Tag Archives: Cult film

Guest Reviews

GUEST REVIEW: JOHNNY GUITAR (1954)

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Guest review by Kevyn Knox of The Cinematheque

Directed by Nicholas Ray

“There was theatre (Griffith), poetry (Murnau), painting (Rossellini), dance (Eisenstein), music (Renoir). Henceforward there is cinema.  And the cinema is Nicholas Ray.” – Jean-Luc Godard

Johnny Guitar is one of those films one must not take too seriously.  Now don’t get me wrong, the film is indeed a great work of cinematic art (possibly director Nick Ray’s best work) and its classically gorgeous look and progressive visual style make it a wonder to behold, but its over-the-top giddiness and the way it verges on camp (especially in the dialogue and performances) make the film something altogether different.  Something almost dreamlike—almost as if you are not watching a movie so much as hallucinating what you might think a movie could or should be.

Johnny Guitar, the film that Truffaut once called “Hallucinatory Cinema,”  is almost magical in its approach to what film is and still should be.  This strange characteristic turns this redefined western into almost an experimental work of art.  Something that defines not what the western genre is, nor even what it could be, but what it might be if torn asunder and flipped onto its proverbial backside.  Something one could see Quentin Tarantino attempting today, but made instead back in the mid-fifties when life was staid and suburban and everyone was just crazy about Ike.
Still from Johnny Guitar (1954)
Derek Malcolm of The Guardian said of the film, “This baroque and deliriously stylised Western, along with Fritz Lang’s Rancho Notorious and Raoul Walsh’s Pursued, proves it is possible to lift the genre into the realms of Freudian analysis, political polemic and even Greek tragedy.”  Amen brother.

Other westerns of the time delve deeper than the typical genre-specific Hop-a-long Cassidy territory of the earlier mode—The Searchers is a Freudian masterpiece for sure and the films of Anthony Mann (and to a lesser degree Budd Boetticher) have stretched the ideas of right and wrong to Continue reading GUEST REVIEW: JOHNNY GUITAR (1954) →

Reader Recommendations

READER RECOMMENDATION: HAROLD AND MAUDE (1971)

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366 Weird Movies may earn commissions from purchases made through product links.

The second submission in the June review writing contest: by “SG Eric”.

DIRECTOR: Hal Ashby

FEATURING: Bud Cort,

PLOT: Twenty-something rich kid unfulfilled with his life stages fake suicides to peeve his uppity mother and ultimately finds meaning in life when he meets carefree 89-year-old Maude.

Still from Harold and Maude (1971)

WHY IT DESERVES TO MAKE THE LIST: The May-December romance theme is taken to the extreme by romantically entangling (yes, I mean sexually) a very young man with a very old lady.  Considered taboo by most people, the film makes a plea that the perversion is justified because these two odd souls truly do make a bona fide connection with each other, regardless of age or what society deems as acceptable.

COMMENTS:  First off, I’ll admit that I’m biased when it comes to this film. It has been my all-time favorite for about as long as I can remember. Excepting The Dark Crystal (which just frightened me) it was the first truly “weird” film I encountered as a child.  Like any other kid of my generation, I was enamored by the spectacle that was Star Wars.  Fantasy consumes a child’s existence, and there was no greater escape than those first three films.  I’m guessing around ’84 I first came upon Harold and Maude on HBO.  I was engrossed immediately.  Here was a movie that did not rely on fantasy to hold your attention.  Sure, there is some reality-based whimsy involved.  The humor is dark for sure, some may say morbid, but to a 10-year-old kid watching someone feigning multiple suicides comes off as hilarious.  At least it did for me at the time, and yes it still does.

I know this movie has a huge and dedicated cult following.  Without trying to sound completely snobbish, I hope it stays within that circle.  It deserves to be seen by those who like their cinema offbeat.  I find this movie to be so perfect that I cannot fathom anyone not enjoying it.

Now let’s talk about what makes this movie weird.  The May-December theme is basically a couple who is one-half old and one-half young.  It has been explored many times over in movies, usually in dreadful Hollywood romantic comedies.  Usually, it is the older man falling for the younger girl… yes, tracing a semi-origin to “Lolita,” one of the most popular novels written about the subject, which was made into a couple of “controversial” films.  There are exceptions of good films exploring this theme.  Ghost World (I agree a bit creepy for a couple) or Lost in Translation are good examples, but they never really surpassed plain ol’ sweetness.  What sets Harold and Maude apart, other than the gender-role age discrepancy being reversed, is that they give each other hope and a true purpose for life.

Harold’s mother ceaselessly tries to find a respectable mate through dating services.  Harold wants no part in this shallowness, and bizarre fake suicides are performed to ward each one off.  Upon meeting Maude at funeral services, for which neither one knows the deceased, they hit it off.  Maude takes part in several shenanigans that involuntarily involve Harold.  He starts to see this chaos/anarchy as a means for living and loving.  He tells his mother early on that he has found a companion in Maude and provides evidence with a picture of her.  I believe initially the affair was meant to once again irk his mother, but eventually unfolds to true and devout love.  Of course his mother is aghast and she stops at nothing to prevent the relationship.  Again, the results are nothing short of hilarious.

I have always been fascinated by two people who are linked together and it seems to be a complete mismatch.  The beauty of Harold and Maude is that they are not mismatched at all.  Only the age factor makes it seem that way.  I compare it to seeing a strange couple walking down the aisle of a store.  One is obese and the other is pencil-thin.  It makes you raise and eyebrow and think, “that’s weird.”  Is it?  If they are happy I salute them. Love truly knows no boundaries and it makes this life what it is.  Films like Harold and Maude can show you that love exists, in spades.  It may also tell you to take that spade and dig up that city tree and transplant it in the forest where it belongs.

WHAT THE CRITICS SAY:

“…a doggedly eccentric film which some will reject out of hand. Others will find it profoundly moving and life affirming.”–TV Guide

Alfred Eaker's Fringe Cinema

JOHN WAYNE AND THE SHOOTIST (1976)

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Marlon Brando is not the quintessential American male movie star. That honor belongs to John Wayne. John Wayne was a shrewd actor who carefully manufactured his on screen persona. For many, Wayne represents the All-American WASP, yet he was of Irish descent and a Roman Catholic. Most of the B western actors had a favorite horse. In his B western beginnings, Wayne had the horse Duke, yet he disliked horses, preferred slacks and dinner jacket to western duds, wore a toupee through most of his career, and felt more at home on his boat than he ever did on a ranch.

In addition to the being the archetypal cowboy, Wayne represented the ideal American soldier, yet he never served a day in the military. When the second World War broke out in 1941, many of Wayne’s contemporaries, such as Jimmy Stewart, Clark Gable, and Henry Fonda, all enlisted. These actors were already established as “A” list stars in 1941. Even with Stagecoach (1939) behind him Wayne was not yet secure in his career and still languished in numerous “B” films. Wayne saw this as a golden opportunity, while the competition was away, to grab the number one spot, and he did just that. It was less a case of draft dodging, and more a calculating career move, one for which John Ford would relentlessly needle him ever after. The war interrupted the careers of numerous actors, such as George Reeves, who seemed to be on the way up, but had not yet established themselves in a large enough body of “A” productions. Upon his return, Reeves and many others found they had been virtually forgotten while they were away, never to regain their previous career position, let alone surpass it. So much for studio patriotism towards its contract players.
Still from The Shootist (1976)
Wayne symbolized American virtue, yet he had countless affairs with married women. Some maintain he was racist. In a 1971 interview he made naive and blatantly ignorant remarks about African Americans and Native Americans, yet he enjoyed working with African American co-stars, and was drawn to native American spirituality, an interest on display in his film Hondo (1953), produced and distributed by Continue reading JOHN WAYNE AND THE SHOOTIST (1976) →

Guest Reviews, List Candidates

RECOMMENDED AS WEIRD: BREWSTER MCCLOUD (1970)

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DIRECTED BY:  Robert Altman

FEATURING: Bud Cort, , Michael Murhpy, Shelley Duvall, , , Margaret Hamilton, Jennifer Salt, William Baldwin

PLOT: An oddball genius constructs a one man flying device in the basement of the Houston Astrodome, assisted by a sexy but murderous guardian angel.

Still from Brewster McCloud (1970)

WHY IT SHOULD MAKE THE LIST: Robert Altman’s showman’s understanding and appreciation of the circus influenced the presentation of this surreal satire with its unconventional plot, eccentric characters, and eye-catching production design.  Watching this colorful odyssey is like exploring a side road on the cinematic highway to Oz.

COMMENTS:  Five out of five stars all the way for this gorgeous, pensive work of art. In this strange black comedy, Brewster McCloud (Cort -“Harold” from Harold and Maude) is a likable misfit who lives in the fallout shelter of the old Houston Astrodome. He endeavors to build a mechanical flying suit which will enable his escape from an incomprehensible world to some unknown imaginative utopia. An eccentric angel adeptly played by the quirky Sally Kellerman strangles anyone who opposes Brewster.

Brewster McCloud has a humorously heavy ornithological thesis with a narrative lecture provided by an off kilter science professor. The instructor’s recitation of facts about the social and mating habits of birds provides a funny comparative commentary on human nature. Avian themes glue the plot points together and furnish continuity between a sequence of strange events as Brewster struggles to achieve his goal.

There are three subplots: a coming of age story centered around McCloud, a social commentary stemming from the exposition of similarities and differences between humans and birds, and a murder investigation. While the police attempt to determine why the strangulation victims are found plastered with bird droppings, Brewster tries to beat the clock and perfect his flying machine before the authorities close in. He must stay Continue reading RECOMMENDED AS WEIRD: BREWSTER MCCLOUD (1970) →

Canonically Weird (The List)

43. INK (2009)

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“It was just an extra splash of weird.  We decided it wasn’t weird enough to begin with, so what can we really do to make this weird?”–Kiowa Winans on Ink‘s DVD commentary [explaining why the Incubi staves end in human hands]

Recommended

DIRECTED BY:

FEATURING: (as Chris Kelly), Quinn Hunchar, Jessica Duffy, Jeremy Make, Jennifer Batter

PLOT:  Ink introduces us to a world where a race of guardian angels called “Storytellers” guard over humanity and bring pleasant dreams while we sleep, while the evil “Incubi” sneak by our bedsides and send nightmares. One night, a mysterious cowled and chained figure comes into the room of a sleeping girl, defeats the assembled Storytellers, and snatches the child away to a limbo halfway between the waking and dreaming worlds. Meanwhile, in the earthly realm, the girl’s body lapses into a coma, while her estranged, workaholic father refuses to leave a billion dollar contract he’s working on to visit his daughter in the hospital.

ink

BACKGROUND:

  • Jamin Winans not only wrote, edited and directed the film, but also composed the soundtrack. Jamin’s wife Kiowa handled both sound design and art direction as well as serving as producer.
  • The movie was made for only $250,000.
  • Ink won the Best International Feature award at the Cancun Film Festival.
  • Despite faring well on the festival circuit, Ink was not picked up by a distributor; the producers self-distributed the movie to a few cinemas and oversaw the DVD and Blu-ray releases themselves.
  • After its DVD release, Ink was downloaded 400,000 times, becoming one of the ten most pirated features of the week of its release alongside major Hollywood films like Zombieland. On the official website, the filmmakers request voluntary donations from those who watched the movie for free.

INDELIBLE IMAGE: The Incubi, demons for the digital age. Unmasked, these shadowy figures with glowing spectacles have become the film’s iconic poster image, but they are even more frightening when they hide their true visages behind happy-face projections flickering on perpetually on-the-fritz LCD monitors affixed to their heads.

WHAT MAKES IT WEIRD: Ink taps into the beautifully frightening, often disquieting aesthetic of fairy tales, mixing high-tech nightmare visions with ancient storytelling traditions to create a new mythology that’s simultaneously progressive and connected to the past. It blunts its weirdness by resolving its symbolism completely by the end, although the literal plot resolution remains a paradox. Even though all becomes clear by the end, the early reels can be a wild ride.

Original trailer for Ink

COMMENTS:  “Ink has been compared to cult classics Brazil, Donnie Darko, The Matrix, Continue reading 43. INK (2009) →