“Everything we know, is everything it is not. And we become foreigners to our own familiarity.”
Chelsea Whitbread’s “Alienation” is heavily influenced by the style and techniques of surrealist Man Ray. Instead of watching, you will spend the next two minutes being watched, and it’s not a pleasant experience.
DIRECTED BY: Robert Fuest
FEATURING: Vincent Price, Robert Quarry, Peter Jeffrey, Fiona Lewis, Valli Kemp, Hugh Griffith
PLOT: Dr. Phibes rises from suspended animation and travels to Egypt seeking waters of immortality to resurrect his beloved wife; but another man seeks the waters as well, and Scotland Yard is once again on Phibes’ trail.
WHY IT WON’T MAKE THE LIST: The original was just weird enough to make it a candidate for the List, but this nearly redundant sequel adds nothing new that would justify considering giving it its own separate spot.
COMMENTS: If you liked the original The Abominable Dr. Phibes, Rises Again tries hard to give you more of the same—campy black comedy mixed with bizarre characters, sets and (now gorier) murders—except this time there’s no logic or sense in the script whatsoever. All the beloved characters are back, including all the ones that died in the first movie. Mysterious silent assistant Vulnavia (played by a new actress, Australian beauty queen Valli Kemp) returns from the original, as do the clockwork musicians (Phibes packs them up in a steamer and ships them to Egypt with him). The sets and art design echo the original, with an Egyptian slant replacing the Art Deco look; there are some fun new sights like Price dressed as a sheik and an octagonal mirrored hallway. The half-serious campy tone from the first effort carries over, as does the black humor (watch as Phibes drinks champagne and eats fish through a hole in the back of his neck at a picnic with Vulnavia). A very few things have changed. Whereas Phibes was nearly silent in the first film, speaking rarely and painfully through audio cables that ran from his neck to a gramophone horn, once he Rises Again you can’t shut him up. For this outing he brought along an extra-long audio cable so he can wander about the sets, cursing all who would dare oppose them and plotting their fiendish demise without being limited to a five-foot radius around the phonograph. (He often speaks without a hookup at all; maybe we’re just privy to his inner monologues). And three years in suspended animation has sharpened his supervillain abilities: whereas in the first film, the Abominable doctor spent years plotting elaborate fetishistic schemes to kill his enemies based around Biblical plagues, now whenever he needs to he can simply whip up a spiked scorpion chair filled with creepy crawlies out of spit, bailing wire and whatever odds and ends he has lying around his pyramid. In the sequel, Phibes is pitted against another villain (a megalomaniac Robert Quarry, who makes it clear he doesn’t appreciate the inconvenience when the doctor keeps killing off his henchmen) rather than against the forces of law and order: Inspector Trout and his Scotland Yard superintendent are relegated to comic relief (they hesitate searching Phibes’ pyramid because they don’t have a warrant). So this time out we’re explicitly encouraged to root for Vincent Price (not that we wouldn’t anyway, but the lack of noble opponent makes it easier to get on his side). As mentioned before, the deaths are more gruesome in this sequel; the scene where Phibes’ pet falcon eats an interloper, pulling wads of flesh off his bloody corpse and swallowing them, pushes the limits of the movie’s PG rating. Lack of a sensible script aside, Fuest does a good job of giving Phibes fans more of what they loved about Abominable, but the one thing he can’t reproduce is the original’s originality.
Due to bungled rights issues, TV broadcasts and the original home video releases of Dr. Phibes Rises Again did not include Price’s rendition of “Somewhere Over the Rainbow,” replacing the sound in that key scene with generic instrumental film cues. MGM’s latest DVD releases (sold in a single disc edition
WHAT THE CRITICS SAY:
DIRECTED BY: Ingmar Bergman
FEATURING: Max von Sydow, Liv Ullman
PLOT: An artist is haunted by memories of his past. While isolated on an island with his pregnant wife, his demons catch up to him. Madness and delusion creep deeper into his mind as a gang of mysterious island dwellers intervene in the couple’s life. A secret, scandalous affair surfaces, and when supernatural forces intervene, the couple’s relationship and sanity is strained.
![Still from Hour of the Wolf [Vargtimmen] (1968)](https://i0.wp.com/366weirdmovies.com/wp-content/uploads/2010/09/hour_of_the_wolf.jpg?resize=450%2C278 "Hour of the Wolf")
WHY IT SHOULD’T MAKE THE LIST: This is a tough film to decipher. The ending is certainly weird, but the lead-up to that point is too ponderous and ambiguous. Bergman is a master and his lone foray into the horror genre is an excellent piece of film-making; his artistry in delving into the lower depths of the human psyche is better established in his other well-known masterpieces, however.
COMMENTS: The older I get, the more I appreciate Ingmar Bergman films. There is something about Swedish movies that encapsulates human existence like no other country. Scenes are left dangling on a thread waiting to snap. The slow, or still, images can verge on monotony, but are usually necessary to convey the pathos of the souls here. Sometimes watching scenes slowly transpire is the best way to fully grasp how life can unravel around us. A scene in this film actually plays out for an entire minute with the main character staring at his watch to express how even sixty seconds can feel like an eternity. Time can sometimes lay heavy on a burdened mind. What I’m trying to suggest here is that Bergman is amazing at capturing exactly what it means to be human. We sin and regret, yet we still long for penance and understanding. Even when our existence feels loathsome, it sure is nice to have someone else around to share in our misery. Modern Swedish director Roy Andersson (You, The Living) knows this as well and, like Bergman, his films are wrought with longing stares of sadness. Both Swedes capture these depressing moments and bring them alive with precise balance and well thought out execution. Even dialogue is matter-of-fact. Nothing said in their films seems to be unimportant or drivel; it’s Continue reading CAPSULE: HOUR OF THE WOLF [VARGTIMMEN] (1968)
DIRECTED BY: Cliff Bogart, Kyle Bogart
FEATURING: Mark Scheibmeir, Sydney Andrews, Stephen Taylor Fry
PLOT: Virgil, unhappy with his job as an assistant to a taste-tester in a flavor synthesis lab
and struggling with the pressures of a long-distance relationship with his fiancée, risks throwing everything away to dedicate himself to making a perfect goat cheese.
WHY IT WON’T MAKE THE LIST: Despite dream sequences and comic departures from reality, “weird” is too strong a word to use for this ever so slightly exotic concoction. “Recommended” is also too strong a word, unless you add the modifier “mildly.”
COMMENTS: Artois the Goat is a film that captures all the thrills, excitement and romance of cheesemaking: milking the goats, separating the curds from the whey, aging the final product. You might think there’s not a lot of thrills and romance in making artisanal goat cheese, but be assured that the Bogart brothers milk the subject for all it’s worth. (That’s the closest I’m going to come to making a cheesy pun about this movie). Actually, since the film is about following your passion, it could have just as easily been built around beer brewing, dollhouse building, or cannabis cultivation; but none of those other crafts would produce quite the same blend of snobbishness and ridiculousness as a film about cheesemaking, or appeal as deeply to the Food Channel demographic. Quips aside, the cheesecrafting side of the film is somewhat educational and engaging, appealing to a certain “how do they make that stuff anyway?” fascination. The thrust of the story is Virgil’s transition from a timid young adult who can’t commit to either a career or a woman to a fully-functioning adult who gets both. Like its bespectacled hero (who sleeps in a bed surrounded by walls of books but is never seen reading anything but cheesemaking manuals), the movie is bookish without being intellectual. It’s set in a world of smart, responsible, confused postgraduates who are neither hipsters nor yuppies, burnouts nor successes. They have the education and taste to recognize the good life, but not the courage to seize it. These twee characters and their sub-existential crises are a bit cloying, but thankfully, the movie frequently sets aside reality for Continue reading CAPSULE: ARTOIS THE GOAT (2009)
Next week’s reviews aren’t necessarily all set just yet, but we can confirm coverage of the following: the indie artisanal cheese comedy Artois the Goat (2009); Monte Hellman’s existential 1967 western The Shooting (starring Jack Nicholson); and, from the reader-suggested review queue, we’ll tackle Ingmar Bergman’s only horror movie, The Hour of the Wolf (1968), and we’ll give you two sets of opinions on the Neil Gaiman penned dream-fantasy MirrorMask (2005).
Weird search terms brought multitudes of visitors to the site last week. We have no idea why someone would visit this site because “i think i found a capsule of heroin.” But that fellow has nothing on our weirdest visitor, a guy looking for “girmilk out milky brast in kittle and happy.” We are glad we can’t make heads or tails of that particular request, because we can only assume he’s trying to describe some freakish fetish that would make Takashi Miike blush.
Here’s how that reader-suggested review queue now stands: Hour of the Wolf (next week); MirrorMask (next week); Trash Humpers (waiting on the DVD release); The Attic Expeditions; After Last Season; Performance; The Apple; Songs From The Second Floor; Necromentia; Possession; Suspiria; Wild Zero; 4; Nothing (2003); The Peanut Butter Solution; Ninja Scroll; Perfume: The Story of a Murderer; Faust; Sublime; Battle Royale; Pink Floyd: The Wall; Escanaba In Da Moonlight; Jesus Christ, Vampire Hunter; Zardoz; The Films of Suzan Pitt; Toto the Hero [Toto le Héros]; Paprika; The Holy Mountain; Brazil; The Casserole Masters; Dark Crystal; Throw Away Your Books, Rally in the Streets; The Nines; The Pillow Book; Final Flesh; Lunacy [Sílení]; Inmortel; Tetsuo; Dead Ringers; Kairo [AKA Pulse]; The Guatemalan Handshake; Dead Leaves; The Seventh Seal; Primer; Hausu; A Boy and His Dog; 200 Motels; Private Parts (1972); Saddest Music in the World; Mulholland Drive; The American Astronaut; Blood Tea and Red Strings; The Films of Kenneth Anger, Vol. II (for Lucifer Rising, among others); Willie Wonka and the Chocolate Factory ; The Bride of Frank; La Grande Bouffe; Uzumaki [Spiral]; Hedwig and the Angry Inch; Even Dwarves Started Small; Bunny & the Bull; “I Killed My Lesbian Wife, Hung Her on a Meat Hook, and Now I Have a Three-Picture Deal at Disney” (assuming I can find it); Cinema 16: European Short Films; Freaked; Session 9; Schizopolis; Strings; Dellamorte Dellamore [AKA Cemetery Man]; The Hour-glass Sanatorium [Saanatorium pod klepsidra]; The Addiction; Liquid Sky; The Quiet; Shock Treatment; Tuvalu; “Zombie Jesus” (if we can locate it); 3 Dev Adam; Fantastic Planet; “Twin Peaks” (TV series); Society; May; The Adventures of Buckaroo Banzai Across the 8th Dimension; Little Otik; Final Programme; Careful; Sweet Movie; The Triplets of Belleville; “Foutaises” (short); Johnny Suede; “Jam” (TV, UK, 2000), The Tale of the Floating World, Un Chien Andalou, Bloodsucking Freaks; Fellini Satyricon; Three Crowns of the Sailor; 8 1/2; Death Race 2000; Dororo; Lost Highway; Valerie and Her Week of Wonders; Dogville; and Julien Donkey-boy; Amelie; The Ten; The 7 Faces of Dr. Lao; 1; Fast, Cheap and Out of Control; Tokyo Gore Police; At Midnight I’ll Take Your Soul; The Trial [Le procès) (1962); Marquis; Hell Comes to Frogtown; Hellzapoppin’; Seom [The Isle]; Allegro Non Troppo; Fur: An Imaginary Portrait of Diane Arbus; Lust in the Dust; Celine and Julie Go Boating; “Franz Kafka’s It’s a Wonderful Life;” The Magic Christian; Black Cat, White Cat; The 5,000 Fingers of Dr. T; Abnormal: The Sinema of Nick Zedd; Robot Monster; Nightdreams; 3 Women; Rubin & Ed; Teeth; Vera; Weirdsville; Prospero’s Books; Inferno; Garden State; Persona; and The Real McCoy; Rat Pfink a Boo Boo; Themroc; Candy (1968); Run Lola Run; Pink Flamingos; Buffalo ’66; Northfork; Weekend; The Room; Glen or Glenda?; Night of the Hunter; The Fox Family; Midnight Skater; Angelus; Cloudy with a Chance of Meatballs; Twister (1989); Yokai Monsters, Vol. 1: Spook Warfare [AKA Big Monster War]; Haxan; This Filthy Earth; Conspirators of Pleasure; Piano Tuner of Earthquakes; Clean, Shaven; Bubba Ho-Tep; Sheitan; Innocence; “Chingsao the Clown”; Léolo; 2001: A Space Odyssey; Blue Velvet; ID (2005); Master of the Flying Guillotine; Yesterday Was a Lie; The Ninth Configuration; Forbidden Zone; The Cell; The Illustrated Man; The Man Who Fell to Earth; Fando y Lis; Rampo Noir; Head; Christmas on Mars; “Broken Glass”; Videodrome; Air Doll; The Ossuary and Other Tales; Arrebato; Symbol; Wicked City (1992 live action); Barbarella; Picnic at Hanging Rock; The Cars that Ate Paris; The Boxer’s Omen [aka Mo]; Solyaris (1972); Portait of Jennie; Salo, the 120 Days of Sodom; The Last Sunset (1961); Orpheus (1950); A Scanner Darkly; Safe; The Atrocity Exhibition; My Dinner with Andre; Gainsbourg (Vie héroïque); Slacker; Goke, Body Snatcher From Hell; Color of Pomegranates; and Horror Express.