CAPSULE: HARVEST (2024)

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DIRECTED BY:

FEATURING: , , Arinzé Kene, Frank Dillane,  Rosy McEwen, Thalissa Teixeira, Neil Leiper

PLOT: Life in a Scottish farming village changes dramatically with the arrival of a new lord.

Still from Harvest (2024)

COMMENTS: In a nameless village in an uncertain time—sometime after the arrival of tobacco, but before the Industrial Revolution has reached rural Scotland—Walter (Caleb Landry Jones) eats bark and sticks his tongue into a knothole on an oak tree. You can’t get much more at one with the land than that.

The village Walter lives in has no name. That changes when a chart-maker comes to map out the area. The natives see cartography as a threat; naming things is the first step to owning them, and the village operates (although somewhat hypocritically) on the principle of communal ownership of the land. Not that these people are noble savages, exactly; they’re as cruel, superstitious, and racist as they are poor. Walter wasn’t born there, but married a native and is now a widower; he is a close confidant of the beneficent landowner Master Kent, also not native born. He is a semi-outsider, caught between worlds, not fully accepted by the villagers but lacking another place to call home. His liminal status turns him into an observer. He befriends the cartographer, but also scolds him for “flattening” the land by mapping it. Walter is also spineless, sensing danger but as unable to stop progress from marching into the literal one-horse town as is the weak-willed Mater Kent. A fire in the Master’s stable foretells evil to come. Then, three outsiders are pilloried—for the crime of being outsiders. Walter is the only one who sympathizes with the trio,  but he is unable to muster the strength or courage to challenge any decision of the powers that be.

Harvest is beautifully shot (sometimes reminiscent of the “harvest” subgenre of European painting) and impressively scored (one peasant threshing song is synced to the rhythm of swinging scythes). But the storytelling is confusing, the dialogue can be stiff, and the feckless protagonists supply little dramatic momentum as the story limps to its inevitable conclusion. The “hallucinatory” element suggested in Harvest‘s promotional materials is vastly oversold; in truth, the strangeness (mostly coming from the slightly alien behavior of the village’s peasants) never rises beyond the occasionally odd. Nor is the movie, as a few have claimed, folk horror (there’s plenty of folk, including some authentic-sounding bagpipe tunes, but no real horror). With this project, director/co-scripter distances herself from her association with the “Greek Weird Wave,” delivering an on-the-nose exploration of the ruthlessness with which capitalism replaced agrarian societies. Weirdophiles may safely skip this one; arthouse fans with a taste for historical, class-conscious narratives might find it worthwhile.

WHAT THE CRITICS SAY:

” Smatterings of the earthy, the occult, the hallucinatory and the neo-realist never coalesce into a pacy narrative…”–Carmen Paddock, The Skinny (contemporaneous)

APOCRYPHA CANDIDATE: FRANKENHOOKER (1990)

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DIRECTED BY: Frank Henenlotter

FEATURING: , Patty Mullen, Joseph Gonzalez, Shirley Stoler,

PLOT: When sweet Elizabeth dies in a terrible lawnmower accident, her grieving fiancé—power plant technician and amateur scientist Jeffrey Franken—sets out to restore her to life by assembling a new body made from the parts of prostitutes he kills with a new explosive strain of crack cocaine. 

WHY IT MIGHT MAKE THE APOCRYPHA: If ever there were a film that could make our list just by wishing for it really hard, Frankenhooker is that film. Starting with the decent-enough premise to set Mary Shelley’s classic tale in the waning days of Times Square grunginess, it piles on characters who soar well past cartoonishness, ladles on strange behaviors and absurd reactions, and tops it off with enough coarse sexuality and Guignol-lite gore to make the whole confection gleefully repellent. It knows what it is, and it revels in it.

Still from Frankenhooker (1990)

COMMENTS: Frankenhooker makes me regret that we’ve never created a tag called “On-the-nose Titles.” We’ve talked before about movies where the title does the heavy lifting, and this is one such film. A Frankenstein’s monster made from hookers. Why even bother with a synopsis?

If you were to subject Frankenhooker’s screenplay to intense analysis, you’d find very little at its core. It’s not a one-joke movie, but probably no more than five: the Frankenstein myth set in New Jersey, the mad doctor is an overachieving electrician, his creation is built out of random hooker parts, the Bride is a murderous sex-starved brute, and New York City prostitutes react to crack like desperate parents at a Walmart on Black Friday. Fortunately, those jokes are merely the foundation for what Frankenhooker is really about: silly stereotypes and outrageous gore.  These are things that Frank Henenlotter knows how to deliver, and he doesn’t hold back.

The film has to overcome a significant demerit in the form of our hero himself. Lorinz is a black hole: even when he’s drilling a hole in his own head for a little light trepanning, he has the bland, conventional good looks of Andrew McCarthy and the placid demeanor of a low-energy standup comic. (His voice suggests teaching a yoga class.) He teases a bolder character than we get, which is surprising considering he’s a mad scientist from New Jersey. His refusal to go as over-the-top as the plot that surrounds him may be the strangest thing about Frankenhooker.

Former Penthouse Pet Mullen has a better handle on the material as the unfortunate Elizabeth. Following a brief pre-accident scene in which she dials up the tropes of the bland-but-adoring fiancée, she gets to go full monster, staggering about town with her jaw awkwardly jutting to the side and demanding “Want a date?” in a shrill Jersey accent. (I tried for ages to figure out who Mullen’s demented lady of the night reminded me of until I realized it was Rapunzel from this magnificent “Sesame Street” sketch.) If anything, she inspires the rest of the ensemble to go hard, from the gum-smacking ruffian ladies of the night to thinks-with-his-fists pimp Zorro to recognizable “That Guy” David Lipman’s cameo as Monster-Elizabeth’s overenthusiastic john. In a cast where everyone but the lead is playing to the cheap seats, Mullen is a stand-out.

Not every scene is this extreme, and in fact Henenlotter almost seems to be making a bid to become the genteel Lloyd Kaufman. Long scenes of Lorinz monologuing his plans drag things out, and often the movie opts to run headlong into insanity instead of giving it a minute or two to build. However, Frankenhooker absolutely nails the landing with two separate showcases of wildly inventive craziness in the final 15 minutes: first with a grotesque revenge on behalf of the murdered hookers who have inadvertently been reassembled into hilariously awful human meatballs, and then the ultimate comeuppance for the mad doctor as a repaired Elizabeth saves the day in a most amusing manner. As much as Frankenhooker is out to deliver exactly the eyes-covered, laughing-in-shock amusement you’re expecting, the movie genuinely surpasses itself in the finale. The title may be on the nose, but the tale it tells is a refreshing punch in the groin.

WHAT THE CRITICS SAY:

“This film is…well, weird.  With a name like Frankenhooker, I suppose that you expected that.  Even beyond that though, it’s a weird, weird film. …  There’s no ‘normal’ way to do this story, but it still tries hard to be extra insane.  If you’re into the wacky side of Cinema, check this one out. It may blow your mind though..” – Alec Pridgen, Mondo Bizarro         

(This movie was nominated for review by Brian Fahrion. Suggest a weird movie of your own here.)         

POD 366, EP. 140: TREASURES OF JACOB’S EYES WITHOUT A VAMPIRE ASSASSIN IN THE CROSSHAIRS

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Discussed in this episode:

The Assassin of the Tsar (1991): A man in a Soviet mental institution insists he has killed two different tsars, despite the fact that he would have had to be centuries old to do so. directs Malcolm McDowell (versions were filmed in both English and Russian) in this psychological time-traveling mind-bender. Buy The Assassin of the Tsar.

Eyes Without a Face (1960): Read the Canonically Weird entry! Nothing new from this classic release, it’s just the 4K upgrade. Buy Eyes Without a Face.

Ferat Vampire (1982): A race car driver gets a new vehicle that runs on blood. A bizarre regional cult film from Czech New Wave icon . Buy Ferat Vampire.

Jacob’s Ladder (1990): Read the Canonically Weird entry! This Limited Edition 4K disc comes exclusively from Lionsgate and includes a never-before-seen featurette (something called “The Rungs of Jacob’s Ladder“) along with legacy features. Buy Jacob’s Ladder directly from Lionsgate.

School in the Crosshairs (1981): A high school girl uses her psychic powers to stop a fascist alien takeover of her school. Of the four rare movies Cult Epics is releasing this year, School in the Crosshairs seems by far the wildest and the closest in spirit to Hausu. Buy School in the Crosshairs.

“Treasures of Soviet Animation, Vol. 1”: This Deaf Crocodile compilation contains 3 short (the longest is 48 minutes) psychedelic sci-fi Soviet cartoons:  “The Mystery of the Third Planet,” “The Return,” and “The Pass.” These shorts are remastered and available for the first time outside of Russia. Buy “Treasures of Soviet Animation, Vol. 1”.

WHAT’S IN THE PIPELINE:

of Soul to Squeeze will be our guest on Pod 366 next week. In written reviews, Shane Wilson fits a date with Frankenhooker (1990) onto his reader-suggested Halloween viewing card, while Gregory J. Smalley takes in a fall Harvest (2024). And don’t be surprised if there’s a surprise review in there as well. Onward and weirdward!

CHANNEL 366: UZUMAKI (2024)

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DIRECTED BY: Hiroshi Nagahama, Yûji Moriyama

FEATURING: Uki Satake, Shin’ichirô Miki; Abby Trott, Robbie Daymond (English dub)

PLOT: Residents of a small Japanese town are increasingly haunted by spirals.

Still from Uzumaki (2024)

COMMENTS: Most horror story monsters are inspired by symbols of death, disease, and predation, not unthreatening geometric shapes like the humble spiral. Leave it to eerie manga star Junjo Ito to choose the spiral as his avatar of evil. Uzumaki (which had previously been adapted as a live-action feature) plumbs every possible devious iteration of the humble coil; it shows up in the story as whirlwinds, whirlpools, DNA, snail’s shells, hair curls, staircases, mosquito swarms, corkscrews, springs, and the twisted, intertwined bodies of snakes (and people). Watch with disquietude as everyday objects in the town gradually get twisted as the story spirals towards its grim conclusion.

The bizarre antagonist is not the only weird element here. The originally-serialized story lurches forward as a series of vignettes, with a threatening new spiral form dominating each mini-arc. In between episodes, normality resets. After the first girl’s head dissolves into a spiral, we would think the two high school protagonists would flee town; instead, the incident is never mentioned again. After the first kid turns into a human-snail hybrid, you would think the town would panic; instead, they accept it as the new normal, building a pen for the newly-minted escargot boy to live in. The commonsense idea of fleeing the town doesn’t even arise until the second episode, when one pair of aspiring refugees are frustrated in their attempt—but our main characters never even attempt to leave until the final episode, when the narrative finally proffers an explanation for their inability to escape. A particularly intense, vampire-adjacent incident dominates the third episode, but again, after a jarring edit, this horror is entirely forgotten. The characters’ incapacity—and their resigned unwillingness—to escape their situation lends the story an especially irrational, nightmarish quality. In fact, Uzuamki‘s entire structure, oscillating between grotesque visions and uneasy pseudo-normality, suggests madness; perhaps our main characters are actually trapped inside their own obsessive delusions, imagining spirals everywhere.

The art style is done entirely in black and white and imitates the intricate linework of Ito’s original drawings, sometimes recreating particularly bizarre panels. When animated, the absurdity of some of Ito’s visions—a dramatically curling tongue, a pair of eyeballs rotating independently—can be as weirdly comic as they are frightening. But the artwork is almost always strange and affecting, no matter the overall emotional effect. Much was made in anime fandom of the fact that the animation quality declines as the series progresses (probably due to budgetary mismanagement). By the final episode, the directors and producers aren’t even credited. I think that this complaint is mostly overstated, at least for the average viewer. I noted the decline in the cartoon’s fluidity and detail with each new episode, but it wasn’t as drastic as I feared; if I hadn’t been forewarned, I’m not sure how much I would have noticed. Perhaps I benefited from having my expectations lowered; perhaps you will, too. Although Uzumaki hobbles a bit on the way to the finish line, it eventually crosses it. It’s not the wall-to-wall masterpiece the first episode promised, but I wouldn’t say it exactly circles the drain, either.

WHAT THE CRITICS SAY:

“…this work is very much playing in the realm of weird fiction, a sub-genre focused on the unknown and inexplicable… macabre, strange, and utterly unique, even if some of its characters feel a bit thin at times.”–Elijah Gonzalez, Paste (episode 1)

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