Tag Archives: Black and White

Canonically Weird (The List)

336. HELLZAPOPPIN’ (1941)

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“The expanse of humour in American life has historically shown the health of the democratic system in its ability to absorb criticism and analysis, even in their most pointed, satiric, sardonic, or absurdist forms, or when cast solely as entertainment.”–Russel Carmony, “The rise of American fascism — and what humour can do to stop it”

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DIRECTED BY:

FEATURING: Ole Olsen, Chic Johnson, , , Mischa Auer, Jane Frazee, Robert Paige, Lewis Howard, Shemp Howard, Richard Lane,

PLOT: The film begins with the projectionist (who will play an active role in the story) loading a reel of film: a musical number set in Hell. That scene ends with the arrival of “our prize guests,” Olsen and Johnson, who are in turn interrupted by the director who objects to their series of gags and demands that they have a story “because every picture has one.” The director presents them with a script for “a picture about a picture about ‘Hellzapoppin”, which loosely revolves a love triangle among socialites who are also staging a play (with disastrous results).

Still from Hellzapoppin' (1941)

BACKGROUND:

  • Hellzapoppin’ was the film version of Ole Olsen and Chic Johnson’s stage variety show, which opened on Broadway in 1938. The show had no running plot, but consisted of a collection of comedy sketches, musical numbers, and audience participation routines that played off current events and would change from performance to performance. Olsen and Johnson often improvised their routines. With 1,404 performances, it was the longest-running show on Broadway up until that time.
  • The original show closed on December 18, 1941; the film debuted on December 26, 1941. Olsen and Johnson revived the show many times, and it went on road tours (with rotating casts, often without Olsen and Johnson) throughout the 1940s.
  • One of the few bits that was recycled from the play for the movie is the man who wanders through the scenes carrying a potted tree, which grows bigger as the production progresses.
  • Hellzapoppin’ received an Oscar nomination for “Best Original Song” for “Pig Foot Pete.” The song “Pig Foot Pete,” however, doesn’t appear in Hellzapoppin’.

INDELIBLE IMAGE: The rapid pace of the visual gags makes this one almost impossible to pick. The opening seven minutes in Hell alone could probably yield half a dozen respectable candidates. We’ll go with the moment that Olsen (I think) blows on his diminutive taxi driver, transforming him in a flash of smoke into a jockey on a horse (with, for some reason, a tic-tac-toe game stenciled on its side). The fella is immediately launched from his saddle on a trip into Hell’s sulfurous stratosphere—but that’s already another image altogether.

THREE WEIRD THINGS: Canned guys and gals; Frankenstein’s monster hurls ballerina; invisible comedian hemispheres

WHAT MAKES IT WEIRD: A staircase collapses, dumping socialites into Hell where devils with pitchforks do somersaults off trampolines and juggle flaming torches. Women are roasted on spits. Farm animals tumble out of a taxicab like it was a clown car. The projectionist runs the film back and plays a scene again, to a different conclusion. And that’s just the first five minutes! “This is Hellzapoppin’!”


Fan-made trailer for Hellzapoppin’

COMMENTS: I can’t tell which one is Olsen and which one is Johnson. This may seem like a small point of confusion in a movie in which Continue reading 336. HELLZAPOPPIN’ (1941) →

Canonically Weird (The List)

329. THE TESTAMENT OF ORPHEUS (1960)

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Weirdest!

Le testament d’Orphée, ou ne me demandez pas pourquoi!

“Man seeks to escape himself in myth, and does so by any means at his disposal. Drugs, alcohol, or lies. Unable to withdraw into himself, he disguises himself. Lies and inaccuracy give him a few moments of comfort.”–Jean Cocteau, Diary of an Unknown

DIRECTED BY:

FEATURING: Jean Cocteau, , ,

PLOT: Time-traveling poet Jean Cocteau visits a professor and asks to be shot with his faster-than-light bullets in hopes of escaping the condition of timelessness. After the bullet frees him from his 19th century garb, he wanders outside, witnesses a strange gypsy ritual, and unknowingly summons Cégeste, a character from his movie and play Orpheus. Cégeste orders him to travel to the goddess Minerva with an offering, but along the way they are detained and interrogated by Death and her chauffeur Heurtebise (two other characters from Orpheus), among other surreal encounters.

Still from The Testament of Orpheus (1960)

BACKGROUND:

  • Testament is the third part of Jean Cocteau’s “Orphic trilogy,” which begins with The Blood of a Poet (1930) and peaked with its second entry, Orpheus (1950). Since characters from Orpheus play a role in Testament, this film will be much more meaningful to those who saw the second installment. Blood of a Poet has no narrative connection to the others, only a thematic one, and can be viewed in any order.
  • Cocteau was 71 when he made this film, which he intended to be his final statement in cinema. He wrote that the title Testament of Orpheus “has no direct connection to my film. It meant that I was bequeathing this last visual poem to all the young people who have believed in me, despite the total incomprehension with which I am surrounded on the part of my contemporaries.” Cocteau died three years after Testament was released.
  • Reportedly, when the production was short on funds, François Truffaut invested some of his profits from his recent hit The 400 Blows so Cocteau could complete his Testament.
  • The film’s French subtitle (or alternate title), “ne me demandez pas pourquoi,” translates to “do not ask me why.”
  • Besides Cocteau, the cast is uncredited. At the end, Cocteau says that “Any celebrities who you may see along the way appear not because they are famous, but because they fit the roles they play and because they are my friends.” Among the cameo appearances: musician Charles Aznavour, Brigitte Bardot, Yul Brynner, Pablo Picasso, and director . Former Orpheus appears briefly as Oedipus.
  • Edouard Dermithe, who plays the key role of Cégeste, was Cocteau’s adopted son, a fact alluded to in the script.

INDELIBLE IMAGE: Cocteau stages his own funeral. His pallbearers are lanky black horse-men. The mourners are gypsies. His corpse exhales smoke. He doesn’t stay dead long.

THREE WEIRD THINGS: The Poet as time-traveling fop; pantomime horse boy toys; Athena’s jet javelin

WHAT MAKES IT WEIRD: In his final film, a giant of the avant-garde unapologetically indulges himself in a surrealistic journey through a misty netherworld bordered by dreams, imagination, and narcissism.

Brief clip from The Testament of Orpheus

COMMENTS: The Testament of Orpheus is, beyond question, a self-indulgent film. “Testament” has a dual meaning: it is a statement of Continue reading 329. THE TESTAMENT OF ORPHEUS (1960) →

Alfred Eaker's Fringe Cinema

INGMAR BERGMAN’S SHAME (1968)

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I only vaguely recall 1968. What I do vividly remember was both Martin Luther King, Jr. and Robert Kennedy being assassinated within the space of a few months. Even the majority of the bigots at mother’s church (not all, by any means) were horrified, and during those moments, at least, practiced an extremely rare shut-mouth spirituality. It was surreal as hell. Things only became more nightmarish in the years immediately following, with the escalation of Vietnam and Watergate.

A continent or so away, produced what most of us felt: Shame. Bergman was normally not an outright political filmmaker. The extremists certainly sniffed out the moderate artist within him. Not that they would watch his films anyway, being put off by subtitles (I don’t know how many times I’ve had to bite my lower lip after hearing camo-clad bumpkins proudly proclaim that they didn’t want to read a movie).

The focus of Bergman’s anger is war, but reeling from the criticisms he had received from utilizing the infamous footage of a Vietnamese monk’s immolation in 1966’s Persona, Bergman is more ambiguous here. He doesn’t state that his subject is Vietnam per se, which is why Shame is not as well-known as that previous film. Bergman’s ambiguity in a way neuters his own work, preventing it from becoming an equivalent to Picasso’s “Guernica,” which still provokes war-minded leaders (George W. Bush’s lackeys had a replica of  that famous painting covered up with a black curtain at the United Nations). We could see Shame one way: like , Bergman is a consummate artist lacking the courage of his ethical and social convictions (which were hinted at in Persona, although that film did not overtly subscribe to any specific ideology). In the case of both artists, their aesthetics are undermined by fear of being labeled political. In the case of Keaton, it took an artist of more elementary aesthetics (Charles Chaplin) to call out racism, sexism, and eventually Fascism. Likewise, Bergman’s Shame is rendered less impactful compared to his earlier opus and to the wave of anti-Vietnam films to come. Bergman plays it safe, indirectly shifting blame to a God in the sky instead of any persons or factions. Of course, we could also look at Shame as a desolate parable that transcends a specific time and place. It’s not an either/or assessment as much as it’s both/and.

In his later 1990 biography, “My Life in Films,” Bergman writes that he had previously been very proud of Shame, feeling that it exposed the personal violence of war, but added that he had come to be disappointed in it after realizing the his intentions were self-defeating.

Regardless of one’s view, Shame is aptly not a comfortable experience. The story centers around a musical couple, Jan () and Eva () Rosenberg. Although loving, they are tormented by Eva’s barrenness, poverty, and the civil war surrounding their dilapidated home on an unnamed island.

Despite its enigmatic qualities, Shame is still superlative Bergman and startling. Having fled larger society, the Rosenbergs have become recluses, but their imperfect and monotonous  tranquility is consumed by warfare.

The killing of a parachuter, arriving militias, arrests, incarceration, and torture are not typical Bergman themes, yet all are prevalent here. Smartly, Bergman’s focus is indeed a personal one.  When Jan witnesses his wife flirting with another man, he is aroused; probably for the first time in a long time. Later, after she has sex with an interrogator, Jan becomes jealous and exacts revenge. In the beginning of the film, it is he who is weak. However, after being engulfed in despair from the barbarism that has engulfed them, he mantles fierceness. In contrast, Eva, once the romantic, is utterly crushed.

There are no battlefield scenes typically associated with war films, and that’s refreshing. The path of Shame is highly idiosyncratic; paradoxically pragmatic in its psychology and yet, pensive.

By the time we become desultory refugees with the Roenbergs, we are as drained as they are. Although Shame avoids direct political commentary of the era, it oddly become more poignant today because the one pointed portrayal of Bergman’s that is relevant today lies in that of the shameless authoritarian and his knee-bound sycophants, along with the effect of that demagoguery on ordinary lives.

Canonically Weird (The List)

326. THE BLOOD OF A POET (1930)

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Le sang d’un poète

“The purpose of literature is to turn blood into ink.”–T.S. Eliot

RecommendedWeirdest!

DIRECTED BY:

FEATURING: Enrique Rivero, Elizabeth Lee Miller

PLOT: A man sketches a face on a canvas; when he sees the mouth he has drawn beginning to move, he smudges it out, but finds that the orifice has affixed itself to his hand. He eventually gets rid of it by wiping it onto the face of a statue; the statue comes to life and sends him through a mirror into a strange hotel where he spies on surreal scenarios through keyholes. Returning through the mirror, he smashes the statue, is transformed into one himself, then finds himself playing a card game and shoots himself in the head when he realizes he cannot win.

Blood of a Poet (1930)

BACKGROUND:

  • Jean Cocteau was already an established playwright, artist and novelist before creating this, his first film.
  • Le sang d’un poète was financed by Vicomte Charles de Noailles, who also produced L’Age d’Or. They were both filmed in 1930, but first public screening of Blood of a Poet was delayed for over a year until the scandal caused by ‘s sacrilegious film had died down. (This history explains why the Blood of a Poet‘s date is sometimes given as 1930, its date of production, and sometimes 1932, based on when it was first screened.)
  • De Noailles and his wife and friends originally appeared in the film as members of the audience, but they did not know what they were supposed to be reacting to. When the Vicomte discovered they were applauding a suicide he demanded the scene be cut. Cocteau re-shot it with a different audience composed of his friends, among whom was the female impersonator and acrobat Barbette, an underground Parisian celebrity.
  • Elizabeth Lee Miller, who plays the statue, was the student and lover of Surrealist artist Man Ray. She later became a successful photographer in her own right and never again appeared onscreen.
  • Blood of a Poet is the first in Cocteau’s loose “Orphic” trilogy, followed by Orpheus (1950) and concluding with The Testament of Orpheus (1960).

INDELIBLE IMAGE: Cocteau recommended that we view his movie as if it were an enigmatic painting, which leaves us with a plethora of surrealistic frames to consider. We picked a particularly bizarre composition: the “desperate hermaphrodite” in Room 23. The scene begins with a chaise lounge with a spinning hypno-wheel, and with a periodic drum roll new elements are added: a pancake makeup face, line-drawn breasts, a white fright wig, stars and various pieces of clothing strewn about the scene. In a final gesture he/she pulls off a black cloth to reveal the words “danger de mort” (“danger of death”) labeling his/her crotch region.

THREE WEIRD THINGS: Collapsing tower; hand mouth; desperate hermaphrodite

WHAT MAKES IT WEIRD: Blood of a Poet is Jean Cocteau’s initial attempt to translate poetry—or rather to place one inside the trancelike state enjoyed and suffered by the poet—on film. Simultaneously quaint and avant-garde, it’s raw, primitive opium-dream weirdness; pioneering in its day, but still capable of startling today’s viewers with its irrational exhuberances.


Trailer for The Blood of a Poet made for a 2010 screening with a new score by DJ Spooky

COMMENTS: Jean Cocteau denied making a Surrealist film as vehemently as René Magritte denied painting a pipe. (“It is often said that Continue reading 326. THE BLOOD OF A POET (1930) →

Capsules

CAPSULE: IT TAKES FROM WITHIN (2017)

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DIRECTED BY: Lee Eubanks

FEATURING: James Feagin, Kristin Duarte, David Brownell

PLOT: A man and woman make preparations to attend a burial: existential dialogues and strange events happen along the way.

It Takes from Within (2017)

WHY IT WONT MAKE THE LIST: Given the suffering on display, the film could just as easily be titled Life Takes from Within, tearing away at the character’s insides. It’s certainly weird, but also derivative of films that have done existential angst much more effectively.

COMMENTS: Drawing equally from , , , and , this independent feature gets off to an engaging start with a vignette involving a patch of grass illuminated by high key overhead lighting. A male and female pair drag themselves across the grass in some form of wailing agony. A different couple (who eventually emerge as the film’s leads—James Feagin and Kristin Duarte) enter the light and stand statically before us, their faces unknowable and shrouded in shadow. A third male and female, much older, lie on a bed on the lit grass, before being assailed by Feagin and Duarte, who in turn are clamored on by the crawling couple at the beginning. Feagin lowers his head and body, prostrate before existence perhaps, while Duarte raises her hands to the heavens in appeal. It is a largely wordless and beautifully lit sequence begging multiple interpretations and capturing the viewer’s attention with its evocative and allusive nature.

Sadly, its largely downhill from that point on, with two opening exchanges between Feagin and Duarte setting the existential tone of the film and hinting at a “Waiting for Godot”-esque pairing (Feagin and Duarte in Vladimir and Estragon’s roles, respectively) without ever capitalizing on that potential. Feagin still believes in a “finish,” a possible meaning to their existence, while Duarte has resigned herself to the pointlessness of creation and seeks distraction and amusement. They are bound to their location by a funeral later that day, but their relationship has reached “its end” and they’ll go their separate ways to the service.

Capitalizing on the Gogo and Didi relationship could have injected some much-needed humor into the proceedings, but sadly director Eubanks opts for the bleak, existential angst of a Bergman films, without the dramatic weight of Bergman actors to soften the suffering. With her fleshy, open features and “make the best of it” attitude, Duarte makes a fairly engaging lead, a sympathetic figure in stark contrast to Feagin’s squinty scowl and petulant, unending mewling. Unfortunately Eubanks has us follow this disagreeable combination of Nick Cave and Hodor for much of the run time. If the male lead, genuinely suffering under the weight of reality, had ached in a manner that was sympathetic for the audience, i.e. his anger and pain Continue reading CAPSULE: IT TAKES FROM WITHIN (2017) →