Tag Archives: Conspiracy

CAPSULE: MURDER DEATH KOREATOWN (2020)

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DIRECTED BY: None listed

FEATURING: None listed

PLOT: An unemployed man becomes obsessed with a murder that happened in a nearby apartment complex, but his investigation turns paranoid as he imagines a wide-ranging conspiracy.

Still from Murder Death Koreatown (2020)

COMMENTS: Though taking its starting cue from a real-life murder, Murder Death Koreatown is, it’s safe to say, fictional, as you will doubtlessly decide for yourself by the time its deranged protagonist starts spouting theories about the Pastors, ghosts, and voices speaking to from the sewers. It’s like a re-edited version of one of those paranoid YouTube videos that leave you wondering whether the uploader is genuinely crazy or is just stringing you along for the lulz, or like Under the Silver Lake remade on a $100 budget in the style of The Blair Witch Project.

Our unemployed, over-stressed narrator begins by following (real-looking) blood splatters on his sidewalk, and then discovering that one of his neighbors murdered her husband in a neighboring apartment complex in L.A.’s Koreatown. He discovers some minor inconsistencies, and interviews some (real-looking) locals to see if they noticed anything unusual. As his investigation continues, he starts uncovering connections which aren’t really connections—and which sometimes don’t even rise to the level of coincidences—but which are completely obvious and convincing to the protagonist. We ought to be suspicious when we focuses the camera on the blinds in his apartment and marvels, “look at this weird light…” (we have no idea what he’s talking about, but it’s a hint that he takes significance from stuff we wouldn’t even notice). Also, unless you’re Dale Cooper, it’s never a good idea to admit evidence from your dreams into a murder investigation. It’s not really a spoiler to suggest that the movie is a believable study of one man’s descent into delusional paranoia.

Your enjoyment of Murder Death Koreatown will be linked to your tolerance for watching feature-length shot-on-cellphone vlogs. The movie is, by necessity, talky—there are no significant effects or action sequences. Unfortunately, the narrator’s voice isn’t compelling: he delivers most of his lines in a drab “woe is me” tone, and at one point his bleats of terror make him sound like a Muppet startled by a spider. On the plus side, the actor they found to play the shifty-eyed homeless vet in the alley is so convincing that you might believe he’s a real hobo, and that the plot was actually built around his schizophrenic ramblings. The effective horror soundtrack is another element that supersedes the budget; in fact, it’s so well-made that it at times undermines the film’s found footage credibility. Ironically, it’s too professional a touch for a movie that’s trying to make its amateurism into a selling point.

If you’re willing to overlook the budgetary issues, however, Murder Death Koreatown is a solid watch—and if you plot it on a dollars spent to entertainment value curve, it’s off the chart. It holds our interest for just over 70 minutes and does an exceptional job of viral marketing, which is a solid double for a microbudget feature. You can read some of the movie’s promotional gimmickry at the link embedded below.

For more along these lines, Graham Jones’ Fudge 44 (2006) has a similar low-budget, mock-vérité appeal.

K Anon / Murder Death Koreatown

WHAT THE CRITICS SAY:

“…in mystifying its own ending, Murder Death Koreatown leaves us, like the investigator, grasping for a transcendent truth that the film itself cannot sustain.”–Anton Bitel, Projected Figures (contemporaneous)

 

CAPSULE: OUT 1: NOLI ME TANGERE (1971)/OUT 1: SPECTRE (1972)

Recommended

DIRECTED BY: Jacques Rivette

FEATURING: Jean-Pierre Leaud, , Michele Moretti, , Bernadette Lafont, , Francoise Fabien, Hermoine Karagheuz, Eric Rohmer

PLOT: Two theatrical troupes: one amateur and one professional, with different artistic approaches, rehearse plays by Aeschylus. Two loners: one male and one female, both scam artists, operate independently of each other. All these players are seemingly connected via a loose conspiracy of “13,” inspired by the work of Honoré de Balzac and .

WHY IT WON’T MAKE THE LIST: The improvisational framework is experimental, but it’s more conventional in its overall form. Rivette’s follow-up feature, Celine and Julie Go Boating, which is indebted to Out 1 in its production and concept, is closer to “weird.”

COMMENTS: Out 1 was long hyped as “the Holy Grail of modern French cinema,” and that was not mere hyperbole. After French television turned the project down, a four-and-a-half-hour cut, Spectre, was edited to screen in theaters (with an intermission). The original version thirteen-hour version, Noli Me Tangere (Don’t Touch Me) was screened only once in workprint form in the early 70’s. A re-edited version followed in the late 80’s, and a “finished” version turned up on German and French television in the early 90’s.

At first, watching the complete, restored Out 1 may seem a daunting enterprise, but in a world of binge viewing, it seems very contemporary, while simultaneously presenting a time capsule of France in the early 70’s. Out 1 explores the role of art (specifically theater) in society, interpersonal relationships, and secret societies/conspiracies, all in a way that is very entertaining—much more than the words “experimental feature” would suggest.

Looking at it 45 years later, one thing that helps give Out 1 some perspective are the events of May ’68, which is the hub from which the story revolves around. After a brief period of revolution and the hope of all things possible, we pick up two years later; and while the revolutionary spirit is still alive in the efforts of the troupes, everyone involved is disillusioned with their current reality to some degree. The passing of a note to Colin (Leaud) by an unknown woman—seen as one of the actors in one of the troupes—stirs him to investigate the concept of the “13,” and its effect ripples out among the characters. Is there indeed a conspiracy? Or is the conspiracy merely an abstract concept of a fleeting ideal that may never be obtained, but should always be pursued?

The Noli Me Tangere version, presented over eight episodes, anticipates such shows as “Lost” with its canvas of characters and a central mystery at the core. However, while that mystery provides dramatic momentum, it is not the primary focus; in fact, it isn’t until Episode 5 that it begins to coalesce. A substantial portion of each episode focused on the exercises and rehearsals of both troupes, and their succeeding analyses. It’s a detailed look at theatrical process, and while some may find these sections maddening, they’re an important part of the whole: “acting”  and “performance” are the main subjects, after all. The characters’ interactions with each other at many points are performances, especially the outsiders Colin and Frederique (Berto), whose scams are another form of improvisation. And the entire enterprise is a performance by everyone involved. The Spectre version keeps this basic frame intact, yet at four hours, much is condensed. Scenes are rearranged, some tangents are dropped, and the “Conspiracy of 13” aspect is center stage.

BLU-RAY/DVD INFO: In 2016, Carlotta released a region free box set in North America of both versions of Out 1 on Blu-ray and DVD, featuring a 2K restoration. Also included in the set is a documentary, The Mysteries of Paris: Jacques Rivette’s OUT 1 Revisited, which is extremely informative, and a 120 page booklet with essays and notes. For those in the UK or with region free players, Arrow UK issued the box set “The Jacques Rivette Collection” which includes Out 1, and the additional Rivette features Duelle, Noroit and Merry-Go-Round.

LINKS OF INTEREST:

Order of the Exile – Jacques Rivette website

Introduction to Rivette – Jonathan Rosenblum essay on Rivetter

Out 1 And Its Double – Jonathan Rosenblum’s essay from the box set release

WHAT THE CRITICS SAY:

“Uniquely ambitious, Rivette’s film (technically a serial) spends nearly 13 hours stitching paranoia, loneliness, comedy, and mystical symbolism into a crazy quilt big enough to cover a generation.”–Ignatiy Vishnevetsky, The A.V. Club (Blu-ray)

206. INHERENT VICE (2014)

Recommended

“Every weirdo in the world is on my wavelength.”–attributed to Thomas Pynchon in Jules Siegel’s Mar. 1977 Playboy profile

DIRECTED BY:

FEATURING: , Joanna Newsom, , , , Martin Short

PLOT: It’s 1970, and P.I. “Doc” Sportello has his evening interrupted by his ex-girlfriend, concerned about a plot on the part of her new lover’s wife (and the wife’s lover) to institutionalize him. Doc’s investigation has barely begun before he stumbles across, and is stumbled upon, by a coterie of oddballs, all with their own problems. Skinhead bikers, the LAPD, a dentist tax-avoidance syndicate, and an ominous smuggling ring known as the Golden Fang all get linked together as Doc hazily maneuvers through some very far-out pathways indeed.

Still from Inherent Vice (2014)
BACKGROUND:

  • The notoriously reclusive author Thomas Pynchon published “Inherent Vice,” his seventh novel, in 2009. Although they sell well and have cult followings, no Pynchon novel had previously been adapted for the screen, mainly because the author’s plots are too complex and confusing to fit the film format. Anderson had considered adapting “V” or “Mason & Dixon,” but found both impossible to translate into a coherent screenplay.
  • According to Josh Brolin, Pynchon appeared somewhere in the film in a cameo, although this is difficult to confirm as the last known photograph of the author was clandestinely snapped in the early 1990s.
  • Though filled with A-list actors and nominated for two Academy Awards, Inherent Vice only recouped $11 million worldwide of its $20 million budget.

INDELIBLE IMAGE: While being given a ride from LAPD headquarters, Doc Sportello notices the… mmm, thoroughness with which Lt. Det. Christian “Bigfoot” Bjornsen attends to his frozen banana. The scene goes on for a while — and is odd in and of itself — but also gives a suggestion of the peculiar psychological relationship between the two.

THREE WEIRD THINGS: Telephone paranoia; playboy dentist; moto panikako!

WHAT MAKES IT WEIRD: Its overexposed colors and garish hippie costumes immediately summon the film’s era, creating an image somehow both sharp and blurred. Similarly, the movie travels along a bumpy, diversion-filled path toward an unexpectedly tidy conclusion. The combination of comedy and paranoia works well — this movie will leave you chuckling and, afterwards, slightly worried the next time your phone rings.


Official trailer for Inherent Vice

COMMENTS: Confusion descends upon the viewer early on in Continue reading 206. INHERENT VICE (2014)

LIST CANDIDATE: INHERENT VICE (2014)

Inherent Vice has been promoted to the List of the 366 Best Weird Movies ever made. Read the Certified Weird entry here.

Recommended

DIRECTED BY:

FEATURING: , Joanna Newsom, , Katherine Waterston, , Martin Short

PLOT: In 1970 Los Angeles, private investigator and marijuana enthusiast “Doc” Sportello investigates several converging cases while dodging a hippie-hating police detective out to get him.

Still from Inherent Vice (2014)
WHY IT MIGHT MAKE THE LIST: Paul Thomas Anderson’s work has flitted around the edges of the bizarre, beginning with the baffling ending to Magnolia, through the reader-recommended oddity Punch-Drunk Love and the existential meanderings of The Master. With this stoned adaptation of Thomas Pynchon’s studiously esoteric novel, Anderson may finally have passed over to the weird side for good.

COMMENTS: I don’t think it’s a mistake that’s it’s easy to misread the title Inherent Vice as Incoherent Voice. This smoky noir in which everything connects, but nothing does, is like a comic version of William Burroughs’ “Naked Lunch” (the novel, not the movie); but instead of an expatriate junkie’s 1950s nightmare, it’s an American pothead’s 1960s reality of a world of alarming signifiers (Vietnam, the Manson family, Nixon rallies) that float past, occasionally colliding and combining like the hot wax spheres in a lava lamp. The plot is doled out in fits and starts, as if Doc is suffering from blackouts. He probably as; at one point he writes “not hallucinating” in his detective’s notebook as an act of self-reassurance. Characters like Reese Witherspoon’s hot-to-trot assistant D.A. or ‘s maritime lawyer plop in to drop bits of exposition without much explanation of who they are, where they came from or why they care. Like a slightly more coherent Branded to Kill, deconstructing  American detectives instead of Japanese yakuza, Inherent Vice assembles its pseudo-story out of warped genre tropes: hard-bitten detectives who inhale bong hits instead of slamming shots of bourbon; femme fatales who manipulate saps into giving them a good spanking.

Better to think of Inherent Vice not as a plotted movie, but as a movie composed of free-associated plot elements. There’s a decadent real-estate magnate with a private sex cult, Aryan biker gangs, hippie-hating flattoped cops, a disappearing surf-sax player, an insane asylum that doubles as a private prison, and a vertically integrated Taiwanese heroin consortium. For added oddness, there’s conspicuous product placement for nonexistent brands, ridiculous fang-shaped skyscrapers that pop up in formerly empty lots, and a manic Martin Short as a drug-snorting, cradle-robbing dentist. There is even resolution, of a sort: Doc discovers all of the missing persons before the end credits roll. But you may be mystified as to how he did it.

Inherent Vice is the new masterpiece of hippie noir. It rides that fine line between rationality and irrationality, heading towards a hazy neverland where universal paranoia holds sway. Not only does it ride that line, it eventually snorts it up.

WHAT THE CRITICS SAY:

“…an aggressively weird movie, which you should take not as a warning but as a compliment and an invitation to see it, to let its stoner vibes wash all over you.”–Bill Goodykoontz, The Arizona Republic (contemporaneous)