Tag Archives: French

Capsules

CAPSULE: TWO ORPHAN VAMPIRES (1997)

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DIRECTED BY:

FEATURING: Alexandra Pic, Isabelle Teboul, Bernard Charnacé

PLOT: Two eternally reborn vampire girls who are blind during the day but see at night pose a sorphans and are adopted by an eye doctor who believes he can cure them.

Still from Two Orphan Vampires (1997)

WHY IT WON’T MAKE THE LIST: Two Orphan Vampires is a very odd, low key movie, but it won’t be confused for Jean Rollin’s best.

COMMENTS: After having some mild success with his unusual, surreal erotic vampire movies in the early 1970s, Jean Rollin fell out of fashion later in the decade and increasingly turned to grinding out hardcore porn films to pay the bills, directing his beloved horrors only sporadically. Although it’s not his final fright film, Two Orphan Vampires feels like a swan song, an old man returning to the themes that haunted him in his youth. Adapted from his own graphic novel, the director’s usual obsessions are all back, undiluted after almost 30 years: Sapphic heroines, world weary vampires struggling with existential burdens of near-immortality, indifference to pacing. The film was obviously made on the cheap, adorned with a poor music score that’s 1/2 funk, 1/2 80s synth-pop and shot on low quality film stock that gives it a direct-to-video look. The cheapness is not helped by the fact that almost half the movie is tinted ultramarine, which is Rollin’s realization of the vampires’ night vision but also unfortunately brings to mind the low-budget trick of using a blue filter in order to shoot day for night.

The concept of vampires being blind during the day is novel—more, it’s practically inexplicable, one of many strangely conceived features of this movie that could only have come from this particular director and his skewed view of the Gothic. Orphan Vampires is also unusually talky, even for Rollin, with the girls expressing angst, filling us in on their backstory, and remembering (perhaps imagining) their various reincarnations in lengthy dialogues. Still, the core scenario of these two eternal child-women wandering through the human world as if in a dream is appealing. In their travels they stumble upon other immortal monsters—werewolves, ghouls—all women, all wanderers like themselves. Never has the correspondence between blood and sexual fluids been as pronounced as in this film: lines like “it’s good to be sticky from the lifeblood of this woman,” “I adore you—smear me with some blood” and “you think we could drink each other?” reinforce the connection none too subtly. Other oddities include an strangely staged stalking and slaying taking place in a circus tent conveniently set up in the middle of a Paris street, the vampire girls taking time out to experiment with alcohol and cigarettes like typical teenagers, and the orphans’ continual insistence that they are actually Aztec gods. Two Orphan Vampires is slow, cheap, badly dubbed, and the vampire-vision blue filters get old, true, but there is an almost endearing strangeness and obsessiveness to the movie’s eccentric conceptions. Unfortunately, it goes on too long and wears out its welcome even for those who are attuned to this director’s plodding style, making it yet another of Rollin’s noble failures.

A couple of actresses from the past show up in Two Orphan Vampires, reinforcing the notion of this film as a Rollin retrospective piece. Natalie Perrey from Lips of Blood appears as a nun, and porn actress/topless Grim Reaper is an orphan vampire victim. An even more obscure cameo comes in the Midnight Lady’s choice of bedside reading: Pete Tombs and Cathal Tohill’s “Immoral Tales,” an influential survey of seventies Eurohorror that included an appreciative chapter on Rollin.

WHAT THE CRITICS SAY:

“Though the two orphans are beautiful to look at and their condition tragic, there’s nothing else to hold onto as a viewer. I’m sure some viewers hold on and glean something from this bizarre film, but it never quite gets as weird as [Rollin’s] best work.”–Gordon Sullivan, DVD Verdict

Capsules

CAPSULE: THE DEMONIACS (1974)

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Les démoniaques; AKA Curse of the Living Dead

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DIRECTED BY:

FEATURING: John Rico, Joëlle Coeur, Lieva Lone, Patricia Hermenier

PLOT: A crew of “wreckers” rape and apparently kill two female shipwreck survivors, but the two girls seek revenge with the help of the evil spirits who live in nearby ruins.

Still from The Demoniacs (1974)

WHY IT WON’T MAKE THE LIST: Jean Rollin expands his narrow directorial palette slightly with The Demoniacs, moving away from his usual vampires and stepping out of his musty old castles for the fresh air of the seashore. The film doesn’t do enough to distinguish itself from the usual Rollin romp, however, and despite the pirate spice the result in a fairly typical film that exhibits all the artsploitation auteur’s usual virtues (visuals and atmosphere) and vices (pacing and continuity).

COMMENTS: The Demoniacs explores a new aesthetic for Jean Rollin, one that I’d dub “beach Gothic”: there are scenes set in a ship cemetery, a battered girl in a nightgown crawling along the shoreline past a congregation of carefully arranged crabs, and a pirate’s tavern decorated with bat wings and death’s heads. The villains of the piece are a quartet of sinister salts called “wreckers” who scheme to lure ships onto the shallow reefs of their island home at night, then salvage the loot that washes up onshore. On the night this tale begins, the crew is rooting through their latest catch when two beautiful young blonde girls in pristine white nightgowns stride out of the sea, looking as if they’re walking on water. True to their corrupt natures, the pirates’ response to this eerie and angelic vision is to rape the two innocent survivors, brutally beat them, and leave them for dead. (The rape scene is overlong, and somehow seems even more unpleasant and perverted because the abuse is so badly choreographed). Whether the girls were killed or not remains ambiguous; later, the Captain sees visions of them in a drunken stupor and is convinced they’ve come back to haunt him, but a villager also spots the girls walking about. That sighting leads the wreckers to track the fugitives to a graveyard of shipwrecks—an amazing location, although the most suspenseful question arising in the chase is whether the busty female brigand’s impractical bodice will be able to contain her heaving bosoms during the ensuing three-way gal slap fight. The girls flee into the “cursed ruins” where even the wreckers fear to follow; there, they are met by an orange-haired female clown (!) who introduces the suddenly mute cuties to a sleeping evil who promises to give them a chance at revenge. This sets up a third act with a resolution that’s bewildering even by Rollin’s nonlinear standards. Along the way we get a psychic brothel proprietress, bloodless pigeon heads, and macabre background details like the cheerful noose that hangs over the Captain’s bed as a decoration. One of the film’s biggest assets is Joëlle Coeur as the wanton female wrecker; she’s one in a long line of remarkably beautiful and uninhibited leading ladies Rollin managed to dig up. She’s tempting, she’s perverse, and she’s hard to take your eyes off of whenever she’s onscreen.

After you’ve seen several of them, Rollin’s 1970s movies start to blur together; they become almost interchangeable, like hazy fragments from an uneasy night of nightmares, so that one’s preference for one over another is based on subtle and almost arbitrary criteria. I consider this one of his better efforts, but newcomers will take a while to adjust to the slow pace (it seems like the Captain even gropes his mistress in slow motion). Rollin’s vampire movies may be a better place to start, since the familiar bloodsucker lore provides the viewer with something of a safety net when logic leaves them hanging.

WHAT THE CRITICS SAY:

“For all its dreamlike Rollinesque tendencies ‘Les Demoniaques’ is actually a solid and entertaining (if somewhat lackluster) viewing experience. The premise is handled well and the narrative is welcomingly coherent; Rollin’s direction is pretty much faultless throughout and the cast cackle their way through the script in fine fashion (with as ever much topless shenanigans on show to keep art house fans discreetly aroused)…”–Alan Simpson, SexGoreMutants.com (DVD)

The Demoniacs (US Limited Edition) [4K UHD]

The Demoniacs (US Limited Edition) [4K UHD]
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Canonically Weird (The List)

120. FANTASTIC PLANET [LA PLANETE SAUVAGE] (1973)

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“Cinema is showing more and more. It’s a paranoid, dictatorial cinema. And it’s saying less and less. We need a schizophrenic cinema.”–René Laloux

Recommended

DIRECTED BY: René Laloux

FEATURING: Voices of Eric Baugin, Jennifer Drake, Jean Valmont

PLOT: On a fantastic planet full of strange creatures, a race of mystical giant blue aliens (named “Traags”) treat humans (called “Oms”) as either pets, or as pests to be exterminated. An orphan Om dubbed Ter is adopted by a young Traag, but eventually escapes captivity, taking along an encyclopedic headband that holds all the aliens’ knowledge of their world. He meets up with a band of wild Oms scratching out a living in the surreal landscape and, using the alien technology, fashions a plan for humanity to escape its captivity.

Still from Fantastic Planet (1973)

BACKGROUND:

  • Fantastic Planet was a French/Czechoslovakian co-production, and is often assumed to be an allegory for the Soviet occupation of Czechoslovakia. The similarity between the enslavement of the Czechs and the Oms is coincidental, however. Fantastic Planet was based on a science fiction novel written by Stefan Wul in 1957. Laloux only used Czech animators because there was no real animation industry in France at the time and the Czechs worked cheaply; he began production in 1968, before the Soviet invasion. The newly installed Czech puppet regime canceled the production, but eventually relented, and work resumed in 1971.
  • The Czech animation team reportedly tried to depose Laloux and install one of their own animators as director. The coup failed, and friendly relations were restored.
  • “Oms,” the term the aliens use to refer to humans, is a corruption of the French word “hommes” (“men”). The original French novel was titled Oms en série (“Oms in series”), which is also an electrical pun (“Ohms in series”).
  • Writer/painter Roland Topor was the production designer for the film and the man responsible for much of the movie’s surreal look. Topor drew up the designs and the original cutouts used in the production, but left the project before animation began. Topor was a bit of a weird movie polymath; besides working on Fantastic Planet, he wrote the novel on which  Roman Polanski‘s The Tenant (1976) was based, and appeared as Renfield in ‘s Nosferatu the Vampire (1979). Topor was also one of the three co-founders of the French theatrical “Panic movement,” together with Fernando Arrabal and Alejandro Jodorowsky.
  • Fantastic Planet won the Special Jury Prize (the second most prestigious award) at Cannes in 1973.
  • The movie was distributed in the United States by Roger Corman‘s New World Pictures, known mainly for their drive-in exploitation movies.

INDELIBLE IMAGE: The twisted topography of Fantastic Planet features flying sawtooth-beaked anteaters, bat-winged flora straight out of Hieronymus Bosch’s worst nightmares, and glittering crystals which spontaneously grow and shatter with a whistle. Selecting a single souvenir snapshot from among these startling vistas would be an impossible task. Fortunately, Fantastic Planet‘s artists animate not only landscapes, but mindscapes as well, illustrating the giant blue Traag’s spiritual expeditions by showing their heads floating away in giant soap-bubbles and other trippy tropes. From among these, we’ll choose the moment when four Traags’ close their eyes and blank out while their bodies do impressions of lava lamps, morphing and flowing like heated wax, as the film’s indelible image (though we’d be unable to quarrel with anyone who chose to canonize almost any other moment of the film).

WHAT MAKES IT WEIRD: The Terry Gilliam-meets-Salvador Dalí-in-space animation combined with the acidic prog-rock soundtrack encourages (or even precipitates) altered states of viewing, but Fantastic Planet is more than just an astral trip. It’s a solid sci-fi parable set in a fully realized, incredibly detailed, and truly alien world that provokes more and more astonishment with each succeeding scene.

American trailer for Fantastic Planet

COMMENTS: Made between 1968 and 1973, at the height of the Acid Era, Fantastic Planet Continue reading 120. FANTASTIC PLANET [LA PLANETE SAUVAGE] (1973) →

List Candidates

LIST CANDIDATE: THE RAPE OF THE VAMPIRE (1968)

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Le viol du vampire

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DIRECTED BY:

FEATURING: Bernard Letrou, Solange Pradel, Jacqueline Sieger

PLOT: In Part I a psychoanalyst tries to cure four sisters of their belief that they are centuries-old vampires; in Part II, the Queen of the Vampires revives the cast members who died in Part I so she can conduct medical experiments on curing vampirism.

Still from Rape of the Vampire (1968)

WHY IT MIGHT MAKE THE LIST: Jean Rollin’s feature debut—which began as a partially improvised 30 minute short in which the main characters died at the end, only to be magically brought back to life for “part II” so the story could be expanded to feature length—is one of the vampire auteurs weirdest works, which is saying something. But, like all Rollin films, it’s a mixture of the awe-inspiring and the godawful. There’s likely only room for one Rollin representative on the List of the 366 Best Weird Movies; is Rape it? We’ll need to finish up his entire catalog to be sure.

COMMENTS: Rape of the Vampire wants to be the Un Chien Andalou of lesbian vampire movies; it can’t quite reach those lofty aspirations, but it does have fun trying. Viewers frequently complain that the story is “incomprehensible,” but that’s not quite the case; the vampiric shenanigans are illogical and confusingly related, but there is a plot line that plays through from beginning to end. It’s the old story about a psychoanalyst who visits a chateau uninvited to convince four sisters they’re not vampires, then falls in love with one of the sisters and gets killed by angry villagers and then is secretly resurrected so he can foil the plan of the Queen of the Vampires to simultaneously cure vampirism and inaugurate a new age of the nosferatu by burying a bride and groom in a coffin during a high school play. Or something like that. Rollin deliberately disorients the viewer, and you can be forgiven for thinking that you must have nodded off and missed some crucial plot point; this is the kind of movie where you’re constantly gazing at the screen and thinking, “who is that guy again? Isn’t he dead?” For example, there is a scene where the psychiatrist tries to convince one of the sisters that she’s no more blind than she is a vampire; Continue reading LIST CANDIDATE: THE RAPE OF THE VAMPIRE (1968) →

Canonically Weird (The List)

118. THE TRIPLETS OF BELLEVILLE [LES TRIPLETTES DE BELLEVILLE] (2003)

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AKA Belleville Rendez-vous (UK theatrical release)

Must See

“Don’t want to end my days in Acapulco
Stiff as a board, dancing the tango.
I’d love to be twisted, utterly twisted,
Twisted like a triplet from Belleville.

Swinging Belleville rendez-vous,
Marathon dancing doop dee doo.
Voodoo can can, balais taboo,
Au Belleville swinging rendez-vous…”
–English lyrics from “The Triplets of Belleville”

DIRECTED BY: Sylvain Chomet

FEATURING: There are voice actors, but the film is nearly silent

PLOT: An indefatigable old woman tries to rescue her cyclist grandson from the clutches of the mafia, with the help of her train-hating dog and a long-forgotten, frog-eating trio of Depression-era superstar singing sisters.

Still from The Triplets of Belleville

BACKGROUND:

  • Nominated for two Academy Awards, including Best Animated Feature (the first PG-13-rated movie ever nominated in the category, it lost to Finding Nemo) and Best Song (which fell victim to that year’s Lord of the Rings: The Return of the King juggernaut).
  • Writer-director Chomet began his career as a comic strip artist. His first animated film, The Old Lady and the Pigeons, was nominated for an Academy Award for Best Animated Short. The stars of that film make a cameo appearance here.
  • Composer Benoit Charest’s score actually utilizes some of the fanciful instruments that appear onscreen, such as newspaper, refrigerator shelves, and a canister vacuum cleaner.
  • Although mostly animated traditionally, Chomet used 3-D computer animation for machines, such as cars and bicycles, which he argued would be too boring to animate properly by hand.
  • Gypsy-jazz guitarist Django Reinhardt (an obvious inspiration for the music who has an animated cameo in the film’s first scene) recorded a song titled “Belleville” in 1942. The Triplets themselves suggest the three Andrews Sisters, whose popularity peaked in the 1940s.

INDELIBLE IMAGE: For a film built on memorable imagery, picking one is difficult choice. A tiny pedal boat chasing an enormous ship across a storm-tossed ocean? The explosive geyser that creates its own rain of frogs, or the gourmet meal that results? The city of Belleville, all enormous buildings and a fat Statue of Liberty hoisting a burger? A strong argument for each of them, but I’ll go with the monochromatic dreams of Bruno the dog, who imagines a dreamworld railroad in which he is towed by his master around the rim of a gargantuan food dish.

WHAT MAKES IT WEIRD: The film delicately blends a thoroughly unpredictable storyline, an artistic style at once beautiful and grotesque, and a fierce sentimental streak. Any one of these elements alone could have been off-putting, but Chomet pulls off the delicate balancing act, managing to capture the heartwarming ugliness of a cartoon by Charles Addams or Ronald Searle. As a result, truly bizarre moments arouse a sense of wonder rather than repulsion.


Original trailer from The Triplets of Belleville

COMMENTS: That plot description up there? Provides absolutely no insight into the twists and Continue reading 118. THE TRIPLETS OF BELLEVILLE [LES TRIPLETTES DE BELLEVILLE] (2003) →