SHORT: VINCENT (1982)

Recommended

DIRECTED BY: Tim Burton

FEATURING: Vincent Price

PLOT: A seven year old boy wishes he could be just like the Vincent Price he sees in old movies.

Still from Vincent (1982)

WHAT MAKES IT WEIRD:  It’s not quite weird; more mildly macabre.  But it sure is cool.

COMMENTSVincent is a 5 minute poem, narrated by the mellifluous Vincent Price, about a morbid boy (also named Vincent) obsessed with emulating the horror icon’s tormented screen persona.  It’s told in a singsong, storybook cadence and given a superlative reading by Price (who was so flattered by the tribute that he proclaimed it a greater honor than a star on Hollywood Boulevard).  There are some specific references to Price’s work for the actor’s fans, though the short prefers to evoke their general atmosphere than to cite specific movies. Young Vincent’s daydreams involve dipping his aunt in wax, turning his dog into a zombie, and slowly being driven mad by his guilt over his unspeakable crimes.  A representative stanza: “Such horrible news he could not survive/For his beautiful wife had been buried alive!/He dug out her grave to make sure she was dead/Unaware that her grave was his mother’s flower bed.”  Vincent is visually impressive, deliberately shot in luminous black and white and drawing on the gloomy Gothic style of the old Universal horror movies with a powerful dose of German Expressionism.  (Burton denied being directly influenced by The Cabinet of Dr. Caligari, but he’s the only one who doesn’t notice the similarity to the silent psychological horror classic in the geometrically warped sets).  The look and childishly ghastly tone bring to mind a lighter version of the macabre black and white lithographs of Edward Gorey (who once created a primer where each letter illustrates the death of a tot).  Burton’s visual sensibility is already fully formed here, and the elements of his classic style—his comic, cathartic synthesis of fresh childhood innocence and the must of the grave—are already in evidence.  In fact, there may be no better example in the director’s entire body of work of than this crisp five minute exhibition of his talent for mixing the chuckle with the shudder.

Disney has traditionally made Vincent and Burton’s other pre-fame short Frankenweenie as extras on all their editions of The Nightmare Before Christmas.  The film is also included on the anthology Cinema 16: American Short Films (buy) alongside  Maya Deren‘s “Meshes of the Afternoon” and works by Andy Warhol, Todd Solondz and Gus Van Sant, among others.

WHAT THE CRITICS SAY:

“…a pastiche of styles lifted from the writings of Dr. Seuss and Edgar Allen Poe, and a range of movies from B-horror films, German expressionist works and the films of Vincent Price.”–Michael Frierson, Animation World Magazine (DVD)

[(This movie was nominated for review by reader “Maxwell Stewart.” Suggest a weird movie of your own here.)]

SATURDAY SHORT: THE ADVENTURES OF MR. COO #4 (2007)

In this fourth installment of The Adventures of Mr. Coo, Mr. Coo turns into a carrot, explodes as a castle, makes amends with a car, etc. Although this is the fourth episode, it won’t make much more sense than the first three. This series is focused more on awe-inspiring animation than plot.


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Watch more cool animation and creative cartoons at Aniboom

CAPSULE: GIRLY [AKA MUMSY, NANNY, SONNY AND GIRLY] (1970)

DIRECTED BY:  Freddie Francis

FEATURING:  Ursula Howells, Vanessa Howard, Michael Bryant

PLOT:  The four titular characters form a dysfunctional family living in a large, isolated house amidst rambling grounds.  Sonny and Girly regularly venture out to bring back lonely, homeless men as “friends” for the family. Each friend’s well being depends on his willingness to abide by the family’s bizarre rules and games. The latest friend adapts only too well, turning the family’s rules against them and revealing the sexual frustrations and power games simmering just below the surface gloss of nursery rhymes and tea parties.Scene from Girly (1970)

WHY IT WON’T MAKE THE LIST: It just isn’t weird enough.  Whether you consider it weird at all probably depends on whether you grew up with this brand of self conscious black humour.  The British are traditionally fond of it, for reason’s best known to ourselves.  Murderous, nonsense-prattling dysfunctional families are as mother’s milk to us, so this really didn’t seem all that odd to me.  Pared down to basics this is a tale of four maladjusted people, who may or may not be related, who seem to be independently wealthy and are isolated from society.  They have formed a family unit and devised a set of perverse games and rules to pass the time.  Periodically they lure in a lonely outsider, subject him to their games and when he inevitably breaks a rule, they kill him and film the proceedings.  Certainly it’s a little off kilter, but  in the company of the Premier League weirdness on this site it just doesn’t measure up.

COMMENTS:  If you are charmed by the idea of adults chattering out nonsense in sing song voices and constantly referring to themselves in the third person then I’ve got good news for you… this film has it in spades!  I’m not entranced by it, so the first ten minutes were touch and go.  A brief cameo by character stalwart Michael Ripper was enough to distract me, though, and I gradually found myself becoming interested in what was developing.  The first fifteen minutes or so of the film are an introduction to the games and rules.  Sonny and Girly are out at the crack of dawn scouting out park benches and ferreting under newspapers in their search for a New Friend.  The last Friend has apparently proven himself unsatisfactory Continue reading CAPSULE: GIRLY [AKA MUMSY, NANNY, SONNY AND GIRLY] (1970)

WERID HORIZON FOR 8/6/2010

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

Trailers of new release movies are generally available on the official site links.

As is so often the case, there are no new releases of weird interest in theaters this week.

SCREENINGS: LOS ANGELES (AUG 13)

I Can See You/The Viewer (2008): Read I Can See You‘s certified weird entryGraham Reznick‘s “psychedelic campfire tale” will be screening at the Los Angeles Downtown Independent, along with the 3-D science fiction short The Viewer, which has been upgraded from the “retro” red/blue glasses to take advantage of current polarized 3-D technology.  I Can See You/The Viewer at Downtown Independent.

NEW ON DVD:

After.Life (2009): Another psychothriller about a dead person who doesn’t know she’s dead (this one tips its hat in the plot synopsis). Christina Ricci wakes up on a slab in funeral parlor director Liam Neeson’s mortuary; she insists she’s alive, he tells her she’s in passage to the afterlife (or the after.life, I guess). Critics were cruel, and Ricci’s nude scenes may be the main draw. Buy After.Life.

Spike (2008): Homemade horror/fairy tale mixing a monster movie with Beauty and the Beast. The few underground critics who saw it in its lightning-flash film festival run gave it mixed reviews, but Calum Waddell did say “anyone seeking something mind-bogglingly bizarre probably won’t be too disappointed by this,” which is enough of an endorsement for us to mention it. Buy Spike.

NEW ON BLU-RAY:

After.Life (2009): See entry in DVD above. Buy After.Life [Blu-ray].

James and the Giant Peach (1996): Henry Selick‘s stop-motion followup the The Nightmare Before Christmas was again co-produced by Tim Burton, came from a story by Roald Dahl, and told the tale of a boy traveling to New York City aboard a giant flying and floating peach inhabited by various talking bugs.  It could have been a weird kids classic, but, though it’s worth seeing, some kind of magic is missing. Buy James and the Giant Peach [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.

HELL’S HINGES (1916)

To many contemporary viewers the idea of a silent western is as bizarre as a silent musical or silent Shakespeare.  To counteract that, one could easily point to the popcorn pleasures of many a Tom Mix western, such as The Great K & A Train Robbery (1926) or Just Tony (1922).  However, dipping back a mere ten years before Great K & A we find William S. Hart’s Hell’s Hinges (1916) to prove just how bizarre the silent western could get.

Hart was the direct opposite of Mix, yet both actors had an authentic western past.  Where Mix’s film were flashy, over the top, stunt-oriented, dime-store pulp western family fare, Hart offered up a gritty, dusty realism.  Yet, Hart’s “realism” was also mixed (often uncomfortably) with a heavy-laden, dated pathos that could compete with Charlie Chaplin at his soggiest (Limelight).

“Hell’s Hinges” is, perhaps, the quintessential example of  one of these uncomfortably strange William S. Hart hybrids mixing sentimentality with violence.  Both qualities are presented with all the subtlety of a pair of brass knuckles wrapped in a tear-drenched handkerchief.

Hart , who co-directed with Charles Swickard, plays Blaze Tracey, the meanest hombre in the town of Hell’s Hinges, a rowdy town similar to Chaplin’s “Easy Street.”  The titles amusingly describe Hell’s Hinges as a “gun-fighting, man-killing, devil’s den of iniquity.” Hart’s Blaze lords over Hell’s Hinges, much like Eric Campbell lorded over Easy Street.  Blaze has vowed that neither law nor religion shall ever come to Hell’s Hinges. Enter, on cue, Reverend Robert (Jack Standing) and his pure as the driven snow sister, Faith (Clara Williams), who have been assigned to pastor over the local church. Hart’s partner in crime, the beautifully named Silk Miller (Alfred Hollingsworth), informs Blaze that the new preacher has arrived.  Blaze departs the saloon to “welcome” the new intruder.”

Still from Hell's Hinges (1916)Greeting the town, Rev. Robert beams a big smile (that smile must have been excruciatingly difficult, and painful, to maintain), but the good reverend clearly becomes  nervous as he discovers what he and Faith are up against.

Blaze is ready, willing and able to deliver an old west comeuppance to the whippersnapper preacher—that is, until he spots Faith in her Sunday bonnet. Suddenly, upon seeing this lovely maiden, Continue reading HELL’S HINGES (1916)

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