Tag Archives: Clown

52. SANTA SANGRE (1989)

AKA Holy Blood (literal translation)

“My mother is dead.  I had a terrible relationship with her.  She had many problems with my father, and she never caressed me.  So I didn’t have a mother who touched me.”–Alejandro Jodorowsky in La Constellation Jodorowsky

Recommended

DIRECTED BY: Alejandro Jodorowsky

FEATURING: Axel Jodorowsky, , , Sabrina Dennison, Guy Stockwell

PLOT: Fenix, a young carnival boy is understandably traumatized when he sees his knife-thrower father cut off his mother’s arms in a domestic melee. Years later, he lives an animalistic existence in a mental asylum, until one day he escapes when his armless mother calls to him from outside his cell window. The two perform a stage act where the son serves as the arms of his mother; she dominates his every move offstage, makes him serve as her arms, and orders him to kill, repeatedly.

Still from Santa Sangre (1989)

BACKGROUND:

  • After completing The Holy Mountain in 1973, Jodorowsky planned to make an adaptation of Frank Herbert’s science fiction novel “Dune,” which fell through.  He did not direct again until 1980’s poorly regarded Tusk, a film over which he had little creative control and which he has since disowned.
  • Santa Sangre is supposedly inspired by the story of a real life Mexican serial killer (whose name is variously given as Gregorio Cárdenas or Gojo Cardinas).
  • Young Fenix and adult Fenix are played by Adan and Axel, Jodorowsky’s sons.
  • The MPAA originally rated Santa Sangre R for “bizarre, graphic violence;” when the NC-17 designation began in 1990, the film was reclassified to the more restictive rating for “extremely explicit violence.”
  • Empire Magazine’s combined readers/critics poll voted Santa Sangre the 476th best movie of all time.
  • Before making this film Jodorowsky had founded an unofficial school of psychotherapy called “psycho-magic”; one of the basic tenets of the theory is a belief in a “family unconscious.”
  • The mother’s given name—“Concha”—is slang for “vagina” in many Latin American countries, including Jodorowsky’s native Chile.
  • The movie is an Italian/Mexican co-production, and was co-written and co-produced by Claudio (brother of horror maestro Dario) Argento.
  • OBSCURE CONNECTION: Producer Rene Cardona, Jr., himself a prolific B-movie director, was the son of the Rene Cardona who directed El Santo movies and appeared in Brainiac.

INDELIBLE IMAGE:  The most representative images are any of the moments where Fenix stands behind his mother and acts as her hands, especially when he is wearing his long red plastic nails.  The most affecting sight, however, may be a dying elephant with blood trickling out of his trunk.

WHAT MAKES IT WEIRD:  You could argue that Santa Sangre isn’t that weird, but that


Original trailer for Santa Sangre (German)

would only be in comparison to Alejandro Jodorowsky’s previous films.  Although he does deliver Felliniesque carnivals, an elephant funeral, a cult that worships an armless girl, a hermaphrodite wrestler, and graveside hallucinations featuring zombie brides, the obscure auteur actually scales back his mystical obtuseness a tad in this psychedelic slasher movie.  The result is his most popular and accessible film—if anything by Jodorowsky can be considered accessible.

COMMENTS: In a way, Santa Sangre is Jodorowsky lite.  Compared to his hippie-era Continue reading 52. SANTA SANGRE (1989)

CAPSULE: KILLER KLOWNS FROM OUTER SPACE (1988)

DIRECTED BY: Stephen Chiodo

FEATURING: Grant Cramer, Suzanne Snyder, John Allen Nelson,

PLOT: Aliens from outer space, who look exactly like circus clowns, land their carnival-tent spacecraft near a rural town and begin abducting humans for unknown purposes.

Still from Killer Klowns from Outer Space (1988)

WHY IT WON’T MAKE THE LIST: Killer Klowns is actually a very conventional spoof with an unusual gimmick that’s well-executed; it’s a bit offbeat, but as far as weird goes, it’s strictly entry level stuff.

COMMENTS: Although Killer Klown‘s kultists will doubtlessly be offended, this movie is gimmicky, rather than original. It’s a shameless retread of the old aliens-invade-the-earth-and-interrupt-teen-makeout-sessions plot with killer clowns substituting for a killer blob. Every standard plot cliche is squarely parodied, right down to the drunken coot who thinks the landing spacecraft is a shooting star and the fact that the cops assume the teen witnesses are pulling a prank. Switching out one-eyed scaly monsters for clowns is nothing but a gimmick, but it’s a good one, and it makes this formulaic exercise watchable. The movie is so stuffed with circus gags that just when you’re certain the script has run out, a new one emerges, like yet another harlequin squeezing out of an impossibly tiny car. Popcorn, cotton candy, balloon animals, shadow puppets, and banana creme pies all become implements of doom that threaten humanity’s very existence. These jokes should be enough to keep you reasonably entertained, but the costume and set design will vie for your attention. The garish, oversized grinning clown heads evoke a campy coulrophobia. The interior of the big-top mothership is a candy-colored wonderland, with skewed funhouse sets that are even vaguely reminiscent of The Cabinet of Dr. Caligari (and the eye-searingly bright colors and low-tech ingenuity anticipate the following year’s Dr. Caligari ). It’s also fun to see veteran character actor John Vernon ham it up as the crotchety kid-hating cop. All in all, it’s nothing earthshattering, but it’s a good time if your in the mood for a light, lightly bizarre comedy.

This film has a very powerful cult following, with Killer Klowns t-shirts and paraphernalia selling briskly to this day. I admit, I can’t quite understand why its fans show such a depth of devotion to this likable but lightweight flick. It might have to do with the fact that many people first see this movie when they are young and impressionable, when the concept of a comedy involving evil space clowns seems shockingly original and even subversive.

WHAT THE CRITICS SAY:

“This krazy, kooky movie strings together the creature feature with the alien movie, and pumps it full of dark humour, using that icon of innocent fun, the clown… Patchy but mostly fun, the basic clowns/circus/theme park-like fun idea is expanded as far as possible and worked to death…”–Andrew L. Urban, Urbancinefile.com (DVD)

35. DELICATESSEN (1991)

“I have a lovely memory of my producer, Claudie Ossard, who came to see us in these sewers.  She’d come in Chanel suits and high heels.  It was surreal to see her among these Troglodists dripping in oil.”–Jean-Pierre Jeunet

Recommended

DIRECTED BY: Marc Caro, Jean-Pierre Jeunet

FEATURING: Dominique Pinon, Jean-Claude Dreyfus, Marie-Laure Dougnac, Karin Viard, Howard Vernon

PLOT:  In the near future, parts of French society have collapsed, most Parisian buildings are burned out husks, and citizens have turned to a barter economy.  Among the many shortages experienced by city folk is a lack of fresh meat, but one butcher always seems to have enough flesh to trade for corn, or sex.  Answering an ad for a handyman, an ex-clown arrives at the bizarre boarding house run by the butcher and begins a chaste romance with his daughter—but is he there to do odd jobs, or does the butcher have something else in mind?

Still from Delicatessen (1991)

BACKGROUND:

  • The first of two films co-directed by Jeunet and Caro.  The pair conceived the idea for The City of Lost Children (also on the List of the 366 best weird movies of all time) first, but it was too expensive to produce.  Delicatessen could be shot on a single sound stage, cheaply, so they produced this film first.
  • In the opening titles, Caro is credited with “direction artistique,” while Jeunet is responsible for “mise en scène.”
  • Jeunet, one of three co-writers on the film, says that the idea for the story came to him because he used to rent a room above a butcher’s shop and would be awoken by the sound of the butcher sharpening his cleaver every morning.  His fiancee would joke that the landlord was killing his tenants for meat in order to convince him to move to a new apartment.
  • Caro not only refused to participate a director’s commentary, saying that he didn’t believe in them, but also requested that footage of him not be used in the behind-the-scenes segments on the DVD.  In his commentary, Jeunet implies that Caro is too self-critical, dryly suggesting Caro thought the film a failure because a barely visible garden hose was unintentionally left in one shot.
  • Delicatessen was picked as the Best Film at the Tokyo International Film Festival.  At home in France it won four César’s, including Best First Feature, Best Screenplay, Best Production Design, and Best Editing.
  • The original trailer for the American release simply contained the entire “bed-spring symphony” scene, with the movie’s title appearing at the end.
  • At the time of release some reputable American critics reported that the film was either co-produced or “presented by”  Terry Gilliam, although Gilliam’s name doesn’t appear anywhere in the credits.  It seems likely the Monty Python alum, whose early films are tonally similar to Jeunet and Caro, played some part the American distribution.

INDELIBLE IMAGE: Howard Vernon’s aquatic second floor apartment, covered in a few centimeters of algae-green water and inhabited by frogs and snails who climb over all the furniture, the record player, and even over the dozing actor.  In the corner is a giant pile of discarded escargot shells.

WHAT MAKES IT WEIRD: Wandering through Delicatessen is like taking a tour of a dilapidated French boarding house filled with insane tenants, most pleasantly eccentric, some downright creepy. You peer inside each room and find something unique and discomfiting. The film is filled with bizarre characters and absurd comic interludes, set in a decaying near-future universe that is artificially “off.”

Spanish trailer for Delicatessen

COMMENTS:  Except for Marie-Laure Dougnac’s eyes, there is no blue in Delicatessen, Continue reading 35. DELICATESSEN (1991)

CAPSULE: HOUSE OF 1000 CORPSES (2003)

Beware

DIRECTED BY:

FEATURING: Erin Daniels, Chris Hardwick, , Jennifer Jostyn, , , , Robert Mukes, Dennis Fimple,

PLOT: Four college kids are abducted by a backwoods maniac family.



WHY IT WON’T MAKE THE LIST:  Because the Texas Chainsaw Massacre ripoff plot was too tissue-thin to support a movie, heavy metal musician turned debutante director Rob Zombie’s fleshed the film out with stylistic excess.  Home movies from inside the serial killers’ psyches, purposeless solarizations, classic drive-in intertitles, and clips of vintage B&W cheesecake constantly interrupt what action there is.  The effect is not to make the film weird, but to draw attention to the director– “I’m Rob Zombie, trash horror aficionado, and I’m making a movie!”–and make him seem weird.  It ends on a highly surrealistic note, but this is actually the weakest part of the movie.

COMMENTS:  Make no bones about it: House of 1000 Corpses is bad.  This movie is what happens when you take The Texas Chainsaw Massacre, drain out all the scary, and replace it with annoying.  Still, if Zombie had to fail, at least he failed bombastically rather than meekly.  If you took away the directorial flourishes from the movie and left only the plot, played straight, then this movie really would have been a nightmare (see the weirdly praised sequel The Devil’s Rejects).

The presence of trash film icons Sid Haig (Spider Baby) as the memorable sideshow Captain Spaulding (pictured) and Karen Black as the redneck matriarch adds some interest.

WHAT THE CRITICS SAY:

“As Rob Zombie’s name twitched over the seizure-inducing opening credits sequence of ‘House of 1000 Corpses’, one highly eager dude in the 1/4 filled theatre gamely raised his fists and shouted, ‘Rob Zombie Rules!’ As the closing credits rolled an unbearably slow 88 minutes later, I’ll bet that same guy contemplated raising his fists again and announcing, ‘I apologize for rushing to judgment.'” -Todd Levin, Film Threat