiro Miki

FEATURING: Tadanobu Asa, , Susumu Terashima, and a large ensemble cast

PLOT: Funky Forest is a series of absurdist skits—including both computer generated and hand drawn animation segments and musical interludes—sharing some common characters and situations, thrown together in a blender. The movie features the interwoven antics of two squabbling TV comedians, a trio of brothers who are unpopular with women, an English teacher in love with a recently graduated student who sees him as a friend only, and a school where strange bloodsucking creatures are growing, among many other threads. The comic nonsense sketches and dreams are loosely tied together by references to visitations from “alien Piko-Rico.”

Still from Funky Forest: The First Contact (2005)

BACKGROUND:

  • There is little hard information on this production available in English. Of the three credited co-directors, Katsuhito Ishii, who directed the majority of the sequences, is usually given most of the credit for assembling the collaborative project.
  • Ishii composed the animated sequences for Quentin Tarantino’s Kill Bill, Vol. 1 (2003) and had a minor arthouse hit with The Taste of Tea (2004).
  • Funky Forest is the first movie directing credit for Shunichiro Miki, whose only previous movie credit was a small acting role in The Taste of Tea. Miki directs commercials in Japan. He is responsible for the “monster” segments of the film.
  • Prior to Funky Forest, Hajime Isimin (who is also known as Aniki) had released one direct-to-video comedy in Japan and worked as the musical director on The Taste of Tea. He is responsible for the “Notti & Takefumi” sequences that contain the film’s major musical and dance numbers.
  • Funky Forest won the “Most Innovative Film Feature” award at the 2006 Toronto After Dark film festival.

INDELIBLE IMAGE: The still of the Japanese schoolgirl with a tube jammed into her navel hooked up to a strange machine encasing a large orifice while two strangely costumed men look on, from the segment titled “Wanna go for a drink?”, has already become an iconic image on the Internet. It’s the picture people post or email when they want to illustrate either 1. how weird the movie Funky Forest is, or 2. assuming the picture is from a mainstream Japanese soap opera, how weird they think the Japanese people in general are.

WHAT MAKES IT WEIRD: As the trailer indicates, Funky Forest‘s weird credentials are unimpeachable; if anything, this is a movie that’s almost too weird to be comprehensible, which is why it’s nice that it’s divided into small bites that can be digested independently. It works like a surrealist version of Altman’s Short Cuts.


Japanese language trailer for Funky Forest

COMMENTS: The opening paragraph of every review of Funky Forest is where critics get Continue reading 31. FUNKY FOREST: THE FIRST CONTACT [NAISU NO MORI: THE FIRST CONTACT] (2005) →