Miscellanea

WEIRD HORIZON FOR THE WEEK OF 7/1/2011

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

There’s nothing weird debuting in theaters this week… though you may want to check out The Tree of Life if you haven’t already.  Frankly, summer blockbuster season can’t end soon enough for us. Fortunately, it’s a huge week for home video releases, so we don’t mind the drought at the cinemas so much.

IN DEVELOPMENT:

Alma (est. 2011-2015):  The creepy short film by former Pixar animator Rodrigo Blaas about a little girl sucked into a bizarre soul-stealing toy store has been greenlighted by Dreamworks, thanks to the intervention of new DW collaborator , who will executive produce while Blaas directs.  Something about this career path—young animator with a cute/macabre style makes award-winning unreleased short, gets shot at making feature—reminds us of the story of a young Tim Burton, except that the studio is behind the artist this time.  Read the story at the LA Times.  The original short can be viewed below.

They Saved Hitler’s Brain (est. 2011):  Ever since it worked for Little Shop of Horrors, everyone is convinced they can take any crazy old B-movie and turn it into a hit musical.  The incredibly stupid and confusing Hitler’s Brain is the next target of this trend (which has already seen movies like Evil Dead and The Toxic Avenger turned into off-Broadway song-and-dance fests).   We can just hear the libretto in our heads: “Heil, heil Hitler, you’re just a head/No house to live in, use this jar instead!”  It’s listed as a 2011 production on the IMDB, but there hasn’t been any official news since the project was announced in 2008.

NEW ON DVD:

The Baby (1973): “Sick” black comedy/horror about a family who keeps their thumb-sucking, mentally-disabled 21-year-old son in a crib and diapers.  The DVD box cover proudly quotes DVD Drive-In as saying, “One of the most bizarre films to come out of Hollywood in the 1970s!”  This title is also currently in our reader-suggested review queue, so you can expect to see a review in the coming weeks. Buy The Baby.

Black Moon (1975):  A girl flees a land where the sexes are literally at war (with guns and tanks) and escapes to a farmhouse where she meets a unicorn, among other strange creatures, in this extremely surreal film.  Big-time weirdness from a cinema master (Louis Malle) brought to us by the Criterion Collection.  Buy Black Moon [The Criterion Collection].

“ReBoot: The Definitive Mainframe Edition”:  Anyone who caught this 1994 computer-animated kiddie show about a society that lives inside a desktop computer on a Saturday morning in 1994 might be forgiven for thinking they hadn’t yet come down from whatever substances they had consumed the night before.  It continues the great Saturday morning cartoon tradition of simultaneously appealing to kids and adults who love a little light weirdness.  Now the entire series is available in this 9 disc box set.  Buy “ReBoot: The Definitive Mainframe Edition”.

Sucker Punch (2011): Read our capsule review.  A young girl invents a fantasy world in this video game style spectacle. Buy Sucker Punch.

Tetsuo: The Bullet Man (2009):  A man begins to transform into a machine, to a soundtrack by Nine Inch Nails.  We certify Tetsuo: The Iron Man weird on Wednesday, and the second sequel/remake just happens to have been released to DVD the day before… coincidence?  Yes!  Buy Tetsuo: The Bullet Man.

White Lightnin’ (2009):  Biopic of Jesco White, outlaw, clog-dancer, gas-huffer, and perhaps the wildest of the insane Appalachian clan profiled in the surprise documentary hit The Wild and Wonderful Whites of West Virginia (2009).  Mentioned here because it was filmed in an experimental style with hallucinations and ends with a descent into madness that left some viewers scratching their heads. Buy White Lightnin’.

Zazie dans le metro (1960): Speaking of Louis Malle, weird, and the Criterion Collection, Zazie isn’t as aggressively surreal as Black Moon but it’s also of interest.  It’s a wacky, absurd, whimsical, and totally unreal slapstick satire of Paris. Buy Zazie dans le metro [The Criterion Collection].

NEW ON BLU-RAY:

Black Moon (1975):  See description in DVD above. Buy Black Moon [Blu-ray].

Cowboy Bebop: The Movie (2001):  Mindbending science-fiction anime about post-apocalyptic bounty hunters on the trail of a bio-terrorist.  Fans of the anime series will doubtlessly be thrilled by this Blu-ray debut, but word is the film stands up well as a standalone piece for those who never watched an episode of the TV show. Buy Cowboy Bebop: The Movie [Blu-ray].

Sucker Punch (2011): See description in DVD above.  Buy Sucker Punch (Blu-ray/DVD Combo).

Zazie dans le metro (1960): See description in DVD above. Buy Zazie dans le metro [Blu-ray].

 

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

ROLAND WEST’S THE MONSTER (1925) STARRING LON CHANEY

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The Monster (1925) is part of  the extensive Warner Archive Collection 2011 releases. This film, directed by Roland V. West and starring Lon Chaney, goes a considerable length to prove the adage that “there is nothing new under the sun.” Essentially, The Monster is the precursor for the tongue-in-cheek old-dark-house-with-malevolent-horror-star-as-host movie. Considerably later,Vincent Price and William Castle visited The Monster‘s familiar territory in the House on Haunted Hill (1959), a film that has become the stereotypical example of the genre.

Director Roland V. West revisited The Monster territory again in the following year’s hit, The Bat and, yet again with sound in The Bat Whispers (1930) (for which he is most remembered—well, he may actually be best remembered for giving  a deathbed confession that he murdered his girlfriend Thelma Todd).The Monster is the least known of West’s dark house trilogy and, although it is the weakest of the three, it retains interest for several reasons.

The Monster is an oddity in the way it uses star Chaney. Chaney’s body of work goes a considerable distance in debunking his reputation as a “horror” actor.  The few horror films Chaney appeared in are more aptly described as bizarre, densely psychological melodramas.  The Monster, however, could serve as a prototype for a genre celebrity in a B-movie parody. Chaney’s Dr. Ziska is strictly cartoon horror.  He could romp with Baron Boris in Mad Monster Party (1967), or brew up a Gossamer with Bugs in Hare-Raising Hare (1946).

Hick amateur Johnny (Johnny Arthur) has just gotten his detective license in the mail, just in time to try and solve a local whodunit disappearance. Johnny, the local nerd, has his eye on Betty (Gertrude Olmstead) but she’s on the arm of the local jock hero. If only Johnny could solve the case and win the girl. This setup leads the three teens to the local spooky house run by Dr. Ziska, a mad surgeon running a former sanitarium. Ziska is aided by caped ghoul who rolls imagined smokes and, with the aid of a mirror, plays saboteur to cars on lonely back roads. Ziska is also assisted by the hulking mute, Rigo.

Still from The Monster (1925)Trap doors, laundry chutes, secret basements and an electric chair are the props in West’s dream-world. Chaney’s Ziska is surprisingly foppish with smoking jacket, a flapper-like quellazaire, and a wayward eyebrow. Ziska wears a menacing grin at all times, making him a possible first member of a Grand Guignol Three Stooges which might include Lionel Atwill and Bela Lugosi in their lean salad days. Foppish or not, Ziska is man enough to get aroused when he straps poor Betty to the table. With Rigo’s Frankenstein monster-like presence, about the only thing missing is a Vampirella to play opposite Ziska’s Dr. Deadly.

The Monster is not great cinema, its not the best West, best Chaney, or best Old Dark House movie ( would deliver that seven years later), but it is silent pulp and, in the right mindset, it can take you back to the days of milk duds and acne.

Canonically Weird (The List)

91. TETSUO: THE IRON MAN (1989)

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“One of the most memorable screenings in the early years of Midnight Madness, Tetsuo so stunned the attending crowd that few noticed the print had no subtitles.”–Toronto International Film Festival

RecommendedWeirdest!

DIRECTED BY:

FEATURING: , Shinya Tsukamoto,

PLOT: A man who collects scrap metal (identified as “fetishist” in the credits) slices his leg open with a knife and inserts a metal pipe beside his thigh bone, then runs into the street when he notices maggots in the wound, where he is struck by a car driven by a salaryman and his girlfriend.  The salaryman leaves the scene of the accident, and later finds a piece of sharp metal growing out of his cheek; as the days go by, his entire body begins to transform into a machine.  Many hallucinations later, the fetishist, still-alive and also half made of metal, returns to do battle with the now almost completely mechanized salaryman.

Still from Tetsuo: The Iron Man (1989)

BACKGROUND:

  • Director Shinya Tsukamoto honed his craft working in an experimental underground theater group, and Tetsuo originated as a play.
  • Tsukamoto is also an actor.  Besides playing the fetishist in Tetsuo, the IMDB lists thirty-six acting credits for him, including a major role in Takashi Miike‘s Ichi the Killer (2001).
  • The Iron Man was followed by two sequels: the less surreal, more action-oriented reworking Tetsuo II: Body Hammer (1992) and the just-released-on-DVD as of this writing Tetsuo: The Bullet Man (2009).
  • While Tetsuo has become a cult favorite over the years, it was not well-received on release, perhaps simply because it was too strange and underfunded to find its way onto many screens.  It won only one major award, “Best Film” at the Fantafestival in Rome (an event that has since disappeared).

INDELIBLE IMAGE: Shinya Tsukamoto must have spent hours creating elaborate landscapes full of battered scrap metal and wire, and painstakingly animating sequences where the fetishist zooms through urban streets at the speed of amphetamine-enhanced thought; but no matter how much work the director put in to any effect, it’s the simple picture of the salaryman sporting an unbalanced, rotating drill bit penis that no one can forget.

WHAT MAKES IT WEIRD:  Tetsuo is a carefully patterned, but effectively nonsensical, barrage


Short clip from Tetsuo: The Iron Man

of images of industrial dehumanization.  Men and women extrude cables, wires, gears, drills, threaded pipes, and miscellaneous machine parts from their skin, in glorious showers of blood.  Nightmare visions in grainy black and white flow at a breakneck pace to the pulsing beat of an industrial soundtrack.  It’s a square plug of a movie forced into the round connector of our cinematic expectations, and it emits dangerous sparks.

COMMENTS: Attempts to describe Tetsuo: The Iron Man to the uninitiated run up against a Continue reading 91. TETSUO: THE IRON MAN (1989) →

Capsules

CAPSULE: DAYDREAM NATION (2010)

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DIRECTED BY: Michael Goldbach

FEATURING: , Reece Thompson, Josh Lucas, Andie MacDowell, Ted Whittall

PLOT: A teenage girl and her dad move to a small town populated with drug-addled teenagers and a mysterious serial killer. Feeling alienated and struggling to make friends, she sees a fellow intellectual outcast in her English teacher and decides to seduce him, while her bumbling classmate Thurston starts to fall for her.

Still from Daydream Nation (2010)

WHY IT WON’T MAKE THE LIST: Though its dark undertones, nonlinear format, and attempts to comment on the violence and sexiness apparently inherent to small-town teenagers have garnered comparisons to Donnie Darko and Twin Peaks, this is just an angsty, poorly-scripted knockoff with very little true weirdness.

COMMENTS: Narrated by the gorgeous Kat Dennings, who switches back and forth between her recent past and the present, Daydream Nation attempts to mesh poignant high school drama with erratic comedy and suburban darkness.  Caroline, our protagonist, is intelligent and disaffected, often sneaking in awkwardly sophisticated references that her peers don’t understand.  She embarks on a relationship with her teacher on a lark, in an effort to try something new and become a different person for a while; the unstable Mr. Anderson quickly becomes obsessively infatuated with her.  Their relationship falters as Caroline starts responding to the advances of Thurston (Reece Thompson), a druggie classmate mourning the recent death of a friend.  These core proceedings are surrounded by a lingering industrial fire, serial killings, parental interventions, and a ghost or two.

Seemingly shot entirely through a high-contrast haze, the film offers a few visual treats but nothing in the way of ingenuity.  The same can be said for the script, which has a few shining moments of interest but lingers in derivative mediocrity for most of the runtime.  Writer/director Michael Goldbach doesn’t seem to have much confidence in his ability to tell a story, inundating us with unnecessary amounts of narration and several needless plot devices.  The central character of Caroline—while played wonderfully by Kat Dennings—suffers the most. The best parts of the film involve her speaking her mind, calling out the hypocrisy and sexism of those around her, but these scenes are immediately followed by the character chastising herself in private, thinking herself a “bitch” just because she spoke the truth. It’s as if Goldbach wanted to write a strong female character, but then lost his momentum and copped out to typical gender stereotypes.

Daydream Nation aims for subtlety, but comes out with blaring obviousness thanks to the clumsy pacing and script. The performances from Dennings, Thompson, Lucas, and MacDowell are solid, but can’t save the ridiculous dialogue or self-indulgent shooting style (not that I’m complaining about the myriad drawn-out, close-up shots of Dennings, but really, it’s all a bit much). And it isn’t even that weird!

WHAT THE CRITICS SAY:

“…rolls elements of ‘Juno,’ ‘American Beauty,’ ‘Donnie Darko’ and ‘Twin Peaks’ into a potent blunt.”–Stephen Holden, The New York Times (contemporaneous)

Capsules

CAPSULE: THE LITTLE SHOP OF HORRORS (1960)

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Recommended

DIRECTED BY: Roger Corman

FEATURING: Jonathan Haze, Mel Welles, Jackie Joseph, Dick Miller, Jack Nicholson, Charles B. Griffith

PLOT:  Mild-mannered delivery boy Seymour breeds a new plant in an attempt to impress his boss and the sexy cashier at his flower shop; the talking mutant Venus flytrap grows to extraordinary size, but only so long as it is fed a constant supply of blood and bodies.

Still from Little Shop of Horrors (1960)

WHY IT WON’T MAKE THE LIST: It’s not weird enough, though it certainly marches to the beat of its own drummer. Filmed in two days from a quickie script by Roger Corman scribe Charles B. Griffith written on the fly to take advantage of some leftover storefront sets, Horrors was seat-of-the-pants filmmaking.  Aided by an inspired cast, the inherent quirkiness of the Faustian plant food fable shines through. Often called the best movie ever shot in 48 hours, The Little Shop of Horrors is a fast, fun ride that every cinephile should check out at least once; it’s a triumph of imagination, dedication, and sheer luck over budgetary constraints. It’s too bad it’s not a little bit weirder.

COMMENTS: “I’ve eaten in flower shops all over the world, and I’ve noticed that the places that have the most weird and unusual plants do the best business.” That’s the sort of universe Little Shop of Horrors takes place in, one where minor characters stand by casually chomping on salted gardenias and handing out plot advice to the principals. Set in a mythical Skid Row, “the part of town everybody knows about but nobody wants to see—where the tragedies are deeper, the ecstasies wilder and the crime rate consistently higher than anywhere else,” this is black comedy circa 1960. Not only is murder made a joke, but more scandalous taboos like sadomasochism and prostitution are part of the fabric of daily life on Skid Row. Man-eating plant aside, the movie’s greatest charm is the cast of crazy supporting characters that pop in and out of the story: the floral gastronome, Seymour’s hypochondriac mom, an unlucky woman whose relatives are constantly dying, two flat-affect flatfeet (broad spoofs of the duo from “Dragnet”), a pair of bouncy high school cheerleaders, a hooker who persistently tries to pick up a hypnotized trick, Continue reading CAPSULE: THE LITTLE SHOP OF HORRORS (1960) →

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