Tag Archives: Satire

List Candidates

LIST CANDIDATE: MONTY PYTHON’S THE MEANING OF LIFE (1983)

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Monty Python’s The Meaning of Life has been promoted onto the List of the 366 Best Weird Movies ever made. Please visit the official Certified Weird entry.

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DIRECTED BY: , Terry Gilliam

FEATURING: , , , Terry Jones,

PLOT: Monty Python discusses life, from the sanctity of every sperm to the rudeness of the Grim Reaper, in a series of sketches.

Still from Monty Python's The Meaning of Life (1983)

WHY IT MIGHT MAKE THE LIST: Monty Python’s films, in general, present a challenge to crafting a list of weird movies. Python pioneered modern trends in surreal humor, but they were so successful at popularizing their craft that their once avant-garde style has become virtually mainstream. And, among their three original-material feature films, The Meaning of Life presents a particular challenge: it’s easily the weirdest of the trio, but also quite less impressive and consistently hilarious than either Holy Grail or Life of Brian. Should Meaning of Life make it ahead of Grail and Brian because it’s a slightly weirder entry, should we select one of the better known classics to represent the Python project, or do all the movies deserve to make it?

COMMENTS: Made nine years after the comedy troupe bid farewell to their hit television series, The Meaning of Life resembles a big-budget, R-rated reunion episode of “Monty Python’s Flying Circus.” The “search for the meaning of life” structure is almost as loose as the themes that linked their television sketches, and the show’s stream-of-consciousness style (a maternity-room sketch on “the miracle of birth” yields to a satire of Catholic birth control policy, which inspires a joke about Protestant prudishness, which segues into a Church service where the pastor prays “ooh Lord, you are so big, so absolutely huge…”) remains intact. The boys’ wit is still rapier sharp–it’s actually more focused at times, blatantly anticlerical and socially aware—and the team immediately regained their comic chemistry as if they’d never been apart. This being a revue-style construction, the results are understandably uneven, but the irreverent tone is always winning. The Python’s approach to comedy is so silly and fun-loving that even the most cutting and grotesque jokes only irritate the starchiest of stuffed shirts. If there is a clunker in the bunch it’s the opener, a fifteen minute standalone Terry Gilliam short titled “The Crimson Permanent Assurance,” about a mutiny among a group of older workers at a financial services corporation that turns into a pirate fantasy. Watching this bit, you may think you’ve accidentally put the wrong disc in your player, but stay with it; after “Assurance” ends, we’re treated to the sight of the Python faces stuck on goldfish bodies as they swim around in a restaurant tank and wonder about the meaning of life. Affecting a French accent, Eric Idle then sings the “Meaning of Life” theme song to some typically crazy Gilliam cutout animation (including a machine that stamps out nude clone families wearing Mickey Mouse ears), and we’re ready for the show to begin. The sketches fans talk about most are the “Every Sperm Is Sacred” musical number (with its chorus line of high-kicking nuns) and the unforgettably vile (and funny) “Mr. Creosote” sequence, about a projectile-vomiting glutton who gorges himself at a posh restaurant until he explodes. The movie also features some of the most unapologetically and outlandishly surreal bits in the Python canon: a pink-suited man emerges from a refrigerator to serenades an old woman with a lecture on cosmology, as a means of convincing her to become a living organ donor. Heaven is envisioned as a hotel where it’s Christmas every day, with an eternal floor show featuring sequined angels parading about in Santa suits with exposed breasts. The film’s interlude (helpfully legended “the Middle of the Film”) features three characters straight out of a Salvador Dalí painting (if Dalí had painted punk transvestites with faucets attached to their nipples) wondering “where is the fish?,” a sublimely random and irritating bit of performance art that the Python-faced goldfish cheer as “terrific!” Scenes like these, together with the mild blasphemy and uncharacteristic grossness of Mr. Creosote, make The Meaning of Life the Python’s most outrageous cinematic effort, if not their funniest. It’s as disorganized and confusing as life itself—a near masterpiece of irreverence. And, true to the film’s promise, the meaning of life is revealed at the end, so no one can claim to be cheated.

Universal Studio’s “30th Anniversary” Blu-ray/DVD combo release of The Meaning of Life includes all the features from the 2003 DVD (including the Jones/Gilliam commentary track) and adds a new bonus feature in a one-hour reunion roundtable by the surviving Pythons (minus the deceased Graham Chapman, obviously, and with busy Eric Idle chiming in via Skype).

WHAT THE CRITICS SAY:

“It’s a weird kind of fun.”–Paul Chambers, “Movie Chambers” (Blu-ray)

List Candidates, Reader Recommendations

THREE TAKES ON ESCAPE FROM TOMORROW (2013)

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Escape from Tomorrow has been promoted to the List. Comments are closed on this preliminary review; please visit the official entry.

We received an unprecedented three separate reviews of Randy Moore’s controversial surrealist satire Escape from Tomorrow, the independent feature which was shot guerrilla-style at Disney World and which many originally supposed would be unreleasable thanks to Disney’s notoriously aggressive legal department. We have decided to compile these three individual takes into one giant mega-post for your enjoyment and edification. So here’s everything you need to know about Escape from Tomorrow, at least for now…

DIRECTED BY: Randy Moore

FEATURING: Roy Abramsohn, Elena Schuber, Katelynn Rodriguez, Jack Dalton, Danielle Safady, Annet Manhendru, Allison Lees-Taylor, Lee Armstrong, Stass Klassen

PLOT: A day in the life of an American family vacationing at Disneyland… or Walt Disney World… or at least some Disney related theme park. Only the day starts out with Jim (Roy Abramsohn) getting a call from his boss, who tells him that there’s no job for him to return to. Things can only go downhill from there, but everything is filtered through a cheerful veneer. From a spreading cat-flu epidemic, to stalking teen-age girls, brainwashing by Park cyborgs, it just goes to show that “bad things happen everywhere”… even in the Happiest Place On Earth. (synopsis by L. Rob Hubbard)

Troubled family man Jim White and his family try to enjoy their final day in Disney World, but he becomes distracted by a pair of pretty French teenagers, blackouts, and visions of sinister happenings in the idyllic theme park. As the intensity of White’s visions grow, so too do tensions between him and his family, and soon it seems he might lose them and himself altogether to the weird power of Disney World. Would he really miss them, though, or does Disney offer him something better? (synopsis by Ben Sunde)

A middle-aged man (who looks an awful lot like a husky Tom Cruise) gets promptly fired via telephone amidst a family vacation to Disneyworld, and proceeds to break down mentally and physically with his family while he covertly follows two barely-legal Parisian teenagers during his waltz through the happiest place on earth. (synopsis by Ryan Aarset)

1. L. Rob Hubbard

WHY IT SHOULD MAKE THE LIST: Aside from the accomplishment of actually shooting on Disney property completely in plain sight, the film’s subversive commentary on Disney’s hold on the collective imagination has a solid bite that has not been previously approached as directly as it is here.

COMMENTS: “Jim, listen to me. Don’t let your imagination run wild. It’s a transitional period.”

This is the first full sentence of Escape from Tomorrow, and it’s a key—if not the key—to understanding exactly what writer/director Randy Moore is up to in this groundbreaking film. Thanks to its impressive and unique origins, Escape from Tomorrow now occupies a spot analogous to that The Blair Witch Project held over a decade ago (leaving aside the latter film’s massive box office) in independent film. And, like Blair Witch, Escape is starting to encounter backlash in reaction to the hype that accompanied its debut at Sundance as “the best film that you may never get a chance to see.” Most of that backlash centers around a perceived lack of bite in the satire, and to criticism of the acting and filmmaking as “amateurish” and “just plain awful.” To each his own, but since most of the initial discussion centered around the film as a cause célèbre when it appeared to be waiting to be crushed by Disney’s corporate paw, now that it has been released with very little reaction from The Mouse House, some are feeling cheated that perhaps the film didn’t go as far as it could taking on Disney… that it’s a missed opportunity.

Still from Escape from Tomorrow (2013)Those who hoped for a harsh slash and burn attack on Disney and its park practices will need to seek satisfaction elsewhere, but those who feel that the satire is too soft and too on the surface are missing the point entirely. Escape from Tomorrow is a comic nightmare of the subconscious: “Lynchian” has been used many times in descriptions of the film. But Moore isn’t a -style surrealist; his take in presenting the paranoia and sexual tension that lurks in the corners of The Happiest Place On Earth is closer to the work of .

“Imagination” is a word that is repeated throughout Escape from Tomorrow, and it is the coin of this realm. After all, the whole function of amusement parks such as Disney World is to provide a playland. What could be better than having your playland already thought out for you—characters, scenarios, every little thing? Disney may not have been at it the longest, but they have certainly been very thorough in “imagineering” characters and places that have Continue reading THREE TAKES ON ESCAPE FROM TOMORROW (2013) →

List Candidates

LIST CANDIDATE: THE HAWKS AND THE SPARROWS (1966)

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Uccellacci e Uccellini

DIRECTED BY:

FEATURING: Totò, Ninetto Davoli

PLOT: A wandering father and son meet a talking raven on the road.

Still from The Hawks and the Sparrows
WHY IT MIGHT MAKE THE LIST: It is, indeed, quite weird, with Totò and his young companion passing from one absurd scenario to another as they walk down life’s metaphorically dusty path. The main problem with the movie, however, is that it seems very much a product of its time and place: which is to say, not merely the 1960s, but Italy in the mid-1960s, and not merely 1960s Italy but 1960s Italy as seen through the eyes of leftist intellectuals of that period. For all its supposedly timeless and mystical talk about class and religion, I’m not sure this movie has traveled well in its long journey to our era.

COMMENTS: Casting the famous clown Totò (the Italian equivalent of France’s or Hollywood’s ) as an amoral bourgeois tramp in a nonlinear Marxist/Surrealist adventure may have been a coup and a stroke of genius in 1966, but it’s a move that doesn’t register with a modern international audience—jokes lose their force when they have to be explained via a footnote. Similarly, it’s sort of funny when, in the middle of the movie, intertitles pretentiously inform us that the talking raven represents “a ‘left-wing intellectual'”; but then they confuse us by adding “…of the era preceding Palmiro Tagliatti’s death.” Who wants to have to pause the DVD to jump on Wikipedia and discover that Tagliatti was the head of the Italian Communist party from 1927-1964? (You can see his portrait in footage from his funeral that Pasolini splices in at random at the end of The Hawks and the Sparrows). Much of the flighty Hawks seems like an in-joke made for people who are long dead now, which is a bit of a shame, because Pasolini’s pair of clowns do encounter some universal themes on their journey from and to nowhere. The meat of the movie is a flashback to the time of St. Francis, who tasks Fra. Totò and apprentice with bringing the Gospel to the “arrogant” hawks and the “humble” sparrows. Against all odds, through months of prayer and chirping and hopping about, the monks appear to accomplish the feat, only to watch a bitter punchline undo all their good work. The movie feels complete at this point, but there are still 45 minutes to go, so Totò and son return to the modern world, where they get involved in various land disputes as both the exploiters and the exploited, and join up with a wandering carnival for a while before ending up by competing for the affections of a roadside slut. The movie’s messages are encased in the candy shell of Totò’s slapstick, with lots of mugging for the camera, absurd little dances, and sped-up chase scenes. Pasolini’s parable seems, at first, to prophesy that Marxist ideas of equality will eventually triumph and bring about the ancient Christian vision of the brotherhood of man that the Church has failed to achieve in centuries of work. But, given the the raven’s final hopeless failure to convert Totò and son, perhaps he isn’t so naïve about equality’s prospects in this bird-eat-bird world.

I must confess to having a personal disaffinity for the works of Pasolini; it’s hard to explain why. To me, he always seems like an intellectual who has turned to cinema, not a natural born filmmaker. One of his movies is even entitled Theorem, for God’s sake. The irrational came naturally to directors like or , but when Pasolini wants to fly beyond reason, I always see his wings straining. He’s still a huge figure in cinema, and something of his deserves to be on the List of the weirdest movies ever made, but what?

WHAT THE CRITICS SAY:

 “A sort of Marxist Hellzapoppin, politicized vaudeville and skittery poesy, an open structure overflowing with gags and ideas…”–Fernando F. Croce, Cinepassion (DVD)

Miscellanea

366 UNDERGROUND: THE BULGARIAN PROPHET (2010)

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DIRECTED BY: El Vulgario (Yavor Batchev)

FEATURING: Will, Chetan, Sienna, Sanjita, Anuj, Chintu

PLOT: The life story of Ivan, a Bulgarian refugee who arrives in America in the early ’70’s and begins the immigrant’s journey towards The American Dream, which in his case involves being anointed by the God of Shit to start The Temple of Holy Shit and spread the Word. Bestowed with supernatural powers, he performs miracles, advises government figures and amasses a following—until he is kidnapped by KGB agents and shipped to the USSR to use his powers for their benefit.

Still from The Bulgarian Prophet


COMMENTS: As Steve Martin once said, “Comedy is not pretty”. That saying applies equally to satire, especially when the satire is as sledgehammer blunt as it is in The Bulgarian Prophet. The movie is set in the America of the early 70’s, long after the Summer of Love has peaked and degenerated, after the Summer of Manson had finished it off. Vietnam is in full swing, Nixon is in office, and the time is right for all sorts of strangeness to take root. Enter the ‘hero,’ Ivan, escaping the Communist regime in his native Bulgaria to make a new start in America, where any man can pursue his heart’s desire—as long as that desire involves insanely huge amounts of cash and loose women with insanely large breasts.

There should be a lot of things working against this, from the animation style (courtesy of 3Danimationindia.com), to the occasional stiff line readings, but oddly, they complement the broad satire. In fact, if this were done as a live-action no-budget indie, it would come off as half-assed and worse than amateurish. Animation, even crude animation, allows for the full expression of Batchev’s ideas, unfettered by budgetary constraints and laws of physics (such as when Ivan walks across a swimming pool full of sewage in front of the media as a demonstration of his newfound divinity.) And in comedy, all that matters is that you get the laugh—and The Bulgarian Prophet does get them. After all, finesse is for critics to argue about.

Normally, you’d probably would have to look for this at underground film festivals, since the style and tone is way too blunt for mainstream film and animation festivals to screen. Your best bet to see this is to check for it on YouTube, or visit The Bulgarian Prophet official website.

 

 

Capsules

CAPSULE: REALITY (2012)

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DIRECTED BY: Matteo Garrone

FEATURING: Aniello Arena, Loredana Simioli, Raffaele Ferrante, Nando Paone

PLOT: A Neapolitan fishmonger’s obsession with being selected as a contestant in the Italian version of the “Big Brother” reality television show slowly drives him insane.
Still from Reality (2012)

WHY IT WON’T MAKE THE LIST: The critics have been casually throwing around words like surreal, dreamlike, and (most accurately) Felliniesque in regard to Reality. The case is exaggerated, however; Reality is largely based in the titular locale, with some day trips to more exotic locales for satirical and allegorical effect. The (quite lovely) final scene is the only part of the movie that might literally qualify as surreal. It’s a marvelous film and an unusual one, but not quite crazy enough to deserve the title “weird.”

COMMENTS: The unreality of modern hyperreality is the setting for Reality, which begins at an absurdly artificial fairytale wedding at a swanky hotel where the bride and groom arrive in a gilded carriage drawn by white horses. The special guest at the reception is Enzo, who has recently been kicked out of the “Grande Frattelo” house (the immensely popular Italian version of the “Big Brother” reality television franchise); he is now a beloved national hero who makes a living making appearances at wedding receptions, mall openings and nightclubs. Dressed in drag, Luciano, our genial attention-seeking protagonist, ambushes Enzo to steal a little of the spotlight, and his proximity to celebrity ignites a lust for fame in his breast. Charismatic and persistent, Luciano is convinced he is destined to appear on the TV program, a gig he’s certain would provide for his family for life and enable him to quit his job as a struggling fishmonger. His persistence leads to him making the first round of interviews at Cinecittà studios, and, taking the show’s motto of “never give up” to heart, he continues to have faith that he’ll be selected to live in the big house under twenty-four hour surveillance, even when the followup call doesn’t come. As the television season gets closer to beginning Luciano starts to break down, engaging in increasingly erratic behavior designed to grab the attention of the producers he’s convinced are secretly observing him, disguised as ordinary visitors to his fish shop. Reality features an energetic performance by the simultaneously charismatic and annoying Aniello Arena as Luciano, but the camerawork may be as big a star. Smooth, flowing long takes and crane shots take us on tours of the piazzas of old Naploi, which with its baroque balconies and stone staircases looks like a more appropriate setting for a light operetta than a reality show. As a satire, Reality takes the obvious shots at reality television and the shallowness of modern aspirations for meaningless adulation. That top layer of mockery isn’t too interesting, however. Everyone recognizes reality television is trashy. It’s in the development of an ongoing analogy between celebrity-worship and conventional religion that Reality becomes fascinating; this preoccupation also makes the film legitimately Felliniesque. “Grande Fratello” becomes an allegory for the Church: the house where the Chosen Ones dwell becomes Luciano’s vision of Heaven. What’s being satirized is not just the easy target of reality TV, but humanity’s need to be watched, whether by an audience or by the Almighty. It’s probably no coincidence that the movie starts and ends with a God’s-eye view of the action.

Perhaps the most surreal element of Reality is in its back story. During filming, star Aniello Arena was serving year twenty of a twenty-eight year prison sentence (the maximum period of incarnation in Italy). He shot his scenes during the day on work release, then returned to his cell at night.

WHAT THE CRITICS SAY:

“…[a] psychologically astute, dreamlike gut-punch…”–Robert Abele, Los Angeles Times (contemporaneous)