Tag Archives: Surrealism

365. DR. CALIGARI (1989)

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“This film is like the offspring of Cronenberg and Troma.”–Luther Phillips, “The Life and Times of Stephen Sayadian”

Weirdest!

DIRECTED BY:

FEATURING: Madeleine Reynal, Laura Albert, John Durbin, Fox Harris

PLOT: Mrs. Van Houten is suffering from “nympholepsy” and erotic nightmares; her husband takes her to the Caligari Insane Asylum to be treated by the controversial granddaughter of Dr. Caligari (also named “Dr. Caligari”). A couple of her co-workers are concerned about the fact that seventeen of Caligari’s former patients have been “irreversibly warped,” and scheme to get her fired and rescue Mrs. Van Houten from her care. But Dr. Caligari refuses to accept the asylum director’s demands, and her experiments in neurological personality transfer intensify.

Still from Dr. Caligari (1989)

BACKGROUND:

  • Stephen Sayadian, who worked as an advertiser and a photographer for “Hustler,” made a couple of hardcore pornographic films under the pseudonym “Rinse Dream.” Nightdreams (1981) and Cafe Flesh (1982) were not mere wank material, however, but highly surreal (if explicit) avant-garde experiments that were often more disturbing than erotic. Dr. Caligari was his first and only attempt to make a (relatively) mainstream feature film.
  • The financier told Sayadian he could write and film whatever he wanted, but he had to use the “Caligari” name in the title.
  • As was the case with his other cult films, Dr. Caligari was co-written with Jerry Stahl, another interesting character whose memoir “Permanent Midnight” (later made into a movie) is one of the best first-hand accounts of heroin addiction ever written.
  • Dr. Caligari briefly played as a midnight movie under the title Dr. Caligari 3000. It gained a small cult following on VHS. The film’s executive producer, Joseph F. Robertson, was a porno executive who later formed Excalibur Video, at one time the Internet’s largest adult video mail order site. He kept the exclusive distribution rights to the film with Excalibur, but his plans to release more low-budget cult films never materialized. When Robertson sold Excalibur, the rights to Dr. Caligari went with it. The new owners have shown little interest in Dr. Caligari, but legitimate new copies of the film can only be ordered from Excalibur on DVD-R. Occasional rumors of a restoration and proper release of the film have yielded no results so far.

INDELIBLE IMAGE: During an erotic hallucination, Mrs. Van Houten opens a doorway a large pulsing column of flesh with scars and wounds and orifices that ooze candy and paint. A mouth with a waggling tongue appears on the bag of meat, growing until its larger than her head; she writes against it while the giant tongue licks her face.

THREE WEIRD THINGS: Dalí boob crutches; giant tongue head licking; scarecrow fellatio therapy

WHAT MAKES IT WEIRD: Although it plays at being a dark and disturbing trip into the twisted psychology of a nympho and her sadistic therapist, in reality Dr. Caligari is a campy flight that never takes itself the slightest bit seriously. Its overarching message seems to be “never seek psychiatric advice from a doctor who dresses in a vinyl minidress with metal cones attached to her breasts.” It’s well worth a watch if you’re looking for something sexy, surreal and silly to fill an hour and a half. “Chinchilla!”


Original trailer for Dr. Caligari

COMMENTS: Stephen Sayadian’s pornography background is evident from the very first sequence of Dr. Caligari. It’s a “nympholeptic”‘s eight-minute wordless dream of taking a bubble bath and being Continue reading 365. DR. CALIGARI (1989) →

364. NEON GENESIS EVANGELION: THE END OF EVANGELION (1997)

“…for who would lose,
Though full of pain, this intellectual being,
Those thoughts that wander through eternity,
To perish rather, swallowed up and lost
In the wide womb of uncreated Night,
Devoid of sense and motion?”–John Milton, Paradise Lost

Weirdest!

DIRECTED BY:

FEATURING: Voices of , , ; , , (English dub)

PLOT: Neon Genesis Evangelion: The End of Evangelion picks up where Neon Genesis Evangelion: Death and Rebirth ended, with NERV under attack by the JSSDF and Asuka unconscious in the hospital. NERV mastermind Gendo frees a Rei clone which merges with the body of Adam. The resulting entity then initiates the “Third Impact,” which might bring about the end of the world, but leaves the final decision to angsty teen Shenji.

Still from Neon Genesis Evangelion: End of Evangelion (1997)

BACKGROUND:

  • The “Neon Genesis Evangelion” franchise began as a television series (and concurrent manga) in 1995. The final two episodes of the series were abrupt, abstract, psychological, and generally impenetrable and unsatisfactory to many fans. Creator Hideaki Anno received a stream of hate mail from fans after this polarizing ending, including at least one death threat. In response, The End of Evangelion was conceived as an alternate ending. Before it was released, the studio produced the feature Neon Genesis Evangelion: Death and Rebirth, which recapped the series and began the new ending which concludes in End of Evangelion.
  • Anno was severely depressed when he conceived the “Evangelion” series, and some interpretations often suggest the entire work is a form of self-psychoanalysis.
  • In 2007 Anno began a complete feature film reboot of the series, beginning with Evangelion 1.0: You Are (Not) Alone in 2007. To date the reboot has produced three movies, with the conclusion to the planned tetralogy due in 2020.
  • “Time Out” ranked The End of Evangelion #65 on its 2016 list of the best animated movies.

INDELIBLE IMAGE: The poster features a picture of goddess Rei’s giant white head rising from a blank landscape. That glowing face, with its sharp anime nose, is indeed iconic, but we’ll go instead for the moment when Rei’s head is floating in the upper atmosphere, a vagina-shaped third eye suddenly opens in the middle of her forehead, and a phallic cross drops into it, suturing it shut. But yeah, just about anything from the movie’s last half hour could qualify.

THREE WEIRD THINGS: Shenji the strangler; 1,000 permutations of a giant Rei head; sandbox stagelights

WHAT MAKES IT WEIRD: End of Evangelion is like a Jungian treatment of the Kabbalah performed by giant anime robots. You need to just float along on the occult imagery of the last half. Don’t try to understand it; like its Western cousin “Revelation,” it becomes disappointing when reduced to a literal meaning.


DVD release trailer for Neon Genesis Evangelion: The End of Evangelion

COMMENTS: You can’t possibly understand anything in The End of Continue reading 364. NEON GENESIS EVANGELION: THE END OF EVANGELION (1997) →

359. THAT OBSCURE OBJECT OF DESIRE (1977)

Cet obscur objet du désir

“One loves ultimately one’s desires, not the thing desired.”–Friedrich Nietzsche

Recommended

DIRECTED BY: Luis Buñuel

FEATURING: , , , (voice)

PLOT: A man boards a train, followed by a younger woman with a bandaged head; he sees her coming, hides, and dumps a bucket of water over her. When he returns to his passenger compartment, he explains to his shocked fellow travelers that she was the “worst woman on earth.” He then spins the long tale of how he tried to court the young Spanish dancer over many years, but she always led him on, professing to love him but repeatedly refusing to consummate the relationship.

Still from That Obscure Object of Desire (1977)

BACKGROUND:

  • That Obscure Object of Desire was adapted from the 1898 novel “La Femme et le Pantin” (“The Woman and the Puppet”) by  Pierre Louÿs. Buñuel had tried, and failed, to adapt the novel in the 1950s. The story had been adapted to film three times before, most famously as The Devil is a Woman (1935, d. ) with .
  • This was the sixth collaboration between screenwriter and Buñuel. All but their first effort (Diary of a Chambermaid) have been Certified Weird here. This was Buñuel’s final film before he died. Carrière continues to write scripts to this day.
  • According to Carrière, the idea to cast two women in the role of Conchita occurred in an early draft of the script, but was discarded. When production began on the movie Buñuel was unhappy with the actress chosen to play Conchita (Last Tango in Paris’ Maria Schneider) and came close to abandoning the project before resurrecting the idea of using dual actresses in the role. Buñuel, however, seemed to remember it differently, saying that he came up with the idea of casting two women in the part during a discussion with producer Serge Silberman about the fact that Schneider wasn’t working out; although he immediately thought the idea was “stupid” the moment he said it, Silberman loved it and insisted they try it.
  • An uncredited third actress dubbed both Carole Bouquet and Angela Molina.
  • Michel Piccoli dubbed Fernando Rey’s voice; so technically, two actors portrayed the male lead as well.

INDELIBLE IMAGE: Our choice is notable not only for its mystery, but also because, coincidentally, it was the last scene Buñuel shot in a career of 48 years. Mathieu and Conchita, reunited and apparently happy, walk through a shopping gallery. In a window, they observe an old woman take a bloodstained lace scarf and begin mending it. Both seem fascinated by the display as the camera focuses on the needle penetrating the fabric. A voice on the loudspeaker describes a bloody assassination attempt on an Archbishop, then switches to a Wagner aria. The significance of this scene is puzzling; more so because we do not know if the couple has slept together, or if Conchita’s virginity is still intact.

THREE WEIRD THINGS: Private-lesson dwarf psychologist; Revolutionary Army of the Baby Jesus; pig baby

WHAT MAKES IT WEIRD: In my original review, I prematurely dismissed Obscure Object for consideration from the List, calling it “one of Buñuel’s best, but not one of his weirdest.” Fortunately, readers corrected my lapse in judgement in a 2013 poll. Obscure Object has occupied my mind for years after I first saw it; a true confirmation of its classic status. I still hold it’s one of Buñuel’s best; and if it’s not one of his weirdest, then we have to allow for the fact that Buñuel’s weirdest includes the prototypical surrealist film and Obscure Object‘s plotless immediate predecessor Phantom of Liberty, among other amazements. Invoking the sliding scale of quality, I rule that a cinema classic where two women play the same role and no one notices qualifies as weird enough to earn our notice. Add that it’s the swan song of one of weird cinema’s founding fathers, and a damn fine piece of cinema to boot, and its inclusion is assured.


Clip from That Obscure Object of Desire

COMMENTS: The “gimmick” of two actresses playing the object of Continue reading 359. THAT OBSCURE OBJECT OF DESIRE (1977) →