Tag Archives: Black Comedy

233. DEATH BY HANGING (1968)

Koshikei

“You mustn’t think our film is just labored theorizing. The officials’ attempts to convince R that he is R are amusing and bizarre. I think it’s a spot-on depiction of all us Japanese in all our amusing bizarreness.”–Nagisa Ôshima

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DIRECTED BY:

FEATURING: Yung-Do Yun, Fumio Watanabe, , Akiko Koyama

PLOT: After the failed execution of a Japanese-Korean double murderer, various state functionaries are at a loss as how to proceed when the criminal’s body refuses to die. Going to increasingly outlandish lengths to remind the convict of why he is there and condemned, the prison’s officials inadvertently explore the nature of crime, nationality, and culpability. Eventually a young woman is introduced to the group, and the captors decide to get drunk.

Still from Death by Hanging (1968)

BACKGROUND:

  • The criminal in Death By Hanging is based on Ri Chin’u, who also murdered two Japanese school girls. In addition to his crimes, Ri Chin’u gained a degree of fame for his extensive writings while in prison.
  • Much of the dialogue between R and his “sister” is taken from actual correspondences between Ri Chin’u and a Korean journalist.
  • Death by Hanging came during Ôshima‘s most experimental period, made back-to-back with the Certified Weird satire Japanese Summer: Double Suicide. Like most of Ôshima‘s mid-to-late 1960s work, Hanging was initially ignored in America, not even screening for the first time until 1974 and not officially reaching home video until 2016.

INDELIBLE IMAGE: The movie is stuffed to the gills with claustrophobic shots of slapstick fused with philosophy, none more so than the penultimate scene: an unlikely combination of prison officials getting hammered around a “table” while the convict “R” and his (probably imaginary) sister consider the nature of guilt. The drinkers take turns discussing how they came to this kind of work while R, reclining with the young woman beneath a Japanese flag, comes to the conclusion that though he committed his crimes, he is not responsible for them.

THREE WEIRD THINGS: Stubborn corpse; rape re-enactment; hallucination participation

WHAT MAKES IT WEIRD: Death By Hanging starts with a very traditional documentary approach, including narration reeling off statistics and some expository shots of a nondescript execution facility in a prison compound. Quickly, however, the aura of formality disintegrates as the hapless officials endeavor in vain to make sense of the film’s central conceit: a young convict refusing to die. Their efforts to restore his memory and edge him toward accountability grow desperate and extreme until a point is reached where everyone involved in the process begins to believe in the unreal.


Original trailer for Death by Hanging

COMMENTS: While most leftist directors merely point a shotgun at Continue reading 233. DEATH BY HANGING (1968)

230. THE BED SITTING ROOM (1969)

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“Nobody ever got the point about what it was about. What we were trying to say through all this laughter and fun, was that if they dropped the bomb on a major civilisation, the moment the cloud had dispersed and sufficient people had died, the survivors would set up all over again and have Barclays Bank, Barclay cards, garages, hates, cinemas and all…just go right back to square one. I think man has no option but to continue his own stupidity.”–Spike Milligan

DIRECTED BY:

FEATURING: Rita Tushingham, Michael Hordern, , Richard Warwick, , , , Spike Milligan, Dudley Moore,

PLOT: After a nuclear bomb is dropped on Britain, about twenty survivors prowl the wreckage, including 17-months pregnant Penelope and her parents and lover, who live on a still-functioning subway car. Aboveground, Lord Fortnum seeks the opinion of a doctor, who confirms his suspicions that nuclear mutation will soon turn him into a bed sitting room. When the chocolates taken from vending machines run out, the family makes its way to the surface, where Penelope finds herself engaged to the doctor, the mother turns into a wardrobe, and the entire family moves into Lord Fortnum.

Still from The Bed Sitting Room (1969)

BACKGROUND:

  • The Bed Sitting Room began its life as a one-act play, written by comedian Spike Milligan and John Antrobus in 1962, the year of the Cuban Missile Crisis.
  • Promoters acknowledged the film’s limited commercial prospects by issuing a poster with the tagline “we’ve got a BOMB* on our hands” and the footnote (“*BOMB – a motion picture so brilliantly funny it goes over most people’s heads”).
  • The film bombed so hard, in fact, that director Richard Lester could not find work for four years afterwards, and when he returned to movies he toned down the absurdism of his early films and worked in a mainstream idiom, returning with the action-comedy The Three Musketeers (1973) and going on to direct blockbusters like Superman II (1980).

INDELIBLE IMAGE: The BBC, tidy tuxedo on top his top half, sackcloth on the bottom, squatting in an empty television frame on a blasted salt flat to deliver exposition.

THREE WEIRD THINGS: BBC post-bomb broadcasts; dad’s a parrot and mom’s a wardrobe; a doctor living inside his patient

WHAT MAKES IT WEIRD: Twenty very British survivors of the apocalypse go about their business amidst the rubble, despite mutations that gradually change them into furniture or bargain housing. This absurd anxiety nightmare about the Bomb could only have come out of the Swinging Sixties; it’s one of the weirder relics of an era when filmmakers felt it was their patriotic duty to laugh in the face of the imminent apocalypse.


“Trailers from Hell” annotated original trailer for The Bed Sitting Room

COMMENTS: The original play “The Bed Sitting Room” was written Continue reading 230. THE BED SITTING ROOM (1969)