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

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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) →

Essays

WEIRD SPECIES II: THE SURREAL

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The uncanny—by which I mean the type of horror story that focuses on an encounter with supernatural powers and the existential dread that comes from contemplating the Unknown—was the first style of narrative weirdness storytellers indulged in, but for most people today the term “weird” is almost synonymous with the term “surreal.”  This is a shame, because “surreal” has come to be thrown about loosely and imprecisely as a term for anything that is even mildly unusual.  For evidence of this, just look up movies that have been tagged with the keyword “surrealism” by IMDB users.  Among legitimately Surrealist works, you will find such questionable entries as Hitchcock’s Vertigo and Disney’s The Lion King (!)  Until recently, Tarantino’s Pulp Fiction and Woody Allen’s Annie Hall also appeared on this constantly evolving list.

Although the word “surreal” is common today, it’s a very new word, less than a century old.  “Surréalisme” was coined by the French writer Guillaume Apollinaire (1880-1918), but it was André Breton who redefined the term and gave it its current meaning when he wrote the First Surrealist Manifesto in 1924 to describe a new artistic and political movement.  The word derives from the French prefix “sur-” (above, beyond) and “realism,” and suggested that this new movement would produce works that transcended realism.  Throughout most of human history, the artist’s dominant concern was realism, the quest to accurately depict or reproduce external reality (e.g., to paint a flower that is instantly recognizable as a flower to any viewer; to tell a story that “really could happen”).  Deeply affected by Freud’s “discovery” of the unconscious, Breton was concerned that art was unfairly limiting itself to only a part of the human experience, the rational, waking world, and ignoring the separate language of dreams and myth.  He also believed that with the rise of science and the attempt to apply scientific principles to all realms of life, things were only getting worse: “The absolute rationalism which remains in fashion allows for the consideration of only those facts narrowly relevant to our experience…  In the guise of civilization, under the pretext of progress, we have succeeded in dismissing from our minds anything that, rightly or wrongly, could be regarded as superstition or myth; and we have proscribed every way of seeking the truth which does not conform to convention.”  He defined Surrealism, his counterpoint to this Continue reading WEIRD SPECIES II: THE SURREAL →

Capsules

CAPSULE: ARMY OF DARKNESS (1992)

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DIRECTED BY:  Sam Raimi

FEATURING:  Bruce Campbell

PLOT:  Following the events of Evil Dead II, Ash finds himself flung backwards in time into a medieval land, where his failure to retrieve the Book of the Dead enables evil forces to muster a massive army of stop-motion animated skeletons.

Army of Darkness

WHY IT WON’T MAKE THE LIST:  Evil Dead II struggled mightily to obtain its weird credentials, and just barely qualified for its weird badge thanks to the “cabin fever” sequence in the middle portion of the film.  In the third entry of the “Evil Dead” trilogy, director Sam Raimi distills what he thinks is the popular essence of Evil Dead II, emerging with a concentrated dose mixing ghoulish comedy with a stiff shot of badass working class hero Ash.  Weirdness was discarded as a waste product, although traces remain.

COMMENTS:  The beginning of Army of Darkness rewrites the tale of how Ash came to be recognized as the “Chosen One” at the end of Evil Dead II, but consistent storytelling (along with respect for the laws of physics) has never been a high priority in this series.   Since the  midpoint of the second film, Raimi’s Evil Dead emphasis for the trilogy has been comedy, and Army of Darkness is tongue-in-cheek from start to finish.  As an action/comedy/fantasy/horror hybrid, Army of Darkness pulls in too many directions to hang together as a story, much less integrate itself with the rest of the series, but the manic energy is a lot of fun, and the film does work on a scene-by-scene basis.  The flick dips into the Three Stooges tribute well even more than Evil Dead II did; in one funny scene, every orifice on Ash’s face is invaded by skeletal fingers from still buried corpses, despite his best defensive maneuvers (our hero never learned from Curly’s mistakes—don’t introduce your tongue as a new target by sticking it out in triumph after successfully blocking the dual finger eye poke).  Gags aside, the comic momentum overwhelming comes from Bruce Campbell’s Ash, who has transformed from a much abused punching-bag for macabre forces into an arrogant, wisecracking hero.  Campbell adopts just the right campy, parodic tone when reprising hit action catchphrases like “Groovy” or fresh favorites like “Just me, baby.”   Ash’s overweening, usually unjustified bravado is the comic binding that keeps the scattershot script from blowing away in the wind.  For fans of weirdness, the best bits are the hallucinatory scenes after Ash takes refuge from a shakycam assault inside a windmill: for unexplained reasons, he ends up by menaced by a gang of tiny Ashes in a “Gulliver’s Travels” parody, then sprouts an Evil Ash from his shoulder.  These scenes take place at approximately the same stage in the movie as the “cabin fever” sequences did in Evil Dead II, and may have been intended as one of the many, many nods to the previous film.  Another high point is the army of stop motion animated skeletons (a tribute to Ray Harryhausen).  Each member of the bony horde is brilliantly individualized and detailed; particularly striking is the martial band, beating drums made from skulls and playing flutes fashioned from arm bones.   Overall, Army of Darkness is a worthy, if commodified and popularized, sequel, and a solid roller coaster for fans of fantastic film who aren’t hung up on logic.

Army of Darkness was the transitional film for Raimi between campy experimental films like Crimewave and Evil Dead II and purely commercial fare such as the Spider-Man series.  The large scale battle and professional action scenes in Army seem almost like audition reels for making a Major Motion Picture.

WHAT THE CRITICS SAY:

“…a goofy, hyperventilated send-up of horror films and medieval warfare, so action-packed it sometimes seems less like a movie than like a cardiovascular workout for its stars.”–Roger Ebert, Chicago Sun-Times (contemporaneous)

Miscellanea

WEIRD HORIZON FOR THE WEEK OF 8/14/09

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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.

IN THEATERS (WIDE RELEASE):

District 9 (2009):  South African science fiction story about refugee aliens on Earth that appears on the surface to be an  allegory of  apartheid.  “Presented” by formerly weird director Peter (Heavenly Creatures) Jackson, who’s seal of approval actually implies quality at this point in his career.  Word on the street is it’s original, but that’s unlikely to translate into weird.  District 9 official site.

Ponyo (2008):  Hayao (Spirited Away) Miyazaki’s Hans Christan Andersen inspired fairy tale about a goldfish trying to become human was a hit in Japan; now, Disney is releasing it on these shores, dubbed by big name Hollywood talent (Cate Blanchett, Matt Damon and others).  With Disney’s name on it, it ain’t gonna be weird, but Miyazaki has his fans and the visuals have been described as “trippy.”   Ponyo official site (Disney).

The Time Traveler’s Wife (2009):  Eric Bana and Rachel McAdams star in this romantic sci-fi/fantasy about a man born with a gene which causes him to become unstuck in time at random intervals.  Scripted by Bruce Joel Rubin of Jacob’s Ladder fame from a bestselling novel by Audrey Niffenegger.  Few critics think it’s too good, but at least one (Brandon Judell) thinks it’s “too weird,” which may come as an endorsement to readers looking for a date night movie that won’t bore them.   The Time Traveler’s Wife official site.

IN THEATERS (LIMITED RELEASE):

Grace (2009): This indie horror about a mother whose baby is born undead escaped from the festival circuit to a limited theatrical engagement. First time feature director Paul Solet expanded Grace to a full length movie from an award-winning short that Fangoria called “superbly bizarre.”  Love the poster with the infant’s bottle half full of blood! Grace official site.

Taxidermia (2006):  Three interwoven stories about three generations of Hungarian men: a WWII veteran grandfather, a would-be athlete father, and a taxidermist son—surrealy woven together by certified weird director György (Hukkle) Pálfi.  Clearly, the theatrical weird pick of the week, which is why it is only playing two theaters in the United States.  Rather than taking a road trip to L.A. or NYC, we’ll be waiting for a proper Region 1 DVD release (it’s already available to Europeans and others with machines that can play PAL DVDs), but we advise those who can to catch it on the big screen and report back to us. Taxidermia official site (US).

IN THEATERS (SPECIAL EVENTS): THURSDAY, AUGUST 20:

Rifftrax Live: Plan 9 from Outer Space (1959): One night only!  Three stars from the cult TV hit  Mystery Science Theater will make snarky comments about the movie that is widely (and incorrectly) believed to be the worst ever made! Though we have our doubts about the project—what’s the added value of “riffing live?”  Why pick a movie that doesn’t need any commentary to be a laff riot? And why cater to the masses by screening the colorized print?—it’s an intriguing idea.  You can find a list of participating theaters here.

NEW ON DVD:

Alien Trespass (2008):  This 1950s-style, colorized alien invasion movie realizes that the ridiculousness inherent in the genre needs no exaggeration and spoofs its subject matter with a straight face, which makes it an enjoyably affectionate rather than a smug parody.  Not terribly weird, but an offbeat and worthwhile pickup, especially for fans of The Blob and other nostalgic nonsense.  Buy from Amazon.

Gigantic (2008): Self-described “surreal love story” (we’re skeptical, but maybe the trailer strategically de-emphasized the “surreal” elements) hits the DVD ranks after a minuscule theatrical run (despite the presence of Zooey Deschanel and John Goodman). Buy from Amazon.

NEW ON BLU-RAY:

Alien Trespass (2008):  See description in the DVD section above.  Buy from Amazon.

Ichi the Killer (2001): This perverted and extreme sadomasochistic classic from weird director Takajshi Miike gets the Blu-ray treatment.  No longer will viewers have to suffer the agonies of low-definition arterial spray!  Buy form Amazon

The Ninth Gate (1999):  Roman Polanski returns to the supernatural genre in this overlooked 1999 film about a rare book collector (Johnny Depp) stumbling onto a diabolical tome which leads his soul into peril.  Buy from Amazon.

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

REFLECTIONS ON THE 48 HOUR FILM FESTIVAL & THE “9” DIARY.

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“Alfred Eaker’s Fringe Cinema” is a column published on Thursdays covering truly independent cinema: the stuff that’s so far under the public radar it may as well be underground.   The folks making these films may be starving artists today, but they may be recognized as geniuses tomorrow.  We hope to look like geniuses ourselves by being the first to cover them.

48_hour_film_festival_4July 31st -Aug 2nd, the 48 hr Film Festival came to Indianapolis, sponsored by the Big Car Art Gallery.  Jim Walker of Big Car curated the event.  30 Indiana film making teams signed up to participate, including the Liberty or Death Team of James Mannan and Robin Panet.

Jim and Robin approached me about six weeks ago, inviting me to participate in this year’s 48 Hour Film Festival.  Since I assisted in last year’s event with them to do Hallow’s Dance, I was a tad reluctant to do all this again.  However, they shrewdly threw out a couple of temptations when they told me they wanted to do something surreal, which is my forte, along with inviting me to write and direct with Robin.  Jim would be producing.  If I recall correctly, my response was something akin to “Oh, alright, goddammit.”

For those who don’t know the set up of the festival, it goes like this: the teams go in on Friday night at 7:30 pm and draw a genre out of the hat.  Jim drew Horror, which was apt as this is Jim and Robin’s forte. Then, everyone is given the same character name, his profession, a line of dialogue, and a prop.

The character name was Professor Sherman Kane, the prop was a ball and the line of dialogue was “I’m not talking to you”.  Now the teams leave, write their script, shoot it, edit and turn it in by 7:30 pm on Sunday night.  Showing of films: Wednesday and Thursday evening at the IMA.

48_hour_film_festival_1I would imagine the whole idea for said festival came from Roger Corman.  The story is well known among film aficionados.  Corman had finished The Raven 48 hours ahead of schedule, with the actors, including Boris Karloff and Jack Nicholson, still on contract for the remainder of the shooting schedule.  That night Corman went home, wrote a script called The Terror, came back the next day and shot it within the 48 period.  The problem with this story is that The Terror is indeed a terror to Continue reading REFLECTIONS ON THE 48 HOUR FILM FESTIVAL & THE “9” DIARY. →

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