Tag Archives: Sex

346. LIQUID SKY (1982)

” I’ll tell you something, too, that’s starting to annoy me about UFOs: the fact that they cross galaxies or universes to visit us, and always end up in places like … Alabama. Maybe these aren’t super-intelligent beings, you know what I mean? ‘Don’t you wanna go to New York or LA?’ ‘Nah, we just had a long trip, we’re gonna kick back and whittle some.'”–Bill Hicks

Weirdest!

DIRECTED BY:

FEATURING: Anne Carlisle, Otto von Wernherr, Paula E. Sheppard, Susan Doukas, Bob Brady

PLOT: A tiny alien flying saucer lands on top of the Empire State Building, directly across from the penthouse where drug-scarfing New Wave fashion model Margaret spends her nights bedding partners of both sexes. A German UFO scientist who has tracked this manifestation takes up residence in an apartment across from Margaret, spying on her through a telescope. Margaret’s sex partners begin to die off as the aliens harvest the endorphins released during their orgasms.

Still from Liquid Sky (1982)

BACKGROUND:

  • Slava Tsukerman was a Russian Jew who trained as an engineer before switching to filmmaking. He made a mostly documentaries in the Soviet Union and Israel before emigrating to the U.S. to make features. He began developing Liquid Sky after funding for a sci-fi film that would have starred and fell through.
  • Co-writer Anne Carlisle, who starts as a fashion model in the film, was a fashion model in real life. Most of the actors were art-scene punks drawn from bohemian casting director Bob Brady’s acting classes, and most played some version of themselves.
  • Many repeat the claim that Liquid Sky was chosen as the title of the film because it was slang for heroin, but according to Tsukerman he encountered the term as a metaphor for euphoria in his research, and junkies only began to refer to the drug as “liquid sky” after the movie became a cult hit.
  • Made with an estimated budget of half a million dollars, Liquid Sky grossed more than $1.7 million in 1983.
  • In a 2014 interview Tsukerman announced his intentions to make Liquid Sky 2, but no news has emerged on that front since.

INDELIBLE IMAGE: New Wave fashion shows? Neon sculptures? Flying saucers hovering in front of the Empire State Building? Margaret’s fluorescent face paint under a blacklight? All excellent choices. But we had to go with alien-eye-vision, rendered through technology that looks like a cross between malfunctioning army ranger night-vision goggles and News at 11’s stormtracker radarscope, but with a Day-Glo color scheme, and often looking like it’s peering through a microscope aimed at a dividing zygote.

THREE WEIRD THINGS: UFO/heroin connection; spontaneous hateful beat eulogy; prayer to the Empire State Building

WHAT MAKES IT WEIRD: Liquid Sky is like an alien’s attempt at making a film set in the No-Wave Greenwich Village art scene in 1982, if their only previous exposure to movies was the works of , , and Rinse Dream. Neon, nasty, and occasionally tedious, but there’s nothing else quite like it.


Original trailer for Liquid Sky

COMMENTS: Liquid Sky is about aliens, and it might as well have Continue reading 346. LIQUID SKY (1982)

319. THE COMPANY OF WOLVES (1984)

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“The great majority of symbols in the dream are sex symbols.”–Sigmund Freud, “Symbolism in the Dream,” A General Introduction to Psychoanalysis

Recommended

DIRECTED BY:

FEATURING: Sarah Patterson, Angela Lansbury, Micha Bergese, Tusse Silberg,

PLOT: An adolescent girl lies in her bed, dreaming feverishly. In her dream, she lives in a medieval town menaced by wolves, with a grandmother who tells her frightful stories about werewolves and warns her to “stay on the path.” One day, she is traveling through the woods to her grandmother’s house, and she meets a dashing older man on the road…

Still from The Company of Wolves (1984)

BACKGROUND:

  • The film is based on Angela Carter’s three “Little Red Riding Hood”-inspired werewolf stories collected in “The Bloody Chamber: And Other Stories.” In 1980 Carter adapted these stories into a radio play titled “The Company of Wolves,” which became the basis for her screenplay collaboration with director Neil Jordan. She published her version of the screenplay, which differs slightly from the filmed version (due to the fact that some sequences proved too costly to shoot) in the collection “The Curious Room.”
  • Jordan says that the stories-within-stories structure was inspired by The Saragossa Manuscript (1965).
  • Other than the wraparound sequences, the entire movie was filmed on a soundstage.

INDELIBLE IMAGE: In a movie where men (repeatedly) turn into wolves, it’s surprising that the most startling image occurs in a quiet moment. Rosaleen climbs a tree, finds a stork’s nest, and finds a mirror and a vial of lipstick nestled alongside the eggs. She applies the lipstick, looks in the mirror, and the eggs crack open to reveal tiny human figurines.

THREE WEIRD THINGS: Egg babies; wolves at a wedding; Angela Lansbury’s ceramic head

WHAT MAKES IT WEIRD: An adolescent girl is lost in a fever dream inhabited by suave beast men and mysterious symbols that both frighten and thrill her. Angela Carter’s Freudian spin on fairy tales takes the sanitized version of Little Red Riding Hood and gives it fangs.

Original trailer for The Company of Wolves

COMMENTS: Werewolves are some of humanity’s oldest supernatural foils, mentioned in Petronius’ “Satyricon” in the first century Continue reading 319. THE COMPANY OF WOLVES (1984)

306. THE LOVE WITCH (2016)

“Casual viewers are going to find it weird, poorly acted, nonsensical, sexist, weird, not scary, confusing and did I mention weird?”–Amazon review of The Love Witch

Must See

DIRECTED BY:

FEATURING: , Gian Keys, Laura Waddel, Jared Sanford

PLOT: Elaine, a mysterious young woman who, we later learn, is a practicing witch, motors into a northern California town and sets up residence in a Victorian house. She casts spells which cause a succession of men to fall in love with her, but her beaus always fail to meet her fairytale romantic expectations and come to bad ends. As her old Satanist cronies attempt to draw her back into their circle, she finally finds a man she believes will be “the one”—the detective investigating the very disappearances she’s linked to.

Still from The Love Witch (2016)

BACKGROUND:

  • After her debut feature, the 1960s/70s softcore sexploitation parody Viva (2007), Anna Biller worked on The Love Witch for years, not only writing the script and directing and editing but also designing all the costumes and composing the medieval music score. She even spent months weaving the pentagram rug and creating Elaine’s spell book with hand-drawn calligraphy.
  • For authenticity, The Love Witch was shot in the soon-to-be-extinct 35 mm film format.

INDELIBLE IMAGE: A Samantha Robinson closeup (pick one). She doesn’t need a spell beyond those eyes, outlined in wicked mascara and smoldering electric blue eye shadow, to get a man in bed—but she’ll cast one anyway, just to make sure.

THREE WEIRD THINGS: Pink tea room; jimsonweed rainbow sex; tampon/urine brew

WHAT MAKES IT WEIRD: The familiar but unreal world created in The Love Witch is so obsessively singular—brewed from pulpy romance novels, perverse witchcraft fantasies, feminist dialectics, and glitzy Technicolor melodramas—that it can only rightfully described as “weird.”


Brief scene from The Love Witch

COMMENTS: The Love Witch is thematically dense and symbolically Continue reading 306. THE LOVE WITCH (2016)

302. WR: MYSTERIES OF THE ORGANISM (1971)

RecommendedWeirdest!

“I hate the irrational. However, I believe that even the most flagrant irrationality must contain something of rational truth. There is nothing in this human world of ours that is not in some way right, however distorted it may be.”–William Reich

DIRECTED BY:

FEATURING: Milena Dravic, Ivica Vidovic, Jackie Curtis

PLOT: After a disorienting “overture” hinting at themes to come, WR settles in as a documentary on the late work and life of William Reich, the controversial disciple of Sigmund Freud who came to believe in the therapeutic power of the orgasm and in a mystical energy called “orgone.” Gradually, other semi-documentary countercultue snippets intrude, including hippie Vietnam protesters, the confessions of a transsexual, and some fairly explicit erotic scenes (in one, a female sculptor casts a mold of a volunteer’s erect penis). Finally, a fictional narrative—the story of a sexually liberated Yugoslavian girl seducing a repressed Soviet dancer—begins to take precedence, leading to a suitably bizarre conclusion.

Still from WR: Mysteries of the Organism (1971)

BACKGROUND:

  • William Reich was a controversial figure in psychoanalysis; a highly respected disciple of Freud as a young man, his ideas grew more extreme and crankish as he aged. A reformed Marxist, he coined the phrase “sexual revolution” and devised an orgasm-based psychotherapy. His theorizing about “orgone energy” led to promotion of boxes called “orgone accumulators,” which he claimed could cure disease and control the weather. This device got him into trouble with the Food and Drug Administration, and he was eventually persecuted for fraud, then imprisoned for contempt after refusing to stop selling his books and devices. He died in prison.
  • The hippie performance artist is Tuli Kupferberg of the Fugs (Fugs songs also appear on the soundtrack).
  • The film’s transvestite is Jackie Curtis, the Superstar mentioned in Lou Reed’s “Walk on the Wild Side”: “Jackie was just speeding away…”
  • The segments with Josef Stalin come from the Soviet propaganda film The Vow (1946).
  • WR was banned in Yugoslavia until 1986. It was either banned (for obscenity West of the Iron Curtain, for politics to the East) or heavily cut in many other countries. The film ended Makavejev’s career as a director in Yugoslavia; all of his future features were produced in North America, Europe or Austraila.
  • WR was selected as one of the “1001 Movies You Must See Before You Die.”

INDELIBLE IMAGE: A Yugoslavian sexpot doing her impression of the Brain that Wouldn’t Die, declaring “even now I’m not ashamed of my Communist past,” while her forensic pathologist stands above her holding the decapitation implement: an ice skate.

THREE WEIRD THINGS: Penis molding; “Milena in the Pan”; hymn to a horse

WHAT MAKES IT WEIRD: A straight-up documentary of the clinically insane psychiatrist William Reich would necessarily have been a little bizarre, but that’s just the starting point for this crazy-quilt counterculture collage that alternates between Reichian sexual theories, demonstrations of New York decadence, and esoteric Marxist dialectic.


Short clip from WR: Mysteries of the Organism

COMMENTS: Sex is dangerous. It even gets WR‘s heroine, Milena, Continue reading 302. WR: MYSTERIES OF THE ORGANISM (1971)

LIST CANDIDATE: THE FLESH (1991)

La carne

DIRECTEDY BY:

FEATURING: Sergio Castellitto, Francesca Dellera, Petra Reinhardt

PLOT: A nightclub pianist drops everything—his job, kids, beloved dog—to shack up with a mysterious woman who randomly enters his life, pursuing an alternately playful and carnal relationship involving, at various points, a paralysis-induced-erection, breast-feeding at St. Faustino’s shrine, storks, and whimso-sadism.

WHY IT MIGHT MAKE THE LIST: The plot description gives a hint, I suspect. Marco “La Grande Bouffe” Ferreri revisits themes of food, sex, and love, albeit with a (comparatively) light-hearted touch this time around. The movie’s tone veers strangely between Dirty Dancing and 37º2 le matin (Betty Blue), as the mood shifts from maudlin to passionate to absurd—all while late ’80s hits (OMG Milli Vanilli!) randomly crop up on the soundtrack.

COMMENTS: Marco Ferreri, Italy’s foremost disgruntled auteur, has a knack for drama that hovers around the darker side of aimless. Dillinger is Dead brings meandering film into the realm of the surreal, with its protagonist just puttering around his apartment until a dramatic finale. La Grande Bouffe tells the tale of the un-tragic deaths of four well-heeled professionals. In The Flesh, his penultimate cinematic release, Ferreri takes on the art crowd with a shouting kind of mumble-core. Over the course of the movie, strange things befall our protagonist, a singing, piano-and kazoo-playing performer who has a lot going for him that he throws away.

Paolo (Sergio Castellitto) takes his children to a natural history museum where his personal foibles are on display. He rages (at the animatronic dinosaurs) after he’s told that his estranged wife, a civil servant, won’t allow his son to have a first communion. (Here we see the conflict between Italy’s communist elements and its Catholic ones). At work the next evening (afternoon? seems like a lot of people have just started drinking early), we meet Francesca (Francesca Dellera), Europe’s melancholy answer to the “manic pixie dream girl.” Abandoning his post at the club, his obligation to a sick friend, and his child-support payments, Paolo spends some heady days at his remote beach-front cottage. The story becomes strange when, upon him failing to achieve potency one day, Francesca uses a massage technique that leaves him powerless to move, albeit able to oblige sexually.

The Flesh unsettlingly combines the genres of romantic-dramedy and symbolist screed, all to an incongruous pop-rock soundtrack. Francesca, right on the heels of an abortion, falls for the charmingly arrogant piano man, if only because she finds him so different from the mellow young guru she shacked up with before. Having trapped Paolo in stiff paralysis, she only spends time with him to feed him and make love, sometimes simultaneously. Otherwise, she’s out observing the recurring stork metaphor, at one point meeting up with a woman breast-feeding a pair of twins. Violence vs. sex also crops up, as the shelling from ships offshore causes Paolo’s temporary impotence while simultaneously arousing Francesca. And, as I said, there’s Milli Vanilli, late era Queen, and a strange bit at the end involving both storks and cannibalism.

Ferreri presents his disappointments in life with a darkly magical realist flair. He could be considered a grim counter-part to Federico Fellini, with Sergio Castellitto acting as his post-modern Marcello Mastroianni. Marriage is a sham, friendships are all-too-readily abandoned, women induce insanity, and death is assured. Circumstance stamps the life out of the free-spirited protagonist who somehow never becomes sympathetic. For all its sunlit scenes, fertility imagery, and up-tempo music, The Flesh is a dark musing on the ultimate pointlessness of romance and devotion. And storks.

WHAT THE CRITICS SAY:

“[Ferreri’s] penultimate film… finds his outrageous and surgically precise touch still in evidence, and his recurring theme of dysfunctional men perplexed and transformed by women who enter their lives receives perhaps its most direct and unorthodox treatment here.”–Nathaniel Thompson, Mondo Digital (Blu-ray)