Tag Archives: Michael Lerner

LIST CANDIDATE: ANGUISH (1987)

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DIRECTED BY: Bigas Luna

FEATURING: Zelda Rubinstein, , Talia Paul

PLOT: An audience watches a movie about a serial killer under hypnotic control by his mother killing off patrons of a movie theater, while themselves being victims of an obsessed killer prowling their own theater.

Still from Anguish (1987)

WHY IT MIGHT MAKE THE LIST: You are getting very sleepy, back and forth, watch the metronome. Once you were like a snail, hiding in your shell. Now you’re on an elevator, going down to the twentieth floor, the nineteenth, the eighteenth… when you land, you will become one with us in nominating this unique thriller onto the List as one of the weirdest film experiences to be fooouuunnnd.

COMMENTS: As you read this review, if at any time you feel your mind leaving your body, you should cease reading immediately. Your humble author didn’t follow this warning, and look how I turned out. No really, we’re just passing along the William Castle-like warnings from the beginning of the film. But it’s good advice anyway, because this horror flick starts out invoking standard slasher fare, but ends up reminding you more of The Cabin in the Woods. We meet the creepy old lady Alice (Zelda Rubinstein) and her grown adult son John (Michael Lerner, also in Barton Fink) who live together in a house otherwise occupied by pet snails and pigeons. John is an eye doctor who is ironically going blind as a result of untreated diabetes, and his mother hypnotizes him into murdering people so he can harvest their eyes for her. Not that she’s motivated to cure his ailing vision; oh no, the eyes are just to increase her witchy powers. Among her many talents is the ability to remotely hear conversations by listening to a seashell, and project her own consciousness into her son’s mind when he’s out and about. And for a man losing his vision, John throws a pretty mean scalpel anyway.

But did you think that was the whole movie? Ha, just kidding, this is actually a movie about a theater audience watching the above movie, and getting melodramatically distressed at it. As the hypnotic scenes commence, the audience falls under the spell, variously swaying into a trance, or squirming uncomfortably as if they were held against their will to watch. Ah, but we go back to the movie they’re watching, and now John, in a quest for fresh victims at his mother’s behest, invades yet another movie theater showing The Lost World. Even this black-and-white dinosaur adventure holds its audience enthralled enough to provide great cover for John to quietly off the victims and collect the eyeballs, in between dinosaur roars. A young lady leaves what is revealed to be the theater showing The Mommy, where we’re now starting to get lost as to which layer of of movie we’re in. As we follow the distressed girl getting her bearings in the theater bathroom, we realize that she wasn’t watching The Lost World, but The Mommy, the movie we’ve been mostly concerned with up until now.

Just when we’re begging not to get anymore confused, a new murder plot forms around the people watching The Mommy. As the events of The Mommy continue, the movie theater staff and eventually the audience watching it are preyed upon by a new killer, even as John in The Mommy scalpels victims in his own theater while this new killer prefers a trusty gun. From here on out, events blur between the two theaters, as the film practically dares you to keep up. The new killer huddles in the bathroom and also babbles “mother”; it turns out he’s a fan obsessed with The Mommy. Both killers barricade the doors of their respective theaters, the better to trap victims for an all-out rampage. At times you’re watching an audience watching an audience, at other times you’re asking which bathroom we’re in, and at times even The Lost World’s events blend with the various audiences’ experiences. And guess what? We’re not done shifting points of reality yet, because it turns out we were watching a movie in a movie in a movie… or something. And you thought Inception was hard to follow!

If you’re a big fan of Zelda Rubinstein, who also plays the spooky psychic from the Poltergeist series, then this is your party. Rubinstein dominates the earliest film, her dulciloquent baby-doll voice rasping away and chanting hypnotic spells as her face fills the screen in between shots of whirling spirals, ticking metronomes, rocking lights, and sometimes shots filmed with a spinning camera—bring your barf bag. This goes on for most of the inner movie (and the movie’s movie, and the movie’s movie’s movie…), and when it’s not, the visuals establish artistic motifs around eyes and spirals until it switches to the stacked-movie premise, which invites us to ponder the thin wall between violent movies and obsessed fans (which gets uncomfortably close to later real-life events, even). Anguish does everything it can to drill itself into your conscious. It’s a corkscrew roller-coaster ride through a hall of mirrors, smartly setting you up for an expectation and then veering off into a new curve. While it has some flaws, such as the secondary cast at times giving  performances so wooden they smells like lemony furniture polish, Anguish works its ass off to end up giving you several movies in one.

WHAT THE CRITICS SAY:

“Well, after seeing it in an actual movie theatre (one eerily similar to the two featured in the film), I can safely say that this deeply weird endeavour definitely needs to be seen at a proper movie theatre.”–Yum-Yum, House of Self-Indulgence

51. BARTON FINK (1991)

“And the king, Nebuchadnezzar, answered and said to the Chaldeans, I recall not my dream; if ye will not make known to me my dream, and its interpretation, ye shall be cut in pieces, and of your tents shall be made a dunghill.”–Daniel 2:5, the passage Barton reads when he opens his Gideon’s Bible (Note that the Coen’s actually depict it as verse 30, alter the wording slightly, and misspell “Nebuchadnezzar”).

“Writing is easy:  All you do is sit staring at a blank sheet of paper until drops of blood form on your forehead.”– Gene Fowler

Must See

DIRECTED BY: Joel Coen

FEATURING: , , , Judy Davis, John Mahoney, Jon Polito, Steve Buscemi

PLOT: Barton Fink is a playwright whose first Broadway show, a play about the common man, is a smash success; his agent convinces him to sell while his stock is high and go to Hollywood to quickly make enough money to fund the rest of his writing career.  He arrives in Los Angeles, checks into the eerie art deco Hotel Earle, and is assigned to write a wrestling picture for Wallace Beery by the Capitol pictures studio head himself.  Suffering from writer’s block, Barton spends his days talking to the insurance salesman who lives in the room next door and seeking writing advice from alcoholic novelist W.P. Mayhew, until deadline day looms and very strange events begin to take center stage.

Still from Barton Fink (1991)

BACKGROUND:

  • At the time, it was widely reported that the Coen brothers wrote the script for Barton Fink while suffering from a mean case of writer’s block trying to complete the screenplay to their third feature film, Miller’s Crossing.  The Coens themselves have since said that this description is an exaggeration, saying merely that their writing progress on the script had slowed and they felt they needed to get some distance from Miller’s Crossing by working on something else for a while.
  • Barton Fink was the first and only film to win the Palme D’or, Best Director and Best Actor awards at the Cannes film festival; after this unprecedented success, Cannes initiated a rule that no film could win more than two awards.  Back home in the United States, Barton Fink was not even nominated for a Best Picture, Director or Actor Oscar. It did nab a Best Supporting Actor nom for Lerner.
  • The character of Barton Fink was inspired by real life playwright Clifford Odets.  W.P. Mayhew was based in part on William Faulkner.  Jack Lipnick shares many characteristics, including a common birthplace, with 1940s MGM mogul Louis B. Mayer.
  • Following a definite theme for the year, Judy Davis also played an author’s muse and lover in another surrealistic 1991 movie about a tortured writer, Naked Lunch.
  • According to the Coens, the final scene with the pelican diving into the ocean was not planned, but was a happy accident.
  • In interviews the Coens have steadfastly disavowed any intentional symbolic or allegorical reading of the final events of the film, saying”what isn’t crystal clear isn’t intended to become crystal clear, and it’s fine to leave it at that” and “the movie is intentionally ambiguous in ways they [critics] may not be used to seeing.”

INDELIBLE IMAGE: Barton Fink is full of mysterious images that speak beyond the frame.  The most popular and iconic picture is John Goodman wreathed in flame as the hallway of the Earle burns behind him.  Our pick would probably go to the final shot of the film, where a pelican suddenly and unexpectedly plummets into the ocean while a dazed Barton watches a girl on a beach assume the exact pose of a picture on his hotel wall.

WHAT MAKES IT WEIRD: A nightmarish, expressionistic, and self-satirizing evocation of the difficulty of creation, Barton Fink pokes a sharpened stick into the deepest wounds of artistic self-doubt. A pure mood piece, its amazing ending achieves the remarkable triumph of leaving us with nothing but unanswered questions, while simultaneously feeling complete and whole.

COMMENTS: The most accurate word to describe Barton Fink is “enigmatic.”  It’s a work Continue reading 51. BARTON FINK (1991)