WEIRD HORIZON FOR THE WEEK OF 7/8/2010

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.

Another extremely disappointing week for weird movies. The summer can’t get over fast enough, though there is hopefully relief on the horizon thanks to Christopher Nolan’s Inception.

IN THEATERS (WIDE RELEASE):

Predators: Reboot of the Ahh-nald sci-fi/action series, sans the Governator.  The movie’s not of interest in itself; we mention it sadly, to show that Hollywood has swallowed up another promising directorial talent (Nimród Antal, of Kontroll).  Come back to us, Nimród!

IN DEVELOPMENT:

Dali & I: The Surreal Story (planned for 2011): Upcoming Salvador Dali biopic, with Andre (The Truman Show) Niccol mentioned as director, Cillian (Peacock) Murphy attached as “I” (an unscrupulous art dealer), and—here’s the kicker—Al Pacino as the Surrealist painter. I’d expect something along the lines of Little Ashes, but even more salacious: the author of the memoir the screenplay is based on describes as an expose of how ” the artist authorized forgeries of his own work as a means of funding his so-called ‘sex circus’ of surreal orgies with young actresses.” You can read more about this project, which may or may not be completed, at the book author’s site.

NEW ON DVD:

God of Vampires (2010): There’s no truly weird DVD releases this week, but you might take a chance on this gory action/horror/comedy/would-be-cult-film hybrid about Chinese vampires in America.  This low-budget independent film was six years in the making.  Buy God of Vampires.

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.

THE MIRACLE RIDER (1935)

The Miracle Rider was the last film of Tom Mix and his horse Tony, Jr. (Tony Sr. had departed this earthly realm). It is a sound serial from Mascot with twice the normal Mascot budget. Mix was 55 when he made this and showing it. Although his voice was deep and suitable for sound, and he was still in good shape, Mix looked his age and was now using a stunt double for complicated stunts. Mix had made several sound films for Universal, but they fared only moderately well. Mix had officially retired and was promoting his Tom Mix circus when he was talked back to the silver screen for one last go round. It is fortunate he did. The Miracle Rider was an astounding success, making both Mix and Mascot over ten times its investment. The serial is one of the better serials of the period, too, and so Mix went out on top, dying five years later in an automobile accident. Even though Mix had been out of the public eye for five years following Miracle Rider, his death caused a large outpouring of grief. Mix’s enigmatic life, career and tragic demise are the stuff of legend.

The Miracle Rider begins with the history of native Americans and how they were treated by white men. Daniel Boone (who looks nothing like Fess Parker) warns white men to leave the Indians alone, to no avail. Later, Davey Crocket (who looks nothing like Fess Parker) warns white men to leave the Indians alone, to no avail. Buffalo Bill does the same, again to no avail. Tom’s on-screen father, a Texas Ranger. is killed by white men as he tries to protect Indian land.  Many years later, the adult Tom Mix, as “Tom,” steps into his father boots as a Texas Ranger himself.

Tom is made an honorary chief of a tribe and is called “the Miracle Rider.” The evil oil baron with the very serial-sounding name of Zaroff (played by Charles Middleton, so memorable a villain in films like Mystery Ranch and Flash Gordon) is not pleased. Zaroff wants the Indians off the land so he can mine something called X-94, which is an explosive that can make kings and queens grovel at his feet. The Ravenhead reservation is rich in X-94 deposits and now, but with Texas Ranger Tom being made an honorary chief, this complicates things.
Still from The Miracle Rider (1935)
The Miracle Rider is another B western that mixes sci fi elements and modern automobiles within the old west. Zaroff receives transmissions from a radio control apparatus, which bleeps a lot. The transmission informs Zaroff that Europe is wanting more orders of X-94. What is an evil madman to do? Well, in addition to henchman Jason Robards (Sr.) Zaroff hooks up with a Judas of an Indian named Longboat, who is a half-breed aspiring to be chief. With Longboat’s help, Zaroff makes the tribe believe they are cursed by the great firebird, courtesy of some x-94 effects. Zoroff’s has an evil scientist assistant, hiding in a secret lab, who makes X-94 bullets and a robot glider, meant to scare the Indians off the land.

Chief Black Wing (Bob Frazer) will not be frightened by the robot glider, so he is dispensed with. Tom goes after Black Wing’s murderers, jumping from Tony, Jr. onto a speeding truck carrying a shipment of X-94.

Black Wing’s daughter Ruth, played by Joan Gale, has the arrow that killed her father and she knows that this is no arrow made by a Ravenhead. But, the arrow is stolen and, in pursuit of the thief, Tom finds himself trapped inside a flying robot glider!

There’s plenty of intrigue and derring-do atop oil rigs, in automobiles driving off cliffs, amidst explosions, and inside secret caves. There seems to always be a hidden telephone inside a rock for henchmen to call Zaroff. Tony, Jr. sees plenty of action too, and the whole serial has the feel of a wild and wacky 20th century wild west show being filtered through primitive sci fi sensibilities.

Zaroff tells Tom, “If it wasn’t for your meddling…”, sounding just like a Scooby Doo villain. Of course, Tom saves the day and lives to ride off into one more sunset.

Surprisingly, Tom is not given a love interest at all. Perhaps a white man hooking up with an Indian girl would have been too much for 1935 audiences, even if she is being played by a white girl. There are no actual Indians in Miracle and, par for Hollywood’s course, the greatest Indian is a white man, ala Dances With Wolves; but unlike the mawkish, overblown Kevin Costner film, this Miracle is fun.

61. KWAIDAN (1964)

AKA Kaidan; Ghost Stories

“A hundred thoughts suggested by the book might be written down, but most of them would begin and end with this fact of strangeness… many of the stories are about women and children,–the lovely materials from which the best fairy tales of the world have been woven. They too are strange, these Japanese maidens and wives and keen-eyed, dark-haired girls and boys; they are like us and yet not like us; and the sky and the hills and the flowers are all different from ours… in these delicate, transparent, ghostly sketches of a world unreal to us, there is a haunting sense of spiritual reality.”–from the original introduction to the folk tale collection “Kwaidan”

Must See

DIRECTED BY: Masaki Kobayashi

FEATURING: Rentarô Mikuni, Michiyo Aratama, Keiko Kishi, , , Kan’emon Nakamura

PLOT: An anthology film telling four Japanese folk tales centered around ghosts or nature spirits.  An ambitious samurai leaves his faithful but poor wife for a rich new one, and finds himself haunted by regret over his desertion.  A winter spirit spares the life of a young woodcutter, on one condition.  A clan of ghosts demand a blind minstrel play the tale of their tragedy for them night after night.  The final story tells of a guard who sees an apparition in a bowl of water.

Still from Kwaidan (1964)

BACKGROUND:

  • The four episodes were adapted from Lafciado Hearn’s collections of Japanese folk tales (the two middle pieces are from his 1903 volume entitled “Kwaidan: Stories and Studies of Strange Things”).  Hearn was born Greek, educated in Ireland, and spent time as a journalist in the United States (causing a scandal by marrying a black woman in Cincinnati, which was a crime at the time).  He later became a foreign correspondent in Japan and was naturalized as a Japanese citizen, taking the name Koizumi Yakumo.
  • Hearn offered “Weird Tales” as one possible translation of the Japanese word Kwaidan.
  • Kwaidan won the Special Jury Prize at Cannes (at that time, the second most prestigious prize after the Palme D’Or).  It was nominated for a Best Foreign Film Oscar, but lost to the Czech war drama The Shop on Main Street [Obchod na korze].
  • The episode “The Woman of the Snow” was (unwisely) trimmed from the original American theatrical release in order to cut the runtime from three hours to just over two hours.

INDELIBLE IMAGE: Although it’s hard to top the image of the minstrel Hoichi covered (almost) from head to toe in holy Buddhist characters or the ghostly court of samurai, it’s the expressionistic set of “The Woman in the Snow”—with its constellations of warped watching eyeballs set in a deep blue sky—that makes the eeriest impression.

WHAT MAKES IT WEIRD: Kwaidan illustrates the rule that, the better the movie, the less weird it has to be to make the List. Although on the surface it’s just a collection of bare-bones ghost stories, in telling these tales director Kobayashi wisely jettisons reality in favor of a stylized, expressionistic, visually poetic aesthetic that gently detaches the viewer from everyday life and floats him into an ancient spirit world that seems simultaneously to have never and always existed.


Original Trailer for Kwaidan

COMMENTS: In Kwaidan‘s opening credits black, blue, red and purple inks swirl around in Continue reading 61. KWAIDAN (1964)

MICMACS [MICMACS À TIRE-LARIGOT] (2009)

DIRECTED BY: Jean Pierre-Jeunet

FEATURING: Dany Boon, Julie Ferrier, Dominique Pinon, André Dussollier, Nicolas Marié

PLOT: After video store clerk Bazil gets a stray bullet to the head and survives, he joins

Still from Micmacs (2009)

up with a ragtag group of trash sorters who help him conspire in a prank war against rival arms manufacturers.

WHY IT WON’T MAKE THE LIST: Micmacs is a sweet, whimsical, and slightly surreal comedy, but it never reaches truly bizarre status.  For the most part its story and characters make sense, all set in a world not exceedingly different from our own.

COMMENTS: Once again Jean-Paul Jeunet effortlessly slips his audience into an anachronistic, slightly off-color world with wacky characters and ingenious devices, and this time he even manages to work in some anti-war (or at least, anti-weapons) statements.  As a filmmaker his strengths reside in his fantastic visual aesthetic and dedication to interesting characters, but not necessarily effective storytelling.  These characteristics apply to Micmacs, as the story is interesting but confusingly structured and underdeveloped.  It takes a while to really come together, with several curt scenes following one right after the other until the fun fully starts when Bazil joins the energetic trash heap crew.  Once everything gets going, the movie becomes a very enjoyable and unpredictable comedy complete with goofy disguises, high-concept stratagems, and plenty of breaking and entering.

The characters are fun and detailed—quirky but not in the annoying “indie-cliche” way.  They all have their own talents and interests that lend them their nicknames, and there are some imaginative schemes that involve everyone working together and putting their specific skills to use in unexpected ways.  The cast is excellent, as everyone imbues his or her personage with emotion and a good dose of silliness.  Dany Boon exudes a sort of hapless confusion coupled with a go-to spirit, while Dominique Pinon manages to always stand out in anything.  Omar Sy has some of the best comedic moments as Remington, a wannabe anthropologist obsessed with idioms.  Julie Ferrier shines as the outspoken contortionist, and both Nicolas Marié and André Dussollier put in delightfully devious turns as the villainous CEOs.

While clearly the film is quite character-heavy, the ensemble works so well together that no one is lost in the shuffle, and the focus remains on Bazil to ground the story. The script is funny and lighthearted but not fluffy, and of course the visuals are breathtaking: it’s filmed in slight sepia hues with an array of innovative gadgets and home-made clothes, and everything has a very homey, lived-in feel.  The atmosphere is slightly surrealistic and kooky and the characters are instantly lovable. Incorporating a clear penchant for high-concept stratagems and offbeat humor, Micmacs is an unavoidably cute diversion from the real world with a few narrative weaknesses.

WHAT THE CRITICS SAY:

“Some of the extravagant visual eccentricity of [Jeunet’s] debut feature, ‘Delicatessen’ (still his best and strangest film), of which he was co-director, is echoed in the smoky streetscapes, weird mechanical gizmos and comic-grotesque human figures on display here.  But his pacing is more deliberate, almost classical in its precise calibration of cause and effect… the film roams and rambles and sometimes stalls, straining for a charm that should come effortlessly.”–A.O. Scott, The New York Times (contemporaneous)

NOTE: This review is published in a slightly different form at Film Forager.

CAPSULE: SAMURAI PRINCESS [SAMURAI PURINSESU: GEDÔ-HIME] (2009)

DIRECTED BY: Kengo Kaji

FEATURING: Aino Kishi, Dai Mizuno

PLOT:  In a timeless mystical forest, a rape survivor takes on the souls of her eleven

Still from Samurai Princess (2009)

dead sisters and becomes a cyborg to avenge them.

WHY IT WON’T MAKE THE LIST: Samurai Princess is a relatively unambitious attempt to cash in on the biohorror/splatterpunk formula established in Meatball Machine (2005); fans of this stuff will be probably be reasonably entertained, but newcomers would be better off checking out the aforementioned Meatball Machine or Tokyo Gore Police instead.

COMMENTS: In a few short years, the works of an incestuous group of Japanese writers/directors/FX gurus have created a new Japanese splatterpunk formula focusing on slim but fantastic storylines; extreme, absurd gore effects; and the modification of body parts into bioweapons.  This phenomenon is only five years old, but it’s already reminiscent of what happened with Troma: the studio had a hit, and spent the rest of its existence remaking The Toxic Avenger over and over under different names.  Samurai Princess is a lesser entry in this new genre, and at times it feels like the square peg of the splaterpunk formula is being forced into the round hole of a gentler, more reflective fantasy.  The idea of a justice-seeking living vessel infused with the souls of eleven raped virgins feels like an old Japanese legend, but making that instrument of vengeance a cyborg with detachable boob-bombs is a faddish approach that doesn’t click.  The movie’s setting—a primeval forest haunted by brigands, loners and mad scientists, a place that’s even “out of Buddha’s jurisdiction”—is promising.  It’s a place out of time; the kimonos and katanas suggest feudal Japan, but there are plenty of anachronisms like chainsaws, cameras, and novelty sunglasses with blinking Christmas lights on the frame.  The cast that romps through the forest is nicely bizarre: besides the main character (who’s neither a samurai nor a princess), there’s one mad doctor who collects body parts to build “mechas,” a rival cyborg-building maniac with a pair of female sidekicks who speak in unison, a Buddhist nun with Continue reading CAPSULE: SAMURAI PRINCESS [SAMURAI PURINSESU: GEDÔ-HIME] (2009)

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