Tag Archives: Dreamlike

CAPSULE: THE PERFECT SLEEP (2009)

DIRECTED BY: Jeremy Alter

FEATURING: Anton Pardoe, Roselyn Sanchez, Patrick Bauchau

PLOT: A man returns to dark, nameless city to save the life of “the one who got away,” putting his life at risk and his very soul at hazard while navigating the streets and his own past for clues as to her whereabouts.

Still from The Perfect Sleep (2009)

WHY IT WON’T MAKE THE LIST: While the features of a shadowy noir city full of hyper-naturally Hammett-esque characters smack of something rather strange, The Perfect Sleep really isn’t all that odd, nor is it really that good. It’s more of a hyperbolic homage, a sort of tip-of-the-hat to the noir films of the 40s and 50s that’s so hard and abrupt that it tips the person under the hat. There’s tribute, there’s parody, and then there’s The Perfect Sleep, both somewhere in-between as well as something else entirely.

COMMENTS: There’s something to be said for the positively assaulting aesthetics that pervade this film. This town The Perfect Sleep exists in, extreme (and extremely hilarious) anachronisms aside, fully commits to the idea of the dark and atmospheric urban sprawl that populated so many crime dramas after World War II. Every alleyway seems dangerous, and nobody is who you think they are once you pass them in the night that seems to last forever. But once one soaks in the impressive scenery, The Perfect Sleep quickly becomes a bland song-and-dance routine that feels like an amalgam of Last Man Standing, Dark City, and Double Indemnity, aped poorly and without the safety net of an exorbitant budget. I feel, personally, that this movie’s prime directive should have been to let me in on the story at hand, what will be happening soon. Instead, we are allowed to get lost while the hero, Anton Pardoe, reads exposition distantly from a poor script. It’s like the story, and what our nameless hero is doing, is none of our business, and we’re supposed to just continue blithely along, hoping it will all get sorted out in the end.

The Perfect Sleep makes for a very passive movie watching experience that could have taken an example from The Big Sleep, a noir that had a rather weak story but a dynamic style that kept everyone engaged, thus making the mile-long plot holes seem to vanish into thin air. Instead of taking a page from that movie, though, we find ourselves locked into a story that the characters take incredibly seriously, but whose meaning is lost on the audience. As a weird movie, I would not even suggest it for its unusual moments. Some scenes, like when a freaky doctor punctures the lungs of a couple of strangers with a scalpel, work as unorthodox thriller moments or unnerving horror. But these bits are insignificant compared to the massive time spent amidst the clichés of a period crime drama/dark gangster flick. The critics were, for the most part, unanimous about The Perfect Sleep‘s banality, and I’m afraid I have to throw my hat into the ring with them, this time. It’s nothing you haven’t seen before, and there’s nothing very weird about that.

WHAT THE CRITICS SAY:

“Unfortunately, Alter’s often inventive work is kneecapped by a deliriously nonsensical script, which misses the mark as both over-the-top parody and straight-faced homage, and could have been intended as either.”-Andrew Barker, Variety

CAPSULE: HOUSEKEEPING (1987)

DIRECTED BY: William Forsyth

FEATURING: Christine Lahti, Sara Walker, Andrea Burchill

PLOT: Two orphaned girls are joined by their transient aunt who becomes their guardian in this dreamy, pensive study of nonconformity and the breaking of social mores in a restrictive 1950’s environment.

Housekeeping

WHY IT WON’T MAKE THE LIST: While Housekeeping has an original plot about unusual characters doing unusual things, it is not truly weird.   If anything, the entire point of the movie is to illustrate that what many consider odd is perfectly normal, depending on the angle of interpretation.

COMMENTS: Housekeeping is a surreal atmosphere piece that questions right and wrong, debates the meaning of normality, and examines the consequences of non-conformity. The story follows the erratic behavior of two teenage girls and their seemingly irresponsible caretaker.

In the 1950’s Pacific Northwest, a series of bizarre events unfold, leading to the abandonment of two adolescent girls. In a dramatic early scene, the girls’ misfit mother asks some young boys for help in getting her car out of a muddy rut. When they do, she casually commits suicide in front of them by driving over a cliff. Her daughters, long abandoned by their father, become the wards of their grandmother and aunt, who see them into their early teens. When the deceased mother’s sister shows up, the grandmother and great aunt disappear into the night, leaving them in the care of the newly arrived “Aunt Sylvie” (Lahti).

Sylvie, as it turns out, is an avowed nonconformist with an unconventional lifestyle and unique view of the world. Her permissive parenting enables an alternative existence for her nieces. This new freedom includes skipping school, stealing boats, riding the rails, and other risky, unstructured behavior: acts which are particularly outré when performed by young women in the conservative 1950s.

The film is an odyssey of self discovery as Ruth, from whose point of view the story is presented, begins to question social convention and accepted folkways. As Ruth gravitates toward Sylvie’s atypical values, her sister Lucille is upset by the lack of structure and begins to embrace social norms.

The film presents this evolution of the girls’ characters and personalities through a series of ethereal misadventures and explorations. This transition is further influenced by the recounting of early childhood impressions, and their observations of the unique geography of their home, which is located on a surreal lake surrounded by wooded mountains. Ice and snow symbolism connects different story segments, along with railroads and trains, particularly a spectacular derailment disaster that occurred many years in the past. The lake itself, a massive body of deep cold water holding the wreckage and bodies from the doomed train, embodies concepts of obstacles, boundaries, mystery and the transcendence of space and time.

Ultimately, and inevitably, outside authoritarian interference descends upon the trio; the tale alludes to fear of witches by the unsophisticated locals. Nonconformity is equated with a dread of the unknown. At this point, the slowly building tension between the girls’ independence and the mainstream establishment comes to a rolling boil. The three must choose between two extremes, either one of which will create dramatic and permanent consequences.

Some credit Housekeeping with exploring themes concerning transience, self reliance, dependency, female marginalization, and freedom. This may be true, but the literary eye rollers —that crowd who seek to distinguish themselves intellectually via the discovery of a plethora of symbolism, real or imaginary, in any work—are likely to perceive Housekeeping as an exploration of feminist issues. This would not be the best interpretation of the story. Housekeeping is not a women’s movie. It is a beautifully photographed, thought-provoking atmospheric fantasy about unconventionality and its consequences. The events are experienced from the point of view of a youngster who happens to be a girl. The choice of gender serves more to facilitate this study of social taboos than to make any sort of statement. Those who wish to interpret Housekeeping as being a feminist vehicle will miss the nebula for the stars.

WHAT THE CRITICS SAY:

one of the strangest and best films of the year… not a realistic movie, not one of those disease-of-the-week docudramas with a tidy solution. It is funnier, more offbeat, and too enchanting to ever qualify on those terms.”–Roger Ebert, Chicago Sun-Times (contemporaneous)

39. COWARDS BEND THE KNEE, OR, THE BLUE HANDS (2003)

“I only include things that are psychologically true in my stories, no matter how bizarre, stupid, silly or gratuitous the episodes in them may seem… I can only hope that the spectacle of me trying to inflict pain on hard-to-reach places on my own body is amusing to some people.”–Guy Maddin

Must SeeWeirdest!

DIRECTED BY: Guy Maddin

FEATURING: , Melissa Dionisio,

PLOT: Amateur hockey player Guy Maddin falls in love with the proprietor’s daughter when he takes his current girlfriend to a hair salon/brothel for an abortion. The daughter, Meta, will not give herself to a man until her father’s death at the hands of her mother is avenged. To accomplish this, she wants to transplant her dead father’s hands onto Guy, so that it will be her father’s hands that strangle her mother.

Still from Cowards Bend the Knee (2003)

BACKGROUND:

  • Commissioned by the Power Plant Art Gallery of Toronto.
  • On its debut at the International Film Festival in Rotterdam, viewers watched the ten chapters of Cowards Bend the Knee through ten peepholes in a wall. Spectators had to kneel to put the peepholes at eye level.
  • Maddin issued a companion book to Cowards Bend the Knee (now a collector’s item) containing an expanded screenplay of the film and an interview with Maddin where he discusses Coward‘s autobiographical elements and gives his personal interpretations of the film.
  • Autobiographical elements abound in Cowards Bend the Knee. Maddin’s real life Aunt Lil owned a beauty parlor similar to the one that appears in the film. Maddin’s father coached the Winnipeg Maroons, a pre-NHL professional hockey team; the actual Allan Cup championship ring his father won appears in the film.
  • Maddin’s mother, Herdis, a non-actress, played Meta’s grandmother in the film.

INDELIBLE IMAGE: As Veronica lies on the operating table undergoing a clandestine abortion, the blood streaming between her legs forms itself into a Canadian maple leaf.

WHAT MAKES IT WEIRD: Cowards features Maddin’s trademark in-your-face style (a mix of silent film artifacts and glitchy hypermodern editing); crazed, dreamlike narrative (incorporating hockey matches, beauty salons, murder, infidelity, ghosts, and a hand transplant); and a wildly veering, yet somehow coherent tone that moves from melodrama to slapstick to absurdist vintage pornography to Greek tragedy in the space of a few frames. If that’s not enough, there’s the fact that the entire story is observed by a scientist, who witnesses it being played out while looking through a microscope at a dab of semen on a slide. Weird enough for you?

[wposflv src=http://366weirdmovies.com/wp-content/uploads/2009/10/Cowards-Bend-the-Knee.flv width=480 height=360 previewimage=http://366weirdmovies.com/wp-content/uploads/2009/10/cowards-bend-the-knee-still.jpg title=”Cowards Bend the Knee clip”]
Clip from Cowards Bend the Knee

COMMENTS: Maddin’s Cowards Bend the Knee is a dream, and like all dreams it is at the Continue reading 39. COWARDS BEND THE KNEE, OR, THE BLUE HANDS (2003)

38. MALPERTUIS (1972)

AKA The Legend of Doom House; Malpertuis: The Legend of Doom House

“For sure, one of the weirdest films you’ll ever see, a cult film above and beyond anything else; a film for those initiated into midnight screenings.  Where else do such dreams take place?”—Ernest Mathjis, DVD liner notes for the Barrel Entertainment edition of Malpertuis

DIRECTED BY: Harry Kümel

FEATURING: Mathieu Carrière, Susan Hampshire, , Michel Bouquet,

PLOT:   When his ship sets anchor in a Flemish town, Jan, a sailor, goes looking for his childhood home, only to find that it burned down years ago.  Seeing a fleeing woman he believes to be his sister, he chases her into a brothel where he is knocked unconscious in a brawl.  He awakens in Malpertuis, a massive estate ruled by his Uncle Cassavius (Orson Welles) from his sickbed.  Cassavius reads his will to his very strange extended family, and its provisions set them at deadly odds with one another.

Still from Malpertuis (1972)

BACKGROUND:

  • Malpertuis was an adpation of the only novel written by the Belgian fantasist Jean Ray, who was famous for his macabre short stories (and is sometimes compared to Edgar Allen Poe or H.P. Lovecraft). The novel was complex, composed of four separate narratives told by four characters, and therefore presented a challenge to adapt.
  • Kümel’s previous film was the dreamlike, erotic vampire tale Daughters of Darkness [Les lèvres rouges] (1971).  Hired to make a sexy commercial horror movie, Kümel delivered a memorably bizarre film that pleased exploitation audiences looking for blood and breasts, but was also a crossover hit in the arthouse circuit.  The success of Daughters convinced United Artists to back the Malpertuis project, which was the film Kümel personally wanted to make.  UA’s financial backing enabled Kümel to hire Orson Welles for the key role of Cassavius.
  • Orson Welles was hired for three days of shooting.  An irascible, elderly eccentric by this time in his career, Welles asked for his fee to be delivered in cash in a suitcase.  Welles was drunk and rude on the set, interfering with Kümel’s attempts to direct and, in one case, repeatedly ruining one of Michel Bouquet’s takes until the director agreed to give Welles a closeup he had requested.  At the end of Welles’ three-day contract, the project was well behind schedule due to the legendary actor’s drunkenness, extended lunch breaks and general peevishness.  Apologizing for his behavior, Welles volunteered to work for a fourth day free, and performed all his remaining scenes perfectly in a single morning, putting the production back on schedule.
  • Malpertuis was selected to compete for the Palme d’Or at Cannes in 1972, but United Artists did not like Kümel’s two-hour cut and submitted a dubbed, re-edited 100 minute  version of the film rather than the director’s preferred version.  The film was not popular with the jury, then bombed in both the United States and Europe when UA released its preferred version (misleadingly marketed as a horror pic) as The Legend of Doom House. Not only did the film tank, but Kümel’s promising young career was cut short.  Disgusted with studio interference, he began directing in television and teaching, and has directed only a few unremarkable feature films (including some arty softcore pornography) in the last twenty-eight years.
  • The director’s cut of the film was unavailable on video for many years, and was not seen until the film was re-released in 2002.  This cut was not available on home video until 2005, and not available on Region 1 until 2007.

INDELIBLE IMAGE:  The weary face of the legendary Orson Welles, grumpy and gray but still regal, as he reclines in tuxedo-like pajamas against scarlet bedsheets.  The bed-ridden Welles embodies the decaying secret center of the wickedness of Malpertuis.

WHAT MAKES IT WEIRD: Even before we get to the psychedelic-era Chinese puzzle-box of


Original French trailer for Malpertuis

an ending(s), Malpertuis has created a disorienting sense of oddness.  Both the film and the titular estate are labyrinthine mazes filled with enchanting and mysteriously decorated rooms, with little explanation of how these dazzling individual pieces fit together into the grand layout.

COMMENTS: “It’s pretty, but it’s a bit difficult to understand… Somehow, it makes me Continue reading 38. MALPERTUIS (1972)

31. FUNKY FOREST: THE FIRST CONTACT [NAISU NO MORI: THE FIRST CONTACT] (2005)

“Only appearing in your dream.  Distorting every sound to create a world like to other.  This is what they live for; jumping from one person’s dream to another.  Once you have been chosen, you will lose all control of your dreams.”–from the script of Funky Forest: the First Contact

Weirdest!

DIRECTED BY: Katsuhito Ishii, Hajime Isimin (AKA Aniki), Shunichiro Miki

FEATURING: Tadanobu Asa, , Susumu Terashima, and a large ensemble cast

PLOTFunky Forest is a series of absurdist skits—including both computer generated and hand drawn animation segments and musical interludes—sharing some common characters and situations, thrown together in a blender. The movie features the interwoven antics of two squabbling TV comedians, a trio of brothers who are unpopular with women, an English teacher in love with a recently graduated student who sees him as a friend only, and a school where strange bloodsucking creatures are growing, among many other threads. The comic nonsense sketches and dreams are loosely tied together by references to visitations from “alien Piko-Rico.”

Still from Funky Forest: The First Contact (2005)

BACKGROUND:

  • There is little hard information on this production that is available  in English. Of the three credited co-directors, Katsuhito Ishii, who directed the majority of the sequences, is usually given most of the credit for assembling the collaborative project.
  • Ishii composed the animated sequences for Quentin Tarantino’s Kill Bill, Vol. 1 (2003) and had a minor arthouse hit with The Taste of Tea (2004).
  • Funky Forest is the first movie directing credit for Shunichiro Miki, whose only previous movie credit was a small acting role in The Taste of Tea.  Miki directs commercials in Japan.  He is responsible for the “monster” segments of the film.
  • Prior to Funky Forest, Hajime Isimin (who is also known as Aniki) had released one direct-to-video comedy in Japan and worked as the musical director on The Taste of Tea.  He is responsible for the “Notti & Takefumi” sequences that contain the film’s major musical and dance numbers.
  • Funky Forest won the “Most Innovative Film Feature” award at the 2006 Toronto After Dark film festival.

INDELIBLE IMAGE: The still of the Japanese schoolgirl with a tube jammed into her navel hooked up to a strange machine encasing a large orifice while two strangely costumed men look on, from the segment titled “Wanna go for a drink?”, has already become an iconic image on the Internet. It’s the picture people post or email when they want to illustrate either 1. how weird the movie Funky Forest is, or 2. assuming the picture is from a mainstream Japanese soap opera, how weird they think the Japanese people in general are.

WHAT MAKES IT WEIRD: As the trailer indicates, Funky Forest‘s weird credentials are unimpeachable; if anything, this is a movie that’s almost too weird to be comprehensible, which is why it’s nice that it’s divided into small bites that can be digested independently. It works like a surrealist version of Altman’s Short Cuts.


Japanese language trailer for Funky Forest

COMMENTS: The opening paragraph of every review of Funky Forest is where critics get Continue reading 31. FUNKY FOREST: THE FIRST CONTACT [NAISU NO MORI: THE FIRST CONTACT] (2005)

27. SYNECDOCHE, NEW YORK (2008)

“I think the movie is fun. It has a lot of serious emotional stuff in it, but it’s funny in a weird way. You don’t have to worry, ‘What does the burning house mean?’ Who cares. It’s a burning house that someone lives in-—it’s funny.”–Director/writer Charlie Kaufman

RecommendedWeirdest!

DIRECTED BY:

FEATURING: Philip Seymour Hoffman, Samantha Morton, Catherine Keener

PLOT: Caden is a community theater director in Schenectady, New York, whose marriage and health are crumbling.  When things seem their lowest—his wife abandons him, and he believes that he’s dying—he inexplicably receives a MacArthur Genius grant.  He uses the money to create a meticulous recreation of New York City inside a warehouse, filled with actors playing characters from his own life, including one playing Caden the director himself.

Still from Synecdoche, New York

BACKGROUND:

  • Synecdoche is the directorial debut of Charlie Kaufman, who has been the screenwriter behind most of Hollywood’s big-budget weird films in the past decade.  His scripting credits include Being John Malkovich (1999), Adaptation (2002), and Eternal Sunshine of the Spotless Mind (2004).
  • Kaufman began the script for Synecdoche as a horror film to be directed by frequent collaborator Spike Jonze.  Over two years the script evolved into its current tragicomedy form, and, as Jonze was busy with other projects, it was agreed that Kaufman would direct, with Jonze co-producing.
  • Synecdoche, New York won the 2008 Independent Spirit Award for best first feature.

INDELIBLE IMAGESynecdoche is a movie that weirds us out more through the concepts and dramatic situations than through the visuals, but there is a lovely image of a tattooed rose that physically sheds a real dead petal as its owner expires.

WHAT MAKES IT WEIRD:  Charlie Kaufman.  More to the point, Charlie Kaufman unleashed; unlike Being John Malkovich or Adaptation, where weird and puzzling events are given a rational (if obscure) answer by the end, the weirdness of Synecdoche deliberately frustrates all attempts at a logical solution.  Hazel’s house, which burns and smokes for decades without being consumed, is shamelessly absurd.  The movie is an exploration of dream logic, a life journey that fractures time, space and coherence, where individual events do not add up piece by piece on a plot level, but resolve themselves on an emotional level.


Original trailer for Synecdoche, New York

COMMENTS: “There is a secret something at play under the surface, growing like an Continue reading 27. SYNECDOCHE, NEW YORK (2008)

25. NOSTALGHIA (1983)

“I wanted the film to be about the fatal attachment of Russians to their national roots, an attachment which they will carry with them for their entire lives, regardless of where destiny may fling them.  How could I have imagined as I was making Nostalghia that the stifling sense of longing that fills the screen space of that film was to become my lot for the rest of my life; that from now until the end of my days I would bear the painful malady within myself?” –Andrei Tarkovsky, Sculpting in Time

Recommended

DIRECTED BY: Andrei Tarkovsky

FEATURING: Oleg Yankovskiy, Domiziana Giordano, Erland Josephson

PLOT: Andrei is a Russian poet is traveling around Italy in the company of a fetching translator, researching a biography of a Russian composer who studied in Italy before returning to Russia only to drink and kill himself.  Andrei becomes homesick and bored with the project, and with life in general, until he becomes fascinated by a insane man living in a small town famous for its natural mineral baths.  The madman gives him a simple symbolic task to perform—which Andrei procrastinates in completing— then leaves for Rome on a mission of his own.

Still from Nostalghia (1983)
BACKGROUND:

  • Tarkovsky was considered one of the finest filmmakers in the Soviet Union; he frequently ran into difficulty with the Soviet censors, however, particularly for his Christian viewpoints.  Although his films won acclaim at international film festivals, they were often shown to limited audiences in edited versions in his own country.  Work on the historical epic Tarkovsky was helming prior to Nostalghia had been halted by the Soviet censorship board because of scenes seen as critical of the state’s policy of official atheism.
  • Nostalghia was the first film Tarkovsky made outside the Soviet Union.  Originally intended to be a Soviet/Italian co-production, the state-owned USSR film production Mosfilm withdrew financial support for the project without comment after filming had already begun.
  • The film competed for the Palme d’Or at Cannes, but was awarded a special jury prize instead.  Tarkovsky claimed that the Soviet contingent applied pressure to assure that the film would not be awarded the grand prize.
  • Tarkovsky defected to the West soon after Nostalghia was completed, leaving his wife and son behind.  They were eventually allowed to leave the country when he was diagnosed with lung cancer in 1986.  Rumors persist that Tarkovsky did not die of natural causes, but was actually poisoned by the KGB in retaliation for his defection.

INDELIBLE IMAGE:  There are many fine candidates.  The scene of Andrei attempting to carry a lit candle cupped in his hand across a drained spa may stick with the viewer, if not for its symbolism, then because it audaciously continues for over eight minutes.  But the final, static, picture postcard-like composition of a Russian homestead nestled inside an Italian cathedral perhaps captures Tarkovsky’s theme the best, and is shockingly beautiful, as well.

WHAT MAKES IT WEIRD:  The fluidity between the conscious and subconscious worlds. Although it’s almost always clear whether the events depicted actually occur or are imagined, Tarkovsky is much more interested in what is going on inside the heads of his alienated Russian poet and the Italian madman than in what is happening in the “real” world. He uses strong, sometimes obscure visual symbolism and dreams to convey an affecting mood of existential loneliness.


Trailer for Nostalghia

COMMENTSNostalghia can’t be approached without a word of warning: this movie is Continue reading 25. NOSTALGHIA (1983)