Tag Archives: Surrealism

10. ARCHANGEL (1990)

“And we are here as on a darkling plain

Swept with confused alarms of struggle and flight,

Where ignorant armies clash by night.”

Matthew Arnold, “Dover Beach” (quote originally intended to introduce Archangel)

Recommended

DIRECTED BY: Guy Maddin

FEATURING: , Kathy Marykuca

PLOT: In 1919, one-legged Canadian airman Lt. John Boles finds his way to the Russian port of Archangel in the endless night of Arctic winter.  There, he meets Veronkha, whom he believes to be the reincarnation of Iris, his dead love.  Veronkha has problems of her own, in the form of an amnesiac husband who wakes up every day believing this is the day they are to be wed, but Boles tires to woo her nevertheless as Archangel’s ragtag militia battles the Germans and the Bolsheviks without realizing that both World War I and the Russian Revolution are over.

archangel

BACKGROUND:

  • The city of Archangel was the port of entry for Allied soldiers during World War I; therefore, soldiers from America, Canada, and the European allies might very well have been found gathered there (although probably not East Indians and Congolese, as depicted in the film).  Many Allied soldiers were sent to Russia, partially to help assist the Imperial (White) Russians against the Bolshevik Communist rebels (Reds).
  • Some reports say that the version presented on the “Guy Maddin Collection” DVD is a different cut from the theatrical and original VHS version, with tinting and intertitles added.  I haven’t been able to confirm whether differences exist.

INDELIBLE IMAGE:  As his dying act, a lifelong coward strangles a bestial Bolshevik with a length of his own intestine (which is obviously a sausage link).

WHAT MAKES IT WEIRD: The tale of an obsessive, grieving soldier who thinks he’s found the reincarnation of his lost love in a benighted Russian city where the citizens continue to fight a war that is over would be weird enough if told straight. Director Guy Maddin exaggerates the already dreamlike quality of this tale by clothing it in the archaic period dress of an early sound film, complete with intertitles describing the action, dubbed voices that are occasionally slightly out of sync, and casually disorienting jumps/glitches in the film. He pushes this inherently confusing story of terminally confused characters further into strange realms with deliberately surreal elements, such as women warriors going to the front dressed in elegant evening headwear, and even odder sights.

Short clip from Archangel (French subtitles not in original)

COMMENTS: The city of Archangel seems the perfect place to dream.  Isolated from the Continue reading 10. ARCHANGEL (1990)

CAPSULE: TWILIGHT OF THE ICE NYMPHS (1997)

DIRECTED BY: Guy Maddin

FEATURING: , Shelley Duvall, Frank Gorshin

PLOT: A prisoner returns to his childhood home on an ostrich farm in a

twilight_of_the_ice_nymphs

mythical northern land during the constant daylight of the summer season, where he becomes involved with two mysterious women.

WHY IT  WON’T MAKE THE LISTTwilight of the Ice Nymphs is plenty weird enough to make the List, although it can be such slow going that many folks will tune out before discovering it’s weirder points.  Twilight just isn’t good enough.  With several of director Guy Maddin’s more effective films already slated for inclusion, it makes little sense to allow a lesser effort, weird though it may well be, to take space away from a more deserving contender.

COMMENTSTwilight of the Ice Nymphs is set in a suitably colorful and mythic locale, an imaginary land with Nordic overtones and ostriches, but it’s dragged down by an uninspiring hero in an uninvolving storyline, ponderous dialogue, and uneven acting.  The protagonist, Peter (Nigel Whitmey), is subject to bouts of sleep-hunting, and also, it seems, to episodes of sleep-acting.  For most of the movie his emotional range is so low-key that it barely registers: he covers a scale from glum to mildly perturbed.  It doesn’t help that Whitmey’s dialogue was dubbed in by a different actor in post-production after what Maddin hints was a very nasty incident between the director and actor.  Peter strikes up no real chemistry with either of his potential lovers, Juliana (whose personal history is obscure) and Zephyr (a wandering woman three months pregnant with her lost husband’s child), so there is little for the audience to root for in this three-way romance.  Besides Peter, Pascale Bussières as Juliana is cute but forgettable, Alice Krige’s performance as Zephyr seems on loan from a BBC teleplay, and R.H. Thompson’s evil Dr. Solti is little more than a distracting, hammy faux-Russian accent.  Veteran movie actors Shelley Duvall and former Riddler Frank Gorshin put the others to shame, but unfortunately they are pushed into a background subplot.

That said, the film’s visual sensibilities are truly wondrous.  Maddin built his magical fairy-forest inside a Winnipeg warehouse, maintaining meticulous control over every aspect of his mise-en-scene.  Particularly noteworthy are his brash color schemes: he uses “jewel tones” throughout, and seems particularly fond of placing surrounding emerald hues with bright pinks, magentas, and tangerines, as in a sunset setting over a forest canopy.  This makes the movie effective as a slide-show of gorgeous stills; Twilight would probably work well on a big screen TV with the sound turned off as visual wallpaper for a hoity-toity wine-and-cheese party.

Twilight of the Ice Nymphs is available on the DVD, “The Guy Maddin Collection” (buy), along with the feature film Archangel and the award-winning short The Heart of the World.

WHAT THE CRITICS SAY:

“Maddin’s fictional world is… so infused with such a delightful weirdness, such a disorienting, overwrought absurdity, that its artificiality and peculiarity give it a marvelous flavor that is a real pleasure to savor.” -Keith Allen, movierapture.com

7. EL TOPO (1970)

AKA The Mole (literal translation)

“Q: You’re creating this story right now.

A: Yes, this very moment. It may not be true, but it’s beautiful.”–Alejandro Jodorowsky in “Conversations with Jodorowsky”

Must SeeWeirdest!

DIRECTED BY:

FEATURING: Alejandro Jodorowsky

PLOT: El Topo, a figure dressed in black and carrying his nude son on horseback behind him, uses his supernatural shooting ability to free a town from the rule of a sadistic Colonel.  He then abandons his son for the Colonel’s Woman, who convinces him to ride deep into the desert to face off against four mystical gunfighters.  All of the gunfighters die, but El Topo is betrayed, shot, and dragged into a cave by a society of deformed people, who ask the outlaw turned pacifist to help them build a tunnel so they can escape to a dusty western town run by degenerate religious fascists.

el-topo

BACKGROUND:

  • El Topo is considered to be the first “midnight movie,” the first movie to be screened in theaters almost exclusively after 12 AM.  Although the heyday of the midnight movie has past, it was a clever marketing gimmick that stressed the unusual nature of the film and positioned El Topo as an event rather than just another flick.
  • El Topo was famously championed and promoted by John Lennon and Yoko Ono.
  • Due to an acrimonious dispute over ownership rights between Jodorowsky and Allen Klein, the film was withdrawn from circulation for 30 years, during which time it could only be seen on bootlegged VHS copies.  The scarcity of screenings vaulted El Topo‘s already powerful reputation into a legendary one.  Jodorowsky and Klein reconciled in 2004 and the film had a legal DVD release in 2005.

INDELIBLE IMAGE: El Topo is a continuous stream of unforgettable images; any frame chosen at random inflames the imagination.  My personal favorite is the lonsghot after El Topo kills third master gunfighter, where his body lies bleeding in his own watering hole while the rest of the landscape is littered with rabbit corpses.   The iconic image, however, is  El Topo riding off on horseback with a naked child sitting behind him, holding a black umbrella over his head.  This image is particularly representative because it shows not only Jodorowsky’s gift for composition, but his penchant for shamelessly borrowing from other sources of inspiration: the concept is pinched from the most surreal moment of Sergio Leone’s classic Spaghetti Western, The Good, the Bad and the Ugly.

WHAT MAKES IT WEIRD:  In the first scene, a man clad in black carrying an umbrella rides through an endless desert waste. Behind him in the saddle is a male child, naked except for a cowboy hat. The man stops his horse by a lonely hitching post in the sand, ties the umbrella to the post, and hands the boy a teddy bear and a locket and a photograph. The man says, “Today you are seven years old. You are a man. Bury your first toy and your mother’s picture.” He pulls out a flute and plays while the naked child follows his instructions. What makes El Topo weird is that this is the most normal and comprehensible thing that happens the film.

Trailer for El Topo

COMMENTS: In Judges 14, Samson (the Hebrew version of Hercules) is attacked by a Continue reading 7. EL TOPO (1970)