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68*. DREAMS THAT MONEY CAN BUY (1947)

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“Ernst was obviously an astute observer of what qualities go into making an experience oneiric.”—Deirdre Barrett, IASD president

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DIRECTED BY:

FEATURING: Jack Bittner

PLOT: Fresh from the bank and owing cash, Joe needs to get some money—fast. A solution hits him for quick green, and soon he’s selling people dreams. Most come to buy (one comes to sell), but the ephemeral business ain’t all swell.

Still from "dreams that money can buy" (1949)

BACKGROUND:

  • One loft apartment, $25,000 (partly supplied by Peggy Guggenheim), three years of filming, and the involvement of some of the contemporary art-world’s heaviest hitters is all it took to create Dreams That Money Can Buy.
  • The film won of the Venice Film Festival’s special award for “Best Original Contribution to the Progress of Cinematography”.
  • At its New York City premiere, Dreams was projected on wall and ceiling of the venue, instead of the screen.
  • , aged 19 at the time, shows up as an extra, securing his place amongst the cool kids of cinema five years before his directorial debut.

INDELIBLE IMAGE: In a feature-length showcase from the avant-garde’s best, choosing just one is an odd request. G. Smalley suggests the scene from Max Ernst’s “Desire” where an elderly butler (Ernst himself) pulls first a shirtless man, then a pallid, corpselike woman in a nightgown out from under the sleeper’s red-velvet curtained canopy bed. It helps that the room is filled with smoke (possibly from an incinerated telephone) and that the sound accompaniment is a trancelike looped recording of men and women chanting backwards.

TWO WEIRD THINGS: Bouncy beatnik narrator; escaping out the window with Zeus-bust luggage into death color-drop explosion

WHAT MAKES IT WEIRD: This dream anthology has pep, humor, surrealism, and cool to spare, all presented in the confines of a brownstone apartment.

Promo trailer for a London screening of Dreams that Money Can Buy (1947)

COMMENTS: It is the intersection of Capitalism and Surrealism. It is Continue reading 68*. DREAMS THAT MONEY CAN BUY (1947)

APOCRYPHA CANDIDATE: HAIR HIGH (2004)

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DIRECTED BY:

FEATURING: Voices of Eric Gilliland, Sarah Silverman,

PLOT: A middle-aged bartender recounts a tragic tale of doomed love to a young couple.

Still from "Hair High" (2004)

WHY IT MIGHT JOIN THE APOCRYPHA: Plympton’s trademark animation style, verging on surrealism, meets a personal take on familiar rom-com and high school drama tropes.

COMMENTS: Bill Plympton is a major name in American adult animation today, especially for those preferring the offbeat and the bizarre. His raw and expressive style, full of crude jokes and grotesque yet hilarious visual gags, balances gross-out humor with a lighthearted and wholesome tone. Nowhere is that blend more apparent than in High Hair, a unique take on high school rom-coms with a esque twist.

A barman recounts the tale of Cherry and Stud and their unexpected, passionate love affair to two young students. We trace the teen drama tropes from the beginning: Cherry is the popular girl, and Stud is a nerdy, friendless loser. Cherry already has a boyfriend, the muscular Rod, another reason Stud shouldn’t have a chance with her in real life. However, when Rod “punishes” Stud by forcing him to become Cherry’s slave, something sweet and slightly kinky blossoms between them.

A love affair starting as a power game or a conflict is another well-worn trope of romantic comedies. But Plympton’s approach offers something different than what you’d might expect. The first half of the movie is full of crude, if admittedly inventive, jokes. Disturbing imagery is played for laughs, with even a hint of animated body horror. Gradually, a sweet love affair blooms, one that, surprisingly, doesn’t feel uneven or forced at all. The second half of the film follows Cherry and Stud falling in love, until a final twist combines the dark and macabre with an unexpected, yet not unwelcome, dose of tenderness.

Among the visual gags of special note—and there are many—are jokes about the characters’ hairstyles.  As the title hints, hair is a rich symbol in this movie. Follicles can express femininity or masculinity, and even take the form of a phallic symbol. Here, hair indicates hierarchy and social status.

All in all, this is a whimsical film, a perfect date movie for weirdos. Those who aren’t turned off by some bad-taste humor will be rewarded with a touching narrative. Behind the weirdness and grotesquerie beats a heart.

Hair High [Blu-ray]

  • Acclaimed animator Bill Plympton’s (THE TUNE, MUTANT ALIENS) cheerfully unhinged tribute to 1950s teen romance and musicals like GREASE and HAIRSPRAY

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CAPSULE: BAD LUCK BANGING OR LOONY PORN (2021)

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DIRECTED BY:

FEATURING: Katia Pascariu, Claudia Ieremia, Nicodim Ungureanu

PLOT: Scandal erupts as a young teacher’s homemade sex tape leaks online.

Still from Bad Luck Banging or Loony Porn (2021)

COMMENTSWhen a movie starts with hardcore imagery of a pornographic nature, you know you’re in for a wild ride. Bad Luck Banging is an emblematic work that put its creator, Radu Jude, on the map as one of the most controversial, subversive and uncompromising visionaries in the current cinematic landscape. It also dramatically changed our perception of contemporary Romanian cinema: by revealing a completely different direction than the social realism associated with the Romanian New Wave, it laid the groundwork for even more ambitious cinematic achievements like Dracula (2025).

After the brief albeit graphic introduction, the movie divides into three distinct parts. For the first, we follow our teacher protagonist, Emi, around Bucharest as she buys groceries and runs errands. The  almost documentary-like pacing of this section may not be ideal for casual viewers. The camera takes its time revealing  cacophonies and pathogens of the heroine’s urban environment. It’s a subversive “city symphony,” with Bucharest portrayed as it is, not in a celebratory light. It’s a subtle yet caustic commentary on the ethos of a post-industrial consumerist society.

Then, the second section begins. It is an interlude of sorts, disrupting the main narrative while taking the form of an abecedary and a collection of anecdotes and fun facts. Its playfulness and essayistic nature remind the viewer of and the experimentation of the in general. At the same time, it expresses a deeply cynical view of humanity, and especially of Romania.

The third part—slightly longer than the two before it—focuses on an official meeting between our teacher and frustrated parents regarding the online leak of the teacher’s homemade erotic videos, which transforms into a trial of sorts, with every parent acting as an archetype of Romanian society, judging our protagonist’s deeds. Each, from a leftist intellectual to oppressive figures representing the Church and the Army, express long-established opinions, mostly of the conservative kind. Taking place in an enclosed space, the whole segment maintains theatricality, with corresponding lighting. In the end, three possible endings are proposed (let’s just say that the last is the weirdest).

Music plays a major role, underlining the ironic moments. Paeans accompany atrocities, while battle hymns go along with pornographic imagery. Upbeat tunes signal the transition between parts. And let’s not forget M. A. Numminen’s catchy yet seemingly random Wittgenstein-based song “In Order to Tell” (1970) in the closing credits.

Bad Luck Banging can be discussed today not only as a satiric view on western society’s pathologies, but also as a relic of the Covid era. Everyone wears masks and social distancing is all around the news.

WHAT THE CRITICS SAY:

“It’s a methodology combining the horrific with the absurd, blending academic inquiry with farcical social critique, à la Buñuel.”–John Kupecki, Austin Chronicle (contemporaneous)

Bad Luck Banging or Loony Porn [Blu-ray]

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IT CAME FROM THE READER-SUGGESTED QUEUE: U-TURN (1997)

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DIRECTED BY:

FEATURING: , , , , ,

PLOT: Bobby Cooper, a man missing two fingers and toting a suitcase full of money, gets stuck in a ramshackle desert community while fleeing mobsters.

Still from U-Turn (1997)

COMMENTS: About half a dozen times over the first third of U Turn, different people ask Bobby (Penn) what happened to his hand and then, upon hearing his repeated refrain of “an accident,” respond with the sage advice: “You should be more careful!” Bobby is indeed living the life of a careless man, as mobsters cut off two of his fingers after growing impatient with his failure to pay his debts. He’s now on the lam with a suitcase full of the mob’s money and a Ford Mustang. When he blows a radiator hose, he lands in the tiny desert town of Superior, Arizona.

Woe betide Bobby, who enters Superior like a mouse tossed into a rattlesnake terrarium. First, he’s ripped off by the town mechanic Darrell (Billy Bob Thornton as a bafflingly self-assured whacko who’s just bright enough to run a scam, but not a watt brighter). Then he loses his case of money in a store robbery. Next he follows local femme fatale Grace McKenna (Lopez) home and gets seduced right out of the shower, only to get punched by her husband, Jake (Nick Nolte), who makes things up to Bobby with a business proposal: help him kill his wife. (No worries, she’ll immediately flip the script.) But are Jake and Grace really lethal rivals trapped in a toxic marriage, or sadomasochist sickos who trick strangers into their badger games? How about the rest of the town, bristling with testy characters who want to start a fight with Bobby, or at least make him miserable? Sheriff Potter (lantern-jawed Boothe, sporting a five-thirty shadow) seems always on the verge of either saving Bobby from peril or locking him up, but one thing’s for sure: he knows more than he lets on.

What unfolds from all this is a pile-up of schemes and counter-schemes with Bobby trying (and mostly failing) to dodge incoming shots. All he wants is to get out of Superior in the worst way, yet an almost supernatural streak of bad luck thwarts him. The plot dutifully veers down a new hairpin twist every twenty minutes or so,  with a pacing that suggests on a Palm Springs vacation. The eccentric characters of Superior prompt Bobby to exclaim, “Is everybody in this town on drugs?” A blind old beggar (Voight) who panhandles on main street becomes Bobby’s personal Jiminy Cricket, offering him half-mad advice culled from a very rugged life. Can Bobby maneuver his way through this thorny desert maze of scheming reptiles and escape?

This is one well-crafted movie with memorable lines and characters, a sure treat for noir fans. Stone occasionally slips into a bit of cartoonish editing, but dwells longingly on the captivating desert scenery. The camera intermittently cuts to shots of vultures, snakes, coyotes, scorpions, and other deadly desert predators, drawing clear comparisons to Superior’s citizens. As a former southwest desert dweller myself, your humble author can verify that U-Turn perfectly gets small-town life there: the run-down businesses, the eccentric oddballs, the harsh environment, and the philosophy that you’d better have a good survival strategy or you have no business being here. The cast does an outstanding job all around. Penn is perfect as Bobby, because he’s a bit of an asshole anyway—so you don’t feel much sympathy for his plight, allowing the film to linger in comedy territory.

U-Turn had a budget of $19 million (clearly going to its all-star cast) and only made $6.6 million, a complete flop. That’s a shame, because it’s well-done and Stone obviously poured love into it. But this is a very lightweight, almost fluffy work, with the whole film amounting to little more than a shaggy dog story (albeit one with a body count). Some fans might compare it to a southwestern version of After Hours. But that’s the one problem with U-Turn: it feels like filler between bigger and better films. It’s good popcorn viewing while it lasts, but hours later it rolls out of your memory like the cinematic tumbleweed that it is.

WHAT THE CRITICS SAY:

“The first two thirds of U-Turn is a rude, seductive head bender. But around the time it turns from day to night, the film begins to lose its tricky aura of borderline surreal mystery. It becomes another rigged, what-will-happen-next suspense game, and you begin to sense just how arbitrary the twists are. “–Owen Gleiberman, Entertainment Weekly (contemporaneous)

U:Turn

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APOCRYPHA CANDIDATE: CAT SICK BLUES (2015)

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DIRECTED BY: Dave Jackson

FEATURING: Matthew C. Vaughan, Shian Denovan, Meg Spencer, Jeni Bezuidenhout

PLOT: A former Internet celebrity whose life revolved around her cat’s  viral video performances and a fellow with a fetish for defiling and murdering women while dressed as a cat meet at a pet-loss support group. This is not a love story.

Still from Cat Sick Blues (2015)

COMMENTS: Within the first five minutes, Cat Sick Blues had already checked all my boxes for my favorite kinda horror movie: sick, dark humor on the /Full Moon spectrum (check), faithful adherence to horror movie protocol that the first two characters we meet die in minutes (check), a punk rock/screamo soundtrack that evokes the nihilist spirit of the story about to unfold (check), smirky social satire (check), a roller-coaster pace where you can’t possibly predict the next swerve (check), and a camera shot (pictured) with a head on a table, perfect to add to your decapitation scrapbook alongside Frankenhooker (check-a-roonie). By the time the first victim’s head had bounced gaily down the stairs, the movie had already bounced purring into my lap. Cat Sick Blues takes turns affectionately nuzzling your face and playfully clawing you hard enough to draw blood. Just when you think you can let your guard down, it bites your hand again, lest you get too comfortable. Many will be turned off by it, but for the rest of us horror/sicko freaks, this is our cup of catnip tea.

Claire (Shian Denovan) is the owner of Imelda, a fluffy white cat whose videos have taken on a viral life of their own. Sadly, Imelda’s fandom is a little too fanatic, as one obsessed fan shows up at her door and bluffs his way inside, only to summarily murder her cat and rape her. Broken, Claire ends up at a support group for bereaved pet owners (if you liked Fight Club’s satire of support-group culture, here’s another dose of that). There, she meets Ted (Matthew C. Vaughan), a towering and imposing fellow who’s also shy and antisocial. Ted is going through some things, to put it mildly. He has sought a support group way too late in life, having already converted himself by night into a serial killer in a cat mask. He even enlists the help of a local leather-crafter to fashion a set of sharp-clawed gloves, and a monster-sized strap-on spiked dildo to complete the ensemble. In this costume, he dispatches victims and, more than once, has a very dramatic orgasm while doing so, spasming on the floor in his cat mask and floppy dildo. All of this turns out to have a second purpose for Ted: he is collecting the blood of victims in a bucket in anticipation of re-animating his own dead black cat, Patrick. (Note to A Bucket of Blood: this is what a whole bucket of blood looks like!)

Claire and Ted hook up, after Ted makes a whirlwind cleaning tour of his apartment to hide the serial killer paraphernalia and trophies. So the question becomes, will Claire figure out that she’s dating a killer before Ted fulfills his body count? What happens from here becomes less clear as the story proceeds, until act three, where the director decides to let the story-logic slide into territory, with dream sequences and hallucinations clouding the narrative enough that we can pick our own ending. The one thing that’s clear is that this movie will have no shortage of indelible images right up to the end credits, including some genuine gross-outs.

For a small budget picture, it’s a pleasure seeing such attention to detail. The chaos is sharply filmed, framed, and hemmed in by a tight production all around. The set is filled with familiar cat-themed gift shop kitsch like cat mugs, cat T-shirts, and cat bongs. One scene has Claire sorting through her mail; the pile of envelopes has some custom-printed mailers relevant to the plot, with text you’ll want to freeze-frame so its carefully spread satire may be read and appreciated in full. A blink-and-you’ll-miss-it scene has Ted visiting a rave where teenagers in glowing jewelry wave their phones in the air and the DJ raises a squirt-gun to his lips. Most impressive of all, Cat Sick Blues was released in 2015, and yet has not aged a single day. We’re still a culture obsessed with Internet fame and cats, wallowing in bizarre fetishes and shallow morals. Claire’s fans, adoring the content yet lacking empathy for its creator, flock to ridicule her situation, or steal clicks by posting reaction videos to her plight.

It’s remarkable that this film isn’t better known (or at least didn’t cross our radar sooner), but we can chalk that up to an Australian production by a director who seems to live entirely at film festivals down under. Reading the IMDB reviews, I see commenters practically coughing up hairballs as they remark how upsetting, offensive, and disturbing this movie is. Let the poor little kittens lap their safe milk. For us fans of feral film, Cat Sick Blues is the kitty that roars like a lion.

WHAT THE CRITICS SAY:

“…sometimes movies just leave you completely confused and unsure of what it is that you just watched. That basically sums up how I felt once I had finished watching the bizarre Australian horror film, Cat Sick Blues.”–Chris Coffel, Bloody Disgusting (DVD)

(This movie was nominated for review by Bradley, who called it “one odd movie.”. Suggest a weird movie or two of your own here.)

 

 

Cat Sick Blues

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