FEATURING: George Shannon, Hachemi Marzouk, Emmanuelle Riva
PLOT: Accused of killing his mother and stealing her jewels, Aden Rey flees to the desert. There, he discovers a mystical dwarf shepherd named Marvel who offers him refuge. They develop a friendship verging on romance, and Aden decides to take the innocent nature boy (and his favorite goat) to see the big city.
Together with Alejandro Jodorowsky and Roland Topor, Fernando Arrabal founded the Panic movement (named after the Greek satyr god Pan). Starting in 1962 in Paris, the Panic movement staged disruptive live public “happenings” and plays that included (reportedly) live animal sacrifices, Jodorowsky being stripped and whipped, nude women covered in honey, and a replica of a giant vagina. The movement was inspired by the idea that Surrealism had become too mainstream and lost its power to shock the viewer; Jodorowsky officially dissolved it in 1973, after the three principals had already gone their own ways.
I Will Walk Like a Crazy Horse was Arrabal’s second film as director (after 1971’s surreal fascism satire Viva la Muerte). He may be best known to 366 readers as the screenwriter for Jodorowsky‘s 1968 debut Fando y Lis, which he adapted from his own play.
INDELIBLE IMAGE: The most unforgettable image in I Will Walk Like a Crazy Horse is one I actually wish I could forget: Aden and Marvel silhouetted in the sunset, squatting back to back, defecating. If you need something less repulsive (and we do, for illustrative purposes), go with the dwarf making out with a skull so fresh that bits of meat still cling to it.
THREE WEIRD THINGS: Synchronized pooping; cross-dressing skull-birthing; butt-flower eating
WHAT MAKES IT WEIRD: With its sharply dressed, on-the-lam hero wandering the streets of Paris as the cops close in, I Will Walk Like a Crazy Horse plays at times like an exceptionally strange nouvelle vague crime flick—as if Jean-Luc Godard failed to show up on set and Alejandro Jodorowsky seized control of the project, firing Anna Karina and installing a dwarf as the love interest. Oedipal, mystical, scatological, blasphemous, surreal, and still shocking even today, Crazy Horse is crazy indeed.
DVD release trailer for I Will Walk Like a Crazy Horse
PLOT: Curious about 2-foot 9-inch Filipino “action star” Weng Weng (For Y’ur Height Only, The Impossible Kid), an Australian video store owner travels to the Philippines to interview the people who knew the actor personally and to fill in the missing details of his scanty biography.
WHY IT WON’T MAKE THE LIST:The Search for Weng Weng is an unexpectedly substantial, insightful, and even moving documentary. In weird movie terms, however, its role isn’t to crash the list of the weirdest movies ever made, but to fill in gaps in your knowledge of an esoteric cinema oddity.
COMMENTS: Reviewing a Weng Weng movie has been on my personal “to do” list for some time, but I always found something higher priority to work on instead. Poor Weng Weng still gets no respect; he’s a marginal curiosity even on a weird movie site. Andrew Leavold’s passionate, late-arriving documentary gives us an excuse to initiate some Weng Weng coverage, even if it’s only secondhand.
To be honest, a vehicle like this is probably the best way to experience the Weng Weng phenomenon; you get to see the cream of the crazy clips without the fat, and a real human interest story is thrown in as a bonus. As the title of his most notorious film—For Y’ur Height Only—makes clear, Weng Weng’s acting career was a one-joke phenomenon. The Guinness Book of World Records holder as the shortest actor ever to star in a feature film, in the West Weng is only known for two movies, the aforementioned Height and The Impossible Kid. These spoofs cast him as a secret agent and wring absurd fun from their star’s short stature by having him kung fu bad guys (who helpfully fall to the ground after being kicked in the shins) and romancing women who can carry him around like a baby. Weng Weng also did all of his own stunts, which were sometimes spectacular by B-movie standards: flying a jet pack or jumping from a building and drifting down while holding an umbrella.
Weng Weng’s time in the international spotlight began in 1982, peaked in 1982, and ended in 1982. Only two of his movies made it to the U.S., and there was almost no biographical information available save for a scant unreliable paragraph from the actor’s visit to the Cannes Film Festival (in, naturally, 1982). He would have been forgotten entirely if his two novelty films hadn’t made it to VHS tape, where enthusiasts of the oddball like Andrew Leavold rented them—and, after picking their jaws up from the floor, wondered if they could get more where that came from.
All available evidence suggested the answer was “no,” but Leavold didn’t take no for an answer. Traveling to the Philippines, the director discovered a nation in deep denial about Weng Weng. Folks either didn’t remember him at all, or were embarrassed to think that a court jester was the Philippines most recognizable cinematic export. Although most Filipino films from the Seventies and Eighties B-movie explosion have been lost, Leavold hit the national film archives and discovered a few domestic release Weng Weng gems, including a pair of previously unseen (by Westerners) Westerns. While there, the director bumped into Weng Weng’s old editor, who hooked him up with the actor’s old co-workers, leading, ultimately, to the film’s strangest surprise—an audience with former first lady Imelda Marcos, and a surreal visit to her 83rd birthday party.
This side trip isn’t as digressive as it sounds, because In Search of Weng Weng proves to be almost as much about the Filipino soul and the social context out of which Weng Weng arose as it is about the life of the forgotten celebrity. Weng Weng himself comes across as a fairly sad character, often exploited and ignored despite his fame; and yet, the picture also suggests his brief stint of movie stardom may have brought him more pleasure than he would otherwise have known in life. Because Weng Weng was no longer alive at the time of filming, we only learn about him through others, which means that we get a multifaceted portrait of an ordinary human being fated to live an extraordinary life. Some believe he was happy with his fame, others pity him. But there is no denying that, exploited or not, Weng Weng brought pleasure to millions of people worldwide, which is more than most of us can say. Despite his lack of real acting talent and his freakshow appeal, this dwarf from the slums of Manila rose to become a genuine entertainer and even an icon. When Leavold describes the climax of the unseen-in-the-West Western D’Wild Wild Weng—a finale where pygmies and ninjas suddenly show up for the final battle—as “one of the most insane Filipino B-endings, a micro-Apocalypse Now and a Dadaist triumph,” we’re swept up in his enthusiasm and genuine affection for the character of Weng Weng. We have to wonder if—pardon the unintentional but inevitable pun—we haven’t been selling the actor short.
In Search of Weng Weng was begun in 2007 and screened at festivals as a work-in-progress, which explains the 2007 date given by the IMDB. It was completed in late 2013 and shown in its final form in festivals and theaters soon thereafter. It arrived for the first time on DVD in late 2016 courtesy of Wild Eye Releasing, with a commentary track from Leavold, extended interviews with the actor’s colleagues, and other goodies, including a trailer for the lost Weng Weng feature Gone Lesbo Gone (!)
“Blancanieves combines the characteristic language of documentary, a typical feature of Spanish realist cinema, with other devices from the opposite end of the aesthetic spectrum (fades, magical connections, etc.), typical of silent film – which in some cases call to mind Luis Buñuel’s surrealist aesthetic. These paradoxical styles help to create a visual atmosphere which is appropriate to the somewhat sinister tale by the Brothers Grimm which serves as the pretext of the film.”–Jorge Latorre
PLOT: Antonio Villalta is a famous bullfighter with a pregnant wife who is distracted in the ring and gored by a bull. The accident leaves him wheelchair-bound, his wife dies giving birth to his daughter, and he marries his nurse Encarna, a cruel and manipulative sociopath who only wants him for his fortune. Encarna at first keeps Carmen, Antonio’s daughter, as a servant girl and virtual slave on the estate, but orders her killed when she is found visiting her father against her stepmothers will; Carmen escapes and is rescued by a band of dwarfs who travel Spain performing a novelty bullfighting act.
The folk tale “Snow White” was first set down in print by the Brothers Grimm in 1812.
Dwarf matadors (known as “charlotada”), who would warm up the crowd before the main event, were a real phenomenon in Spanish bullfighting.
Writer/director Pablo Berger cites Tod Browning‘s Freaks (1932) as one of his main inspirations for the script.
Blancanieves was in development for eight years before filming began. This means that it was conceived before The Artist, the revivalist silent film that won the Academy Award in 2011.
The film won 10 Goyas (the Spanish equivalent of the Oscar), including Best Film and Best Actress for villainess Maribel Verdú. Spain submitted it to the Academy Awards but it was not one of the five foreign film finalists.
INDELIBLE IMAGE: Pablo Berger’s film utilizes simple tricks that would have been available to filmmakers in the 1920s, including frequent use of superimposed double images. The most effective of these is the shadowy skull that flashes over the skin of the apple as the wicked stepmother poisons it (using a syringe), while her intended victim basks in the crowd’s adulatory applause in the background, out of focus.
THREE WEIRD THINGS: Rooster cam; transvestite bullfighting dwarf; crying corpse
WHAT MAKES IT WEIRD: “I have this idea for a Snow White adaptation set among Spanish bullfighters in the 1920s, but how can I make it weird? I know! I’ll make it an expressionistic silent film, and make one of the dwarfs a transvestite and give the wicked stepmother a penchant for S&M!” Well done, Pablo Berger.
“[Günter Grass] called our [first draft] script ‘Protestant and Cartesian.’ It was lacking the irrational dimension of time, the nodal points where everything becomes confused and collapses in an illogical and tragicomic way. He wants more hard realism on the one hand, and on the other, more courage in the unreal. Imagination as a part of unreality –Oskar’s reality… Another visit to Grass, almost a year after the first, this time with the finished script. It is now more ‘Catholic,’ and less rational…”–Volker Schlöndorff, in his Tin Drum production diary
DIRECTED BY: Volker Schlöndorff
FEATURING: David Bennent, Mario Adorf, Angela Winkler, Daniel Olbrychski, Katharina Thalbach
PLOT: At the age of three, Oskar, a boy who always carries his beloved tin drum and whose scream can shatter glass, decides that he does not want to grow up, and throws himself down the cellar stairs to stunt his growth. As Hitler rises to power, his mother becomes depressed and kills herself by eating raw fish; his uncle, who may be his real father, is killed by the Nazis. Still looking like a child, Oskar lives through Fascism and World War II and has love affairs, eventually joining the Nazis and entertaining the soldiers with his drum.
Die Blechtrommel [The Tin Drum] is based on Nobel Prize winner Günter Grass’ schizophrenic 1959 novel of the same name. The film adaptation only covers approximately the first half of the book.
Actor David Bennent had a “growth disorder” and was actually twelve years old when the movie was filmed.
The Tin Drum is set in Danzig, which at the time of Oskar’s birth was a Free City located between Germany and Poland, although the population was mostly German.
The Tin Drum shared the 1979 Palme D’Or with Apocalypse Now. It also won the Academy Award for Best Foreign Film.
In the United States, New World Pictures—Roger Corman’s company—distributed the picture. Some of New World’s other releases that year were Humanoids from the Deep and Shogun Assassin.
The movie ran into censorship problems due to brief sex scenes between David Bennent and Katharina Thalbach (then 24 years old, but portraying a 16-year-old). The oddest case occurred in Oklahoma in 1997, almost twenty years after the film’s release, when a judge ruled that the film violated state child pornography laws which banned even non-explicit depictions of sex between minors. Police seized videotapes from the homes of people who had rented the movie. The documentary Banned in Oklahoma, included on some editions of The Tin Drum as an extra, details the controversy. The film was later vindicated, and today Oklahomans no longer need fear being labeled as pedophiles for watching 1979’s Best Foreign Film winner.
In 2010 Volker Schlöndorff created a director’s cut of the film, restoring about 20 minutes of footage which had been removed to shorten the running time.
INDELIBLE IMAGE: Wild-eyed Oskar pounding away on his drum in an insane, trance-like fury is undoubtedly the film’s emblematic image, although the horse’s head filled with eels is probably the most shocking one.
WHAT MAKES IT WEIRD: The Tin Drum is a comic nightmare about “little people’s” acquiescence to Fascism in the 1930s and 1940s; as Germany goes insane, children refuse to grow up, eels breed in horse’s heads, and Santa Claus turns into the Gas Man.