175. L’IMMORTELLE (1963)

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“-Do you know the poems of Sultan Selim?

‘They are full of flowers and perfumes,

greenery, cool fountains, and slim jets of water.’

-Which Sultan Selim?

-I don’t know. Whichever. They were all named Selim and they all wrote the same poems with the same cliched imagery that recurs like fetishes. Or passwords you utter to pass through the garden gate and enter the palace of your sleepless nights.”- L’Immortelle

DIRECTED BY:

FEATURING: , Jacques Doniol-Valcroze,

PLOT: A professor vacationing in Istanbul comes across a mysterious, vivacious woman who weaves in and out of his life during a fateful summer. The impenetrability of the woman ignites an obsession in the professor, one that leads him into the shadowy, knotted heart of the city and the underbelly of his own desire.

Stil from L'Immortelle (1963)

BACKGROUND:

  • Already a staple in French New Wave as a successful screenwriter (Last Year in Marienbad), Alain Robbe-Grillet was trying to break into motion pictures as a director, but was unable to find the funding. A Belgian producer agreed to fund his first feature on the condition that he use funds legally tied up in Turkey (due to an inability to convert the Turkish pound, which had left a wool-trading friend of the producer’s unable to use his profit anywhere else in the world). Robbe-Grillet shot the film there and used the location as a central narrative device, in the vein of a cinematic arabesque.
  • Robbe-Grillet’s own wife Catherine plays the oft-mentioned Catherine Sarayon (or Carayon). Robbe-Grillet met her in Turkey, which is similar to the way the protagonist meets the woman he falls for in L’Immortelle. Catherine wrote several novels of sadomasochistic erotica, sometimes under the pseudonym “Jean de Berg.”
  • During filming, Turkey erupted into a violent revolution in which the heads of government were all hanged. Robbe-Grillet, whose production company had made deals with the ousted government, had to get out hastily and wait in France for the volatile situation to die down before returning to complete the film.
  • Although it was reasonably well-regarded at the time of its release, screening at the Berlin Film Festival, L’Immortelle since fell between the cracks and was not released on home video in any form until 2014.

INDELIBLE IMAGE: This film is rife with iconic, spellbinding imagery, but chief among them is the mystical and sacred moment in the mosque as the professor, already deeply entranced by the woman of his waking dreams, searches for her in the darkness. He shambles around a corner with desperation in his gait (slowly, though, as if no wait was long enough), and spies the woman kneeling on the ground kneeling in prayer, perfect and impregnable. She rises to meet him like a goddess of torturous pleasure; her grace and beauty combined with his love-struck agony in the shadows is a moment of understated, haunting beauty.

WHAT MAKES IT WEIRD: L’Immortelle operates less like a film and more like a state of mind, using baffling, at times purposely repetitive shots to create something that transcends the world of the nominal. It is a movie based in philosophy, emotion, and spirituality, not plot and structure. It does not want to entertain or make sense, it wants to touch below the surface, and it does through the tried-and-true tactic of not explaining a single thing, compounding each image placed on screen into an enigma that never diminishes as time rolls on.


Original French language trailer for L’Immortelle

COMMENTS: The narrative tradition is a lie. From our earliest fables to the towering epics of our own time, we tell stories in the way that is the most Continue reading 175. L’IMMORTELLE (1963) →

JODOROWSKY’S DUNE

Guest review by Terri McSorley

“I wanted to make a film that would give the people who took LSD at that time the hallucinations that you get with that drug, but without the hallucinations. I did not want LSD to be taken; I wanted to fabricate the drug’s effects. This film was going to change the public’s perceptions.”

Jodorowsky's Dune (2014)This is a quote from the documentary Jodorowsky’s Dune, directed by Frank Pavich. Director and writer has a small but extraordinary film resume which includes Fando y Lis, El Topo, The Holy Mountain, and Santa Sangre. The quote could apply to any of these four films. I am a great admirer of this quartet of one-of-a-kind masterpieces. Jodorowsky’s unmade version of Frank Herbert’s 1965 novel “Dune” went as far as a film could possibly go pre-camera; the proof lies in a monster-sized tome of ideas and sketches that looks to be a few thousand pages thick. Jodorowsky worked with Jean “Moebius” Giraud to create storyboards for every scene of the film. The sketches from this tome were used throughout the documentary. The interviewees include Michel Seydoux (the unfinished film’s producer), Jean-Pierre Gibon (co-producer), (director—Bronson, Only God Forgives), (director–Hardware, Dust Devil), Devin Faraci (film critic), Chris Foss (artist), H.R. Giger (artist), Amanda Lear (‘s muse), Diane O’Bannon (wife of the late Dan O’Bannon, who was going to supervise Dune‘s special effects), Christian Vander (musician—Magma), Gary Kurtz (producer—Star Wars trilogy, The Dark Crystal), Brontis Jodorowsky (Alejandro’s son, who acted in El Topo and Santa Sangre), and the centerpiece of the documentary: Alejandro Jodorowsky.

We are given a brief background on Alejandro’s career: his work in the theater and his first three feature length films. El Topo was so successful that he was given a million dollars to make The Holy Mountain. The Holy Mountain‘s success prompted a union with producer Michel Seydoux. Seydoux asked the director, if he could make any film, what would it be? Jodorowsky answered, “Dune.” Jodorowsky had not actually read Frank Herbert’s “Dune” and only knew of it because a friend had told him how fantastic it was. The director’s screenplay made many changes to Herbert’s story, including a significant alteration to the finale. This was definitely Jodorowsky’s Dune.

“I was raping Frank Herbert, raping like this. But with Love.”

With the script written, Jodorowsky needed to find the people who would help make it happen; “spiritual warriors,” in his own words. The talent that was going to be involved included many of my own favorite artists, actors and musicians. Dan O’Bannon was to supervise the special effects, artist Chris Foss would have designed the project’s spaceships, and H.R. Giger would have realized the Gothic planet Harkonnen. Pink Floyd would have created music for planet Leto, while Magma would have done the same for the Harkonnen. Jodorowsky’s cast was to be as follows: David Carradine as Duke Leto, Brontis Jodorowsky as Paul Atreides, Salvador Dali as the Mad Emperor, Amanda Lear as Princess Irulan, Mick Jagger as Feyd-Rautha, and  Continue reading JODOROWSKY’S DUNE →

LIST CANDIDATE: SLEEPAWAY CAMP (1983)

DIRECTED BY: Robert Hiltzik

FEATURING: Felissa Rose, Jonathan Tiersten, Karen Fields

PLOT: Eight years after her father and fraternal twin were killed there in a boating accident, introverted teen Angela Baker (Felissa Rose) returns to Camp Arawak alongside her protective cousin and adopted brother, Ricky (Jonathan Tiersten). Children and counselors alike bully the girl for her shyness, but those tormenters soon begin dying under bizarre circumstances. Meanwhile, Angela’s budding romance with a fellow camper awakens her dormant sexuality, and with it troubling memories of what truly happened eight years ago.

Still from Sleepaway Camp (1983)
WHY IT MIGHT MAKE THE LIST: By incorporating a wistful portrayal of summer camp into the sleazy slasher mold, Sleepaway Camp offers a uniquely schizophrenic experience of a horror film. Furthermore, its plot ultimately explodes in an extremely violent and sexual metaphor of an ending, which remains controversial to this day.

COMMENTS: Riding on the coattails of Halloween and Friday the 13th, Sleepaway Camp neither invented the slasher genre nor the idea of the summer camp as a killing ground. Furthermore, Hiltzik’s film falls short of its predecessors through amateurish performances, disjointed storytelling, and deaths that are slightly more goofy than frightful. In the annals of ‘80s horror, Sleepaway Camp therefore seems less an original than a misbegotten child.

However, by combining the juvenility of his setting and main characters with the adult themes of a slasher, Hiltzik still produces a memorably off-kilter film. As visceral moments like the disfiguring of a pedophile crudely segue into mirthful scenes of camp life—such as Ricky pranking a nerd named Mozart—Sleepaway Camp embraces rather than hides its incoherence. In turn, Camp Arawak becomes an unreal place where the vulgar and innocent both exist, not in conflict, but as mismatched companions to each other. Sleepaway Camp’s lack of style thereby becomes its signature style, creating an unwieldy and dissonant tone that, in the end, perfectly reflects the troubled, divided mind of its killer.

That killer’s identity is now the stuff of legend, in a final twist that makes an already fractured story snap. Through that one last disturbing image, the film transcends its low budget and even lower quality to become a classic oddity among slasher fans. While Sleepaway Camp is not one of the best horror films out there, it continues to be one of the weirdest.

Shout! Factory’s recent “Sleepaway Camp Collector’s Edition” comes with an array of extras, two of which could qualify for a list of 366 Weird Special Features. The first is a short made by sleepawaycampmovies.com’s webmaster Jeffy Hayes starring Sleepaway Camp supporting actor Karen Fields, who murders a deadbeat dad and his girlfriend using, among other weapons, a turkey baster. The second is an uncomfortably earnest music video featuring the vocal talents of Jonathan Tiersten, the now middle-aged actor who played Ricky. As Tiersten somberly croons in an empty theater, and Fields wields a deadly curling iron in a nod to her famous role, one wonders if the two still haven’t gotten over their roles in Sleepaway Camp.

Joining those shorts are several bonuses that more directly relate to Sleepaway Camp, including an album of on-set photographs, multiple commentaries, and a 45-minute documentary about the making of the movie. Each of those extras show the person who loves Sleepaway Camp most may be its star; Felissa Rose beams nostalgically while recounting the friendships, drama, and fun she experienced during filming. Despite the presence of cameras and microphones, production stills of the teenage cast smiling in those idyllic woods and cabins suggest a summer to remember for decades to come.

READER RECOMMENDATION: SUNSET BOULEVARD (1950)

Reader recommendation by “Brad”

DIRECTED BY: Billy Wilder

FEATURING: William Holden, Gloria Swanson, Erich von Stroheim

PLOT: An unlucky screenwriter, Joe (Holden), begins a chance relationship with once popular actress Norma Desmond (Swanson), getting caught up in a world of mystery and eventual murder.

Still from Sunset Boulevard (1950)
WHY IT SHOULD MAKE THE LIST: This noir-ish 50’sdrama is not only an early inside look on Hollywood actors dealing with being washed up and forgotten about, but it has an atmospheric weirdness that builds and builds until its ending, which is actually the beginning.

INDELIBLE IMAGE: Norma Desmonds’ pet monkeys funeral.

COMMENTS: A non-linear, shadowy, and dark examination of those working within the Hollywood business. Mixing Hollywood and murder-mystery before it was a formula. Directed by great Austrian filmmaker Billy Wilder with as much tension as a  film. This film is one of the most bizarre to come out of Hollywood pre-1960, outside of Blonde Venus. The film is definitely an American classic that can also be classified as a strange classic. Cecil B. DeMille and Buster Keaton have cameos.  named Sunset Boulevard as one of his personal favorites.

Celebrating the cinematically surreal, bizarre, cult, oddball, fantastique, strange, psychedelic, and the just plain WEIRD!