Tag Archives: Mythology

List Candidates

LIST CANDIDATE: GRENDEL GRENDEL GRENDEL (1981)

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DIRECTED BY: Alex Stitt

FEATURING: Voices of , Arthur Dignam, Ed Rosser, Ric Stone

PLOT: Baffled by the rise of little men who fear him, Grendel chews over his strange life experiences while talking to his silent mother, questioning the nature of his existence until his purpose is made obliquely clear when he visits a nearby dragon.

Still from Grendel Grendel Grendel (1981)

WHY IT SHOULD MAKE THE LIST: After fruitless efforts to find reasons why it shouldn’t make the List of the Weirdest Movies Ever Made, I realized that Grendel Grendel Grendel must deserve a slot. There’s marvelously unrealistic animation, witty soliloquies, and even a few musical numbers—none better than when a singing Grendel interrupts a ballad with, “Who’s the beast that looks so swell? G-R-E-N-D-E-L. What’s his purpose, can’t you guess? N-E-M-E-S-I-S!” Yes, this little monster ‘toon from Australia has what it takes.

COMMENTS: In my brief but busy history here at 366, I’ve encountered many kinds of weird movie. Scary-weird, grotesque-weird, unnerving-weird, incomprehensible-weird… but Grendel Grendel Grendel marks the very first time I’ve encountered cute-weird. Through its simplistically expressive animation, Grendel brings us the less-known story of the eponymous monster (charmingly voiced—and sung—by the great Peter Ustinov). The novelty of the perspective, the coloring-book-come-to-life feel of the imagery, the drollery, and the musical numbers collide in a wonderful spectacle of light, sound, whimsy, and weird.

On a “Tuesday Morning, Scandinavia, 515 AD”, we see warriors troubled by a massive footprint. Thus appears the first sign of Grendel. Indeed, as we learn early on in a song, this monster is a hulking 12’4″ and covered in scales and fur. He eats forest game and the occasional human—but kills far fewer humans than the humans themselves. The humble origins of the up-and-coming King Hrothgar (Ed Rosser) show a man of only slightly greater intelligence than his peers who has, in effect, a three-member posse and a kingdom in name only. But as Hrothgar’s kingdom grows, so grows the body count (with, admittedly, a few in the tally racked up by Grendel). It is only through a misunderstanding that things take a serious turn and the King calls for an exterminator.

So we’ve got our adorable anti-hero, our petty humans, and wondrous color-block environment. Grendel is urbane and witty— similar to Peter Ustinov. The narrative conceit is that Grendel talks to his (unspeaking) mother, with an interruption every now and again for song. Simultaneously the “shaper” Hrothgar hires for his mead hall forges a mighty ballad about the King’s nose and its battle-earned scar. Also, a mystical dragon discloses facts of life to Grendel, in song and dance form. By the time Beowulf arrives on the scene, we know exactly for whom we won’t be rooting—although Grendel ‘s Beowulf is hilariously snide and lecherous. All told, there’s not much going on in this movie that one would describe as “normal”, particularly for a G-rated animated feature.

With its unlikely ingredients, Grendel comes together far, far better than one would readily think it should. The director, Alex Stitt, also wrote the screenplay and produced, so we’ve obviously got a labor of love here. It was a fortunate turn of events that his labor was executed with competence, grace, and ample style. It was also fortunate that the (also great) James Earl Jones turned down the lead role when offered to him (ostensibly when he found out it would be an animated picture). Peter Ustinov provides one of his greatest and most memorable performance as the lovable Grendel. His personality underscores the beast’s humanity, and allows us an anchor in the vibrantly fanciful world of Grendel Grendel Grendel.

WHAT THE CRITICS SAY:

“One’s appreciation with likely depend on your tolerance for listening to omniscient dragon sages singing about Manichaeism and lilting folk-synth ballads describing Grendel’s horrifying features. Personally, I found it to be a well-suited mix of profound modernist absurdity and classical nursery rhymes… I can only hope that the spirit of risk-taking eccentricity that inspired its production will get reincarnated in other projects.”–Film Walrus (DVD)

Alfred Eaker's Fringe Cinema

1961 EXLPOITATION TRIPLE FEATURE: THE CHOPPERS, HERCULES IN THE HAUNTED WORLD, AND WEREWOLF IN A GIRLS’ DORMITORY

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is practically American cinema’s masochistic patron saint of Juvenile Delinquent exploitation garbage. Guided by daddy Arch Sr. (who penned the script and produced) The Choppers was Junior’s first film in a mercifully brief career (he retired in 1965 to become a musician and aviator—daddy was ex-Air Force).

To most contemporary viewers, Hall, Jr. is possibly best known for his second film, Eegah (1962), after it was featured on Mystery Science Theater 3000—although to the cult crowd, his crowning achievement is 1963’s The Sadist. Both of these will be covered here, along with Wild Guitar (1962), in upcoming exploitation collections from their respective years.

In Leigh Jason’s The Choppers, Hall is cast as Jack “Cruiser“ Bryan, the greasy-haired rockabilly leader of a gang of car-part thievin’ JDs. After stripping down cars, the Choppers take their loot to junkyard dog Moose (Z-movie veteran Bruno VeSota, familiar from Attack of the Giant Leeches, Wasp Woman and Bucket of Blood), who gives them ten cents on every buck!

Still from The Choppers (1961)Working out of their chicken coop truck, the Choppers also siphon gas out of unsuspecting vehicles, with Cruiser taking the role of the lookout guy who taps the steering wheel to the radio music he loves (which, the credits reveal, is Hall’s own song). For most of the film, the Choppers remain one step ahead of bland coppers and insurance suits. Later, we actually get to see Hall strum his guitar and sing “Monkeys in my hat band, I can do a handstand.” The jaw-dropping scene alone makes the entire film worthwhile. With rhyming genius like that, we can totally understand how Cruiser is a chick magnet who attracts a 1959 Playboy centerfold!

The yawn-inducing plot requires a comeuppance, which seems a tad harsh for the Choppers stealing car parts, but the producers probably realized a minute or so of something resembling excitement was necessary.

Mario Bava‘s Hercules In The Haunted World stars with apocalyptic hair. Bava and Lee, together with a bulging pair of male mammary glands in a loincloth (Reg Park), overcome laughably bad dialogue, near-fatal comic relief, echo boxes informing us that “these are gods!”, a prosaic plot, shrill dubbing, a green monster who must have been an ancestor of Sigmund the Sea Monster, and a bulimic budget to produce one of the most psychedelic sword and sandal fantasy flicks of the early 60s.

Still from Hercules in the Haunted World (1961)With painted sets and sky, diaphanous tints, swirling ink vapors, and transcendent camerawork, Bava’s cardboard Hades is the quintessence of orgasmic psychedelia masquerading as Continue reading 1961 EXLPOITATION TRIPLE FEATURE: THE CHOPPERS, HERCULES IN THE HAUNTED WORLD, AND WEREWOLF IN A GIRLS’ DORMITORY →

Canonically Weird (The List)

237. SITA SINGS THE BLUES (2008)

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“Have you had any interest from distributors?

The sales rep is talking to distributors. He’s saying, ‘Be patient.’ The distributors are afraid of the film because the film is weird. If you noticed.

You’d think that weird might be good.

Yes, weird should definitely be good, especially among these distributors who talk about how they’re into fresh, new original stuff. But they’re not. They’re the most cowardly creatures on the planet. I just got this big wave of good press, so that will make them realize it’s safer.”–Nina Paley, early Sita interview with Studio Daily

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DIRECTED BY:

FEATURING: Voices of Reena Shah, Debargo Sanyal, Sanjiv Jhaveri, Nina Paley, Aseem Chhabra, Bhavana Nagulapally, Manish Acharya

PLOT: The relationship between artists Nina and Dave is strained when Dave relocates to India for a job. Meanwhile, three shadow puppets discuss the legend of Sita (the avatar of the god Lakshmi) and Rama (Vishnu’s reincarnation) from the Hindu epic “The Ramayana,” introducing animated recreations of the story of the love affair between the two demigods. Portions of the story are further illustrated by musical numbers where a flapper version of Sita sings the ballads of 1930s torch singer Annette Hanshaw.

Still from Sita Sings the Blues (2008)

BACKGROUND:

  • The Ramayana, attributed to the poet Valmiki, tells the story of Lord Rama, the seventh human incarnation of the god Vishnu. Rama’s wife, Sita, is abducted by a demon-king; he rescues her but then rejects her, unable to cure himself of the suspicion that she was unfaithful during her captivity. The epic Sanskrit poem is composed of 24,000 couplets, was written centuries before the birth of Christ, and is considered one of the key works of Hindu literature.
  • Paley was inspired to create Sita Sings the Blues by noting parallels between the dissolution of her own marriage and the failed relationship of Sita and Rama as told in “The Ramayana.” After her breakup, she discovered the music of Annette Hanshaw while staying at a friend’s house, and incorporated the songs into the narrative.
  • Paley animated the movie almost entirely by herself on home computers (much of it in Adobe Flash); the process took three years. Although she was a working cartoonist before making Sita, she had no professional training as an animator.
  • Although universally praised in the west, Paley reported receiving criticisms from India from both the right (that the film was irreverent) and the left (that it represented a neocolonialist appropriation of Indian culture).
  • Paley originally released the movie under a liberal Creative Commons license, but later took the unusual decision to remove all restrictions and make the work a true public domain release. However, Annette Hanshaw’s music is still under copyright to its owners, so the film is not truly free and clear of restrictions (although no litigation has yet resulted from its continued distribution).

INDELIBLE IMAGE: Selecting a single image from this visual smorgasbord is an impossible task. It’s likely that the characters from the Hanshaw musical numbers, with their undulating Flash graphics and comic book coloring, will stick in your memory the most: curvy, -ish Sita and her broad swiveling hips; buff, Hanna-Barbera-blue demigod Rama; and the many-headed, multi-limbed gods and demons who float through the story.

THREE WEIRD THINGS: Hindu big bang; flapper goddess; flying eyeball stalks

WHAT MAKES IT WEIRD: Paley is on record as suspecting that her homemade Hindu jazz epic was too “weird” to get a distribution contract. After Roger Ebert championed the film as “astonishingly original“, and it received overwhelming praise at festival screenings, the “weird” talk died down. It shouldn’t have. Sita is weird. It’s a proud, purposeful, defiant re-connection with humanity’s weird mythological roots, with primordial legends of hybrid god-monsters whose bizarre appearances only serve to magnify their very human foibles. Add in psychedelic animation, torch song musical numbers, and a chorus of unassuming non-omniscient shadow puppets, and you’ve got one strange and spicy stew of a home-cooked movie.


Theatrical release trailer for Sita Sings the Blues

COMMENTS: Sita Sings the Blues is a masterpiece. It’s an incredible Continue reading 237. SITA SINGS THE BLUES (2008) →

Canonically Weird (The List)

231. ORPHEUS (1950)

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Orphée

“When I make a film, it is a sleep in which I am dreaming. Only the people and places of the dream matter. I have difficulty making contact with others, as one does when half-asleep.”–Jean Cocteau

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DIRECTED BY:

FEATURING: , , , Marie Déa,

PLOT: Orpheus, a famed poet in post-war France, is stagnating until his life takes a sudden turn when a brawl at the Poets Café precipitates a ride with Death and her latest victim. Smitten by her mystery and charm, Orpheus becomes obsessed to the point of neglecting his wife, who is dispatched by supernatural agents. It turns out the underworld has rules, though, and complications force Orpheus, Death, and the innocent people in their orbit to redress their unauthorized actions.

Still from Orpheus (1950)

BACKGROUND:

  • The film is an adaptation of Jean Cocteau’s 1926 play of the same title.
  • Orpheus is the middle film of Cocteau’s “Orphic Trilogy”, preceded by The Blood of a Poet (1932) and followed by Testament of Orpheus (1960).
  • The credits for the movie were all drawn by Jean Cocteau, who was something of an artistic jack-of-all-trades: poet, painter, filmmaker.
  • Orpheus is played by Jean Marais, a matinée idol whom Cocteau launched to critical acclaim with Beauty and the Beast (1946). Marais was also Cocteau’s lover. By the time Orpheus was being filmed, Cocteau had a new lover, whom he cast as Orpheus’ professional rival, Cegeste.
  • The unearthly transmissions from the Princess’ car radio were inspired by the coded BBC broadcasts Cocteau heard during World War II.

INDELIBLE IMAGE: Cocteau’s bag of tricks in Orpheus is a large one, but the most memorable bit of legerdemain shows up when Orpheus is making a second trip to “the Zone,” a wind-scarred mass of ruins that makes up the Underworld. Orpheus and his guide, Heurtebise, struggle against gusts of tremendous force as they travel, only to plummet laterally upon turning the corner into the tribunal chamber.

THREE WEIRD THINGS: Forward in reverse; Underworld radio; mirror doorways

WHAT MAKES IT WEIRD: Cocteau’s obsession with mirrors continues unabated, and in Orpheus they explode, dissolve, and are traveled through with a magic so commonplace it borders on the mundane. The Underworld is overseen by judicial bureaucrats, time is flexible (but at a price), and for a movie about poets and poetry, it’s interesting that there are no examples at all of the latter.


Criterion Collection promotional video for Orpheus

COMMENTS: As a writer and as a director, Jean Cocteau hit the Continue reading 231. ORPHEUS (1950) →

Capsules

CAPSULE: THE FISHER KING (1991)

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DIRECTED BY:

FEATURING: , , Mercedes Ruehl,

PLOT: A guilt-ridden ex-shock jock discovers he has a tragic connection to a homeless man who believes himself to be a knight questing for the Holy Grail.

Still from The Fisher King (1991)

WHY IT WON’T MAKE THE LIST: It’s not weird enough, although it has a couple of transcendent moments of magical Arthurian fantasy. As weird titan Terry Gilliam’s most popular and commercial (non-Python) film, it is an important touchstone in weird movie history, however.

COMMENTS: Terry Gilliam’s The Fisher King starts out strong, as a karmic drama about creep disc jockey Jack hoist on his own petard of media cynicism. When Robin Williams appears as the junkyard knight Parry, attacking a pair of punks with a garbage can lid and the power of song, it briefly becomes a wacky comedy; then develops into a redemption fable as the relationship between Jack and Parry deepens. Magical realism appears in Parry’s Arthurian hallucinations of fiery knights riding through the streets of New York. These multiple tones actually mesh surprisingly well, until the tale goes errant into the Realms of Rom-com, from whence no sane plot emerges unscathed. It concludes with a happy ending that feels very un-Gilliam; the story requires a happy ending, but this one is too pat, too Hollywood. Maybe it’s all over the map, or maybe The Fisher King just has something for everyone; high drama and mythological touchstones for the art house crowd, comedy and sentimentality for the masses.

Plot and style aside, The Fisher King is an actor’s showcase, anchored not by headliner Robin Williams, but by the excellent Jeff Bridges as a self-centered Jack (a character who inevitably evokes Howard Stern). Bridges is slick and unlovable, admired by the public only for his outrageous cruelty. But because he suffers, and because his guilt is enormous and comes from a core that has not yet been drowned in the oily cynicism that engulfs the rest of the character, we root for him to reform. Williams, of course, is the Fool. Under Gilliam’s direction, he’s restrained so that his berserk improvisatory tendencies never overshadow the story and turn it into a Robin Williams vehicle. The comic still gets plenty of moments, both manic (a nude moonlight dance in Central Park) and mawkish (his romantic stoop speech to Lydia, in which he essentially confesses to being a stalker). Mercedes Ruehl is wonderful as Jack’s long-suffering girlfriend, a typical New York Jewish/Italian mutt in trampy miniskirts. This character, who has attached herself to a down-and-out ex-celebrity, could easily have come across as needy and pathetic, but instead she is strong, sexy and noble. She justifiably won an Academy Award for Best Supporting Actress. Of the four major characters, only Plummer disappoints, slightly, and that can be blamed on the screenplay rather than her thesping. Her super-quirky, clumsy love interest role is simply unnecessary, a distraction from the film’s important relationships between Bridges and Williams and Bridges and Ruehl.

Standout moments include the Red Knight rampaging through Central Park, a massive waltz in Grand Central Station, and in a cameo as a “moral traffic light.” Curiously, one of the stylistic inspirations for the film is the Hollywood musical. Williams breaks into show tunes throughout, a fellow homeless man dresses up like Gypsy Rose Lee and does an Ethel Merman song-and-dance number, and the words “the end” even appear in the sky above Manhattan lit up like a Broadway marquee. Though not a musical, that spirit of light fantasy bubbles through the movie, leavening some of the themes of mass murder, alcoholic despondency, and homelessness. Even though The Fisher King has a strong sense of purpose, stylistically it’s more than a bit shaggy around the edges. Perhaps that’s appropriate in a film featuring a madman, and perhaps that makes it more lovable in the end.

WHAT THE CRITICS SAY:

 “…a wild, vital stew of a movie… veers with great assurance from wild comedy to feverish fantasy, robust romanticism and tough realism–with only an occasional stumble.”–David Ansen, Newsweek (contemporaneous)