Tag Archives: Parody

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APOCRYPHA CANDIDATE: ADELA HAS NOT HAD SUPPER YET (1978)

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Adéla ještě nevečeřela
AKA Dinner For Adele; Nick Carter in Prague; Adele Hasn’t Had Her Dinner Yet

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DIRECTED BY:

FEATURING: , , , Nad’a Konvalinkova, Ladislav Pesek, Vaclav Lohinsky,

PLOT: Nick Carter (Dočolomanský), America’s Greatest Detective, is requested to come to Prague to solve the disappearance of a member of a prominent noble family. But even with the help of his local guide Inspector Ledvina (Hrušínský), countless gadgets, and his own American know-how and constant vigilance, it might just not be enough against his greatest adversary, The Gardener, and his creation Adela…

… and Adela has not had supper yet!

Still from Adela Has Not Had Supper Yet (1978)

WHY IT MIGHT JOIN THE APOCRYPHA: It’s fun pastiche like Star Wars and Raiders of the Lost Ark, and high adventure like the Bond films—but done at a fraction of the cost, and more smartly, without getting in the way of the fun.

COMMENTS: We open with the sound of an orchestra tuning up, followed by a conductor leading the start of a symphony which is interrupted by flash cuts of a dime novel illustration and the sounds of a tack-piano. This battle goes on for a few seconds, with the illustration and piano winning out and the credits beginning. High culture and low culture merged into entertainment, which is a pretty good encapsulation of the work of Oldřich Lipský: pastiche and parody merged with satire and (subtle?) commentary.

Adela is another good-natured lark, much like the director’s earlier Western parody Lemonade Joe. This time, the parody features Nick Carter, a dime-novel detective who was a major character of pop culture in the early 20th Century. In this iteration, he’s a combination of Sherlock Holmes (of whom he has an autographed photo and a note of admiration) and James Bond (with an array of gadgets to assist him). “America’s Greatest Detective,” as the sign on his door states, he effortlessly defeats several perpetrators even before the story gets properly underway.

The adventure melodrama is a standardized form, but the basic plot can take a myriad of variations. In this case, it’s also a Victorian slapstick yarn, with hints of steampunk on the fringes. Plus, it’s actually fun and funny. Lipský’s comedy stagings are almost flawless: only Blake Edwards (specifically The Party and The Pink Panther Strikes Again) comes close—although Lipský was more consistent. Think how much better The Great Race would’ve been if it were a Lipský film…

It’s all very genial and innocent, although there’s a tinge of satire present. Czechs are ribbed, from Carter’s description of them as “down to Earth types,” to Inspector Ledvina’s constant consumption of beer and sausages. America is also gently mocked: “America’s Greatest Detective” lives in New York, “America’s Greatest City,” and as Nick himself affirms, “Americans do everything grandly”. But there’s also American arrogance; “Europe is decay,” Nick states to Ledvina during a limburger lunch, and American puritanism surfaces during his encounters with women, both those who are attempting to kill him and those who are slightly friendlier.

Made more than a decade after Lemonade Joe, this was Lipský’s second of three collaborations with write/animator Jiří Brdečka. It was followed by The Mysterious Castle In The Carpathians with much of the same cast. As with Mysterious Castle and Lemonade Joe, Brdečka’s experience as an animator adds to the visual humor; a reference to the Escher portrait ‘Hand With Reflecting Sphere‘, running gags in the background set up early which pay off in the last third of the film, and Brdečka’s animation of the Gardener’s backstory. Jan Svankmajer assists with animating Adela (a man-eating plant with as much personality, but not the vocabulary, of The Little Shop of Horrors‘ Audrey II)—mainly when she’s having her supper.

Like Mysterious Castle, Adela got its first U.S. home video release on a Deaf Crocodile Blu-ray, with a new restoration and a commentary track from Czech film expert Irena Kovarova and film critic Tereza Brdečková (Brdečka’s daughter). Like the previous release, the extras are weighted towards Brdečka’s career rather than focusing on just Adela. Four of Brdečka’s animated shorts are included; Badly Drawn Hen (Špatně namalovaná slepice), Forester’s Song (Do lesíčka na čekanou), What Did I Not Tell The Prince (Co jsem princi neřekla) and The Miner’s Rose (Horníkova růže). The deluxe limited edition includes a 60 page booklet with essays by Walter Chaw and Jonathan Owen as well as excerpts from the 2015 book “JIŘÍ BRDEČKA: Life-Animation-Magic,” with storyboards from Adela and the shorts.

Lipský disappears a bit from the discussion; but Brdečka benefits from having 1) a direct living relative still able to beat the drum for his accomplishments and 2) having been an integral part of the . There’s still a lot of Lipský left to premiere on USA-friendly home video, so future releases may rectify the slight against Lipský, if indeed there is much bonus material on the director.

WHAT THE CRITICS SAY:

“The dialogue, in subtitles, is strictly 70’s streetrap, and its non sequitur placement in the turn-of-the century provinciality is hysterical. The performances are well timed camp, and the entire colorful romp is strictly for fun.”–Michael Lasky, Bay Area Reporter (contemporaneous)Still from Adela Has Not Had Supper Yet (1978)

Adela Has Not Had Supper Yet [blu-ray]

Adela Has Not Had Supper Yet [blu-ray]
  • The beloved Czech cult comedy / horror / mystery about a handsome but bumbling detective and a man-eating plant
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CAPSULE: ADULT SWIM YULE LOG 2: BRANCHIN’ OUT (2024)

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Adult Swim Yule Log 2: Branchin’ Out is available to stream for free (with commercials) on AdultSwim.com until January 8.

DIRECTED BY: Casper Kelly

FEATURING: , Michael Shenefelt, Sharon Blackwood, Asher Alexander, Jesse Malinowski

PLOT: The killer yule log is back and looking for Zoe, who finds herself stranded in the Christmasy town of Mistletoe, which is planning their first annual Yule Log festival: can Zoe overcome her fear of being bashed in the head by an evil flaming log and embrace the spirit of Christmas, finding love with one of town’s clumsy hunks?

Still from Adult Swim Yule Log 2: Branchin' Out (2024)

COMMENTS: Adult Swim Yule Log, which dropped without warning in December 2022, had serial killers, aliens, ghosts, and a miniature plantation owner who lived in a fireplace in addition to its centerpiece: a flying, flaming, homicidal yule log. This sequel, which dropped without warning in December 2024, seemed unlikely to top all that insanity. And, wisely, writer/director Caspar Kelly doesn’t even try: instead, as the insouciant subtitle suggests, he pivots from an absurdist comedy with genuine moments of horror to a flat-out comedy, delivering a work that simultaneously parodies horror sequels and Hallmark Christmas rom-coms, with just enough bizarre touches to keep the franchise on brand. The result is a film that, while not as constantly surprising and weird as the original, is every bit as entertaining and watchable.

There are some nods to the previous installment (a trip inside a refrigerator that mirrors the trip inside the fireplace, gratuitous cameo appearances by beloved characters in the last scene), but you do not have to have seen the first one to enjoy this: if you’ve seen any horror sequel and a trailer for a Hallmark Christmas movie, you’ll be up to speed in no time. In fact, forget most of what you know about the first movie and just think of the Yule Log as an immortal slasher like Michael Meyers or Jason (despite being the most ridiculous inanimate horror villain since the Death Bed). Zoe, the final girl of the part 1, was understandably traumatized by the experience, so much so that she now carries a woodcutter’s axe with her wherever she goes—a running joke that gets funnier as the movie goes on. Her obligatory gay best friend suggests she needs a change of scenery to leave the memory of the horror behind her. Unfortunately, due to bad luck and possibly the machinations of a man in a Santa suit (whose character I never actually figured out), she finds herself stranded in Mistletoe, a Christmas-loving town peopled mainly by clumsy hunks who make every stroll down Main Street a never-ending ordeal of meets cutes. The movie takes on a meta tone as Zoe realizes that she is in either a horror movie or a Hallmark movie—and that she has, to some extent, the power to chose between them. The cinematography neatly goes fullscreen and full color for the romcom sequences, then narrows the frame to letterbox format and darkens in grade when the horror is predominant. This motif is employed well so that it always surprises you when it happens—but then you forget about the dual format, and it surprises you again the next time it happens.

Although she was the putative protagonist of the first movie, Andrea Laing particularly didn’t stand out in what was more of an ensemble film. Here, she stretches and impresses as she switches back and forth between plucky horror heroine and emotionally vulnerable romantic lead. And writer/director Caspar Kelly proves he can succeed at whatever he sets his mind to. If you cut out the Yule log related elements to leave only the Hallmark parody, you’d have one of the wackiest comedies of 2024, something with genuine box office potential. Despite the fact that this odd little TV movie will be seen by relatively few, it would surprise me if neither Laing nor Kelly expanded their profiles after this. Laing has talent, and Kelly may be outgrowing the Adult Swim sandbox—it’s time to branch out. True, AS gives Kelly a blank check for whatever weird project that swims through his strange mind, which is commendable; but there is an entire non-basic-cable audience of cinephiles (i.e., feature film snobs) out there who are missing out on a real original’s demented creations. You can’t take the Christ out of Christmas (because who wants to sing mas carols and open mas presents under the mas tree?); but you can take the Adult Swim out of Adult Swim Yule Log. Can you imagine seeing Yule Log 3: Wreck the Halls, starring Andrea Laing, in the cinema in two years?

WHAT THE CRITICS SAY:

“If you’ve ever wanted to see all the Hallmark ingredients (the skeptical “woman from the big city,” the supportive friend talking to her over Facetime, the interrupted kiss, the closing of the business followed by miraculous re-opening, leaving town but returning unexpectedly for love) but with some bizarre tangents, a bunch of death and some projectile vomiting, then merry Christmas to you. In between scenes like this there’s also a horror movie happening, with the flying yule log escaping from an evidence locker, blowing up the police station, stowing away on a family trip to try to chase Zoe to Mistletoe.”–Vern, outlawvern.com (contemporaneous)

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CAPSULE: DREAM TEAM (2024)

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Dream Team is currently available for VOD rental or purchase.

DIRECTED BY: Whitney Horn, Lev Kalman

FEATURING: Alex Zhang Hungtai, Esther Garrel, Fariha Róisín, Isabelle Barbier, Minh T Mia

PLOT: Interpol agents Chase National and No St. Aubergine are on the case, investigating a murderous coral conspiracy.

COMMENTS: Whoever edited Dream Team deserves a prize. It’s slippery, smooth, relaxing—and looks gooood. Quick research tells me that none other than Horn and Kalman (also the directors, producers, cinematographers, &c.) were responsible. So there’s that. There’s also the rest of the Dream Team phenomenon, which I’m having difficulty putting into words. Please allow me a quick break for a word from our sponsors…

… which is in keeping with the structure (?) punctuating the film. Dream Team is broken into seven episodes, beginning with “Asses to Ashes” and wrapping up with an incongruous finale on the seventh episode, “Ashes to Asses.” The episodes’ cheeky titles (others include “Doppelgängbang” and “the Biggest Organ”) are the first of two clear statements of intent: Horn and Kalman are laughing with us at themselves—or presumably that’s the hope. The second clear statement of intent, illuminated only halfway through and then after the fact, is they’re both really interested in coral. Upwards of a fifth of the movie is dedicated to what is effectively a lecture on that super-organism, delivered by alt-kinky Doctor Beef, often in a mesh top or bathing suit. Horn and Kalman also explore other pet interests, including a paired gymnastics routine by Interpol tech girls K and Venice, not to forget a dive into the philosophical nature of philosophy and experimentation, and ending on an oenophilic note with a wine tasting for a “coed/co-op” basketball team.

As scribbled by Dr. Peniris, truth is required for beauty, so permit me to strive for that beauty within this humble review: I got rather distracted around two-thirds through, and do believe I lost the thread of the narrative. For this I apologize, but wish to place some of the blame on the movie itself. I survived, wholly focused, both Damnation and Nostalghia, so I feel this dereliction of duty wasn’t for lack of practice. But Horn and Kalman have made a very dreamy movie, nostalgic for a period that never quite existed in the manner presented. And this is fine: there’s nothing wrong with a post-post-modern reinvention via dream-cycle of a post-modern, mid-ironic pastel-fused quarter-century-ago remembrance—except for how many hyphens are required to describe it.

Dream Team is currently in limited release in New York and Los Angeles and will presumably show up on VOD in the near future. We’ll let you know.

WHAT THE CRITICS SAY:

“… a meandering coral conspiracy that never gets weird enough to justify its lack of focus… more of an exercise in form than story, and the filmmakers almost seem determined to recreate the dissociative effects of zoning out to endless episodes of mediocre cable TV in the middle of the night. The real artistic product might not be the movie itself, but the places that your mind takes you as it lulls you into a trance.”–Indiewire (contemporaneous)

List Candidates

APOCRYPHA CANDIDATE: SHE IS CONANN (2023)

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DIRECTED BY:

FEATURING: , , Claire Duburcq, Christa Théret, Sandra Parfait, , Nathalie Richard,

PLOT: Waking in the afterlife, Conann the barbarian recalls various stages of her life, and her relationship with the dog-faced demon who guides her destiny.

Still from She Is Conann (2023)

WHY IT MIGHT JOIN THE APOCRYPHA: She Is Conann lives up to its high weird premise—six gender-flipped incarnations of pulp hero Conan(n) the Barbarian—and then some. At this point, it seems likely that anything Mandico sets his hand to will merit candidacy.

COMMENTS: Bertand Mandico loves women. He cast women in all the male roles for The Wild Boys, then set his sophomore feature After Blue on an all-female planet, and now creates a distaff version of Robert E. Howard’s pulp warrior. There are a tiny number roles in Conann; the only major one is played by a female (and at least one female character is played by a male). Mandico also could be accused of having (or exploiting) a lesbian fetish, although it seems the main reason his women have sex with other women is because there aren’t many men around. But there isn’t much sex in Conann (although there is some graphic kissing). Mandico’s casting of actresses in typically male roles has become his auteurial signature, analogous to the non-acting that populated ‘ early movies. The feminine skew is simply part of his worldview.

Conann is essentially an anthology film, a fragmented hero’s journey, with each individual incarnation of the barbarian capable of standing alone: most kill the previous decade’s Conann, directly or indirectly, before embarking on their own story. The first two Conanns inhabit what is basically a high fantasy world, though one where the all-female barbarian tribes wear modified gorilla costumes with wicked nipple hooks. But the story expands after that, seeing Conann take a job as a contemporary stuntwoman, then a fascist officer, and then finally as a post-apocalyptic patroness of the arts. Conann’s character changes—you could argue she becomes increasingly barbaric—but what really ties everything together is Elina Löwensohn‘s demonic Rainier, who strides through the film nudging an obscure prophecy along, frequently taking flash photographs of Conann’s exploits for posterity. Her dog mask is surprisingly effective, leaving room for her eyes to hint at some sinister intelligence, but muzzling her overall expressiveness so that he/she remains mysterious.

The movie plays out entirely on indoor theatrical sets—mist-shrouded barbarian wildernesses, a sleazy urban snake pit where a wall of Conann’s apartment hangs in the air unfinished, a tin-foil-lined Hell. Shot mostly in black and white, it occasionally shifts to soft, faded color. There is an unusual amount of squirm-inducing (though black and white) gore, and more than one example of the ultimate act of barbarity, cannibalism. These elements distance the film from the tasteful art-house circuit, while the experimental plot and portentous dialogue (“You’ve killed Europe! You can’t do that!”) alienates the average genre audience member. In his “incoherent” manner, Mandico discombobulates the viewer between masculine and feminine, monochrome and color, melodrama and farce, art and trash. For most, his technique is off-putting; for us, it’s invigorating,

WHAT THE CRITICS SAY:

“The lo-fi production design is often wondrous, the midnight-movie vibe is fetching, but the film is ultimately probably too much of a good/weird thing to sustain its running time — although, for the French writer-director’s fans, such excess is the key to his success.”–Tim Grierson, Screen Daily (festival screening)

She Is Conann

She Is Conann
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Channel 366

CHANNEL 366: THE KINGDOM TRILOGY (THE KINGDOM, THE KINGDOM II, THE KINGDOM: EXODUS)

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Riget

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Still from "The Kingdom"

DIRECTED BY: /Morten Arnford (Kingdom, Kingdom II); Lars von Trier (Kingdom: Exodus)

FEATURING: Ernst-Hugo Järegård, Kirsten Rolffes, Søren Pilmark, Birgitte Raaberg, , Mikael Persbrandt, Lars Mikkelsen, Tuva Novotny, , , Lars von Trier

PLOT: This limited TV series follows goings-on, bureaucratic and supernatural, at Denmark’s largest hospital. As the prologue of each episode states:

“The Kingdom Hospital rests on ancient marshland—where the bleaching ponds once lay. Here, the bleachers moistened their great spans of cloth. The steam from the cloth shrouded the place in permanent fog. Then the hospital was built here. The bleachers gave way to doctors, researchers—the best brains in the nation and the most perfect technology.

To crown their work, they called their hospital ‘The Kingdom’. Now life was to be charted and ignorance and superstition never to shake science again. Perhaps their arrogance became too pronounced—like their persistent denial of the spiritual. For it is that the cold and damp have returned. Tiny signs of fatigue are appearing in the solid, modern edifice.

No living person knows it yet, but the portal to The Kingdom—is opening again.”

COMMENTS: It’s not out of line to call “The Kingdom” Lars von Trier’s ““; he’s stated that the David Lynch series is a direct influence.  But there’s much more to it. Both shows are anchored in the 90s, and both were resurrected some twenty-five years later to continue and conclude their stories. Both are, ultimately, about the ongoing battle between Good and Evil. “Twin Peaks” did so within the framework of the late 80s/early 90s nighttime network soap operas, grafted with Lynch’s retro-50s style, and adding surrealism, cosmic horror, and a pinch of meta commentary. “The Kingdom” frames that battle within the hospital/medical show, a staple of television drama. Many Americans will think of “E.R.”, although a more apt comparison would be “St. Elsewhere” with a little bit of “M*A*S*H” and an aesthetic heavily influenced by “Homicide: Life in the Streets.” It’s also firmly anchored in institutional satires like The Hospital (1971) and Britannia Hospital (1982). Stephen King1 is also a big influence. Von Trier uses popular tropes to deliver the horror bits: a ghost girl, haunted transports (ambulances in early seasons, a helicopter in “Exodus”), mass graveyards (or bleaching ground stand-ins), spirits on the premises. There’s also some play with severed body parts, and “Kingdom”‘s big set piece, the introduction of ‘Little Brother’ at the end of the first series.

The tropes of medical dramas are twisted here: the heroic doctor figure runs an underground black market; a doctor researching a specific form of liver cancer has an organ transplanted into him Continue reading CHANNEL 366: THE KINGDOM TRILOGY (THE KINGDOM, THE KINGDOM II, THE KINGDOM: EXODUS) →