…fear of hamburgers and gardeners…’ [A Cat In The Brain (1990)]

From http://25.media.tumblr.com/tumblr_lpcl2mQvm91qchg6eo1_r1_500.jpg

Dir. Lucio Fulci

Italy

Film #12, of Friday 12^th October, for Halloween 31 For 31

After a long delay, I can finally add the twelfth review from the Halloween 31 For 31 project from October. Thank you for your patience for this review.

Film Link - http://www.videotapeswapshop.co.uk/10819/cat-in-the-brain-%E2%80%93-1990-director-lucio-fulci/

An Aesthetic of Violence and Hunger [Antonio Das Mortes (1969)]

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Dir. Glauber Rocha

Brazil-France-West Germany

Aka. O Dragão da Maldade contra o Santo Guerreiro

The disparity between a nation’s cinema and the amounts of films that are available outside the country is significant with the Brazilian director Glauber Rocha, whose filmography on purchasable disc is only three films available from the company Mr. Bongo; this is problematic in that, despite my little knowledge of Rocha, what knowledge of him I know of is that of a very important director in Brazilian cinema and Latin American cinema in general. Founder of the Cinema Novo movement in the continent, Rocha also wrote a very important manifesto on the Aesthetics of Hunger, calling on film directors in third world countries to draw from their plight – poverty, government corruption etc. – and channel it into left wing political cinema that could spark revolutions. In the vast numbers of Latin American cinema of the 1960s and 1970s that is waiting for me to see then, within a period of political strife during these decades for countries like Chile and Brazil, Rocha looks to be one of the most important directors of the continent, making the lack of access to his films even more disparaging. Antonio Das Mortes can be said to be a sequel to Black God White Devil (1964), in which the titular Das Mortes was introduced as a secondary character, a bounty hunter who targets Cangaceiros, ‘mythical’ bandits who fought for the people. Played by the same actor Mauricio do Valle, the film gains a lot from being a continuation but can be viewed by itself, and it takes the character on a very different path to before.

From http://s3.amazonaws.com/auteurs_production/images/film/antonio-das-mortes/w448/antonio-das-mortes.jpg?1309012930

Set decades after Das Mortes has killed the last Cangaceiro, he is an older, less confident man, filled with regret and yet also left without a purpose. When he is called upon to deal with a leader claiming to be a Cangaceiro, it gives Das Mortes new purpose, but it leads to him taking a drastic turn in his life from what he has done before. The film sounds like a Brazilian western in plot, which it pretty much is, but it is something far more drastic in tone from genre. Not only is the film set in a more modern day environment, the older myths being crushed under modernisation and completely losing the battle long before the film’s narrative, but the film is definitely a political manifesto onscreen. It is very unconventional in tone, willing for three quarters of its length to have prolonged scenes of characters talking to each other and straight to the camera directly, interlaced with overlapping dialogue over visuals and folk music, the Western driven plot dissected for the purposes of Rocha’s ideas as Das Mortes’ alliances drastically change. It is very much its own film and completely unique to itself, its dialogue and literary subtext combining the fantastical with politics and reminding me of William Blake’s more political and visionary writings. The growing intensity of the film, intercut with scenes of violence, eventually grows into a finale that is a barrage of merciless death, the only way tyranny can be overruled, genre and political revolution as a cacophony of gun fire and blood that is brief and startling, with a humorous and lyrical guitar song played over the screams that makes it an event already immortalised during its length. The use of music is exceptionally important for Antonio Das Mortes, the sense of ordinary people within the narrative being able to speak through songs, emphasised by the continuous singing that commands the soundtrack at one point and drowns out the voice and gunfire of the capitalist landowner and his henchmen. The music breaths life through the film while giving it an even more mythical tone alongside its symbolism.

From http://www.theoneonefour.com/wp-content/uploads/2010/05/Antonio-das-Mortes_still1.jpg

The final film needs to be adapted to, but by its end it is startling in its effect, the violence and rage of the content emphased by its messy yet very considered structure, its deep 1960s colours almost making it look like the paintings that bookend the entire film. The use of mythology with political fury is clearly biased, with no regard for balance, but made in a period that could only get worse when a dictatorship took over Brazil, forcing Rocha to leave the country in exile, it is a creation of strife and the desire to change the world when it was drastically needed. As the man who wrote a manifesto of channelling one’s anger into one’s cinema, Rocha made a furious film that is effecting even if it loses you at first with its unconventional tone. Pretty much like most world cinema once you start to dig deeper into it, it will break down your views on what ‘cinema’ should feel and be like, and the lack of Rocha’s films in terms of availability is even worse when I consider that Antonio Das Mortes, with its desolate ending, encourages one to continue through the director’s filmography, a vast one even if he tragically passed in his forties that is out of hand’s reach.

From http://cf2.imgobject.com/t/p/original/voOUcsIgQQYPlLvIDPKeSJ0CT3h.jpg

This Week...#3 (1st December to 4th December 2012)

From http://s3.amazonaws.com/auteurs_production/images/film/a-cottage-on-dartmoor/w448/a-cottage-on-dartmoor.jpg

1^st December 2012: A Cottage On Dartmoor (Anthony Asquith, 1941)

In a small-town hairdressing salon, a young barber, Joe (Uno Henning) is trying to court Sally, the beautiful manicurist (Nora Baring) and asks her out. She rejects him in favour of the security offered by an older, wealthier farmer. In a jealous rage Joe slashes the farmer with a razor and is sent to Dartmoor prison for attempted murder. He escapes over the moors to find Sally, who does not know if he has come to kill her or ask her forgiveness, and it's at this point that the film begins. The rest of the story is told in flashback. (BFI Filmstore)

Slow for me to adapt to the film’s tone, but once this silent British film starts to run through its brisk running time, it is very good, a very interesting and emotional pot-boiler matched to an inspired visual palette, the dusk of silent cinema not stopping Asquith from using anything from Expressionistic shadows, clever use of news reels and even Sergei Eisenstein’s ‘Montage of Attractions’ theory amongst other techniques to an inherently British take on doomed love.

From http://image.bayimg.com/famlfaabp.jpg

2^nd December 2012: Tod und Teuful (Dir. Stephen Dwoskin, 1973) & Face Anthea (Stephen Dwoskin, 1990)

The action of the film evolves around the rooms of a house as one of the main characters, Lisiska, is waiting and is studied in depth as she prepares herself for a meeting & The film attempts to display sexual barriers and misconceptions, and about the role-playing and the confusion around the whole question of sexual and sensual involvement. The essence is the confrontation with self-deception, lies and the real fear of contact with both sexes.' (Luxonline.org.uk from a quotation from the late Dwoskin himself)

Containing only three extended scenes within its ninety minute running time, prolonged to extended lengths with the camera scrutinising the actors’ worn faces and bodies, this is as abstract as a dramatic story, adapted from a play, can be, a story of sexual relationships stripped down to its barest strands. The extended viewings of the actors’ faces can seem over longed and in danger of pretention, but the overlongness of the images actually helps the film. The human face, marked and aged especially, is a fascinating and beautiful thing to look at, yet if one stares at someone for such a prolonged amount of time it can become discomforting. The viewing of strangers in such a way is almost seen as bad manners and frowned upon, to which Dwoskin forces the viewer to look deeply at another person, especially the beautiful and yet tragic main female actress, her flawed beauty matched by deep black eyes and expressions that are either in bliss or sadness or both at the same time. Through this experiment, Dwoskin the experimental filmmaker fittingly makes a film that can stand up as a great narrative one too, so stripped down of much of what usually takes place in a narrative but yet still full enough to have fleshed out characters and a clear idea on sexual and gender issues through human relationships that stands up a lot better than more over-filled movies.

Again, another film on the same DVD, Face Anthea, is worth adding to this for an additional layer; pretty much a completely experimental work, consisting of a woman viewing the camera (ie. us the viewer) for an entire sixty minutes. Anyone who views this as pretentious I can understand in their mindset to it, but Face Anthea was also a great film as a pure distillation of its content. Artistic interpretations are completely pointless when its true virtue is such an obvious idea for a film, in that the woman, like us, is viewing her unknown audience like a spectator, as we (I in this case) watch her too, as if through a two way mirror that is separate by time and the video stock the piece was shot on. It was amazing for me to think while viewing the film that few people actual look carefully and with consideration at their fellow human beings’ faces and presence for such a long amount of time outside of representations done in paintings, sculpture etc., and it has to be argued, along with Tod und Teuful, that having to do so with these films is a great virtue for them. Also unlike other experimental and minimalist pieces these two at least concentrate on other people and their bodies, something inherently fascinating that can even be seen in  mainstream cinema when one lovingly watches their favourite actor or actress onscreen regardless of the content and story.

From http://www.brutalashell.com/wp-content/uploads/2012/10/vlcsnap-2012-10-22-23h46m16s171.png

3^rd December 2012: Super Bitch aka. Mafia Function (Massimo Dallamano, 1973)

Italian trash cinema icon Ivan Rassimov is a police inspector working undercover to expose a London escort agency where the frequently naked Stephanie Beacham is being filmed in sexually compromising situations with her moneyed clients. These poor chumps will soon be smuggling drugs across international borders for her and her shadowy associates. (Arrow Films)

Probably not the best way for me to enter the Poliziotteschi genre in terms of the traditional style of the sub-genre, Italian crime stories that blossomed in the 1970s to 1980s, but I loved it as ridiculous, beautiful looking trash as its UK distributor Arrow Films probably viewed it as when they released it to DVD within November. It’s convoluted, tasteless, and like the best exploitation films, the title has nothing to do with the content, and was added for a British video re-release in the eighties as a cruel joke at the expense of main actress Stephanie Beacham. There is something compelling about such an erratic film though, entertaining in its tangents and amusing dialogue; there is a sense that it may have been made to be intentionally ridiculous, counteracting the apparent rightwing nature of the genre that is discussed in an introduction to Poliziotteschi in the DVD extras. Even the fact that the puppet master/police inspector Ivan Rassimov is almost completely disconnected from the events around him or many steps ahead of it, in danger of making it impossible to engage with him,  may be on purpose, especially when it becomes obvious just how corrupt he is as a person.

It was also surprising, presuming it would be an entirely Italian film until I researched the film hours before viewing it, that it was set mostly in England, director Dallamano viewing London and the English landscape, urban and rural, through a different eye and visual appearance than a home born director would, adding a great deal more of interest too. If Arrow Films hadn’t picked this up, and they were prodded towards it, the British Film Institution’s Flipside series of Blu-Rays and DVDs, catering in odder and eclectic British or British set films, would be perfect for something like this.

From http://s3.amazonaws.com/auteurs_production/images/film/joanna--2/w448/joanna--2.jpg

4^th December 2012: Joanna (Michael Sarne, 1966)

When 17 year old Joanna comes to Swinging London, she meets a host of colourful characters (such as Lord Sanderson, played by Donald Sutherland), discovers the pleasures of casual sex, and falls in love with Gordon (Calvin Lockart). That’s when things get complicated. (MUBI)

Speaking of the Flipside series, this is one of the official releases from the sub-label from the director of the infamous Myra Breckinridge adaptation. It is a very solid drama, sold as a ‘female Alfie’ to Fox studios to get them to produce the film, an interesting story that is helped immensely from its cast including Geneviève Waïte as the titular character. What makes the film even more interesting is the manipulation of its structure and tone by Sarne. Not only does he include dreams sequences, even non-diagetic sound effects, with the narrative but he plays and manipulates the time and mood of the narrative as well, distorting the sense of cinematic reality to fit the mindset of its main character. The results are fascinating and shows that when directors were allowed to, British films could be very interesting and take a chance in playing with conventions. 

This Week... #2 (28th November to 30th November 2012)

From http://s3.amazonaws.com/auteurs_production/images/film/a-good-time-for-a-dime/w448/a-good-time-for-a-dime.jpg?1303212294

28^th November 2012: A Good Time For A Dime (Dick Lundy, 1941)

Donald visits a penny arcade. He watches Daisy dance the Dance of the Seven Veils, but the light goes out for veil 5 and he misses the end. Then he tries a prize crane, to increasing frustration. Finally, an airplane ride goes wild when Donald tries to get some extra time. (IMDB)

Not the best animated short I have seen from Disney, but still fun nonetheless. It does make me realise how much I want to go back to the animated shorts I used to watch on Cartoon Network – Tom and Jerry, Looney Toons – as well as go through others for the first time – Disney, the Fleischer brothers – and see their artistry from adult eyes. Their short lengths go against them unfairly because I will immediately go to the feature length films first, but they deserve their praises too some day.

From http://www.coffeecoffeeandmorecoffee.com/archives/i%20am%20love.jpg

29^th November 2012: I Am Love (Luca Guadagino, 2009)

Over two decades ago, Emma left Russia to follow Tancredi Recchi, the man who had proposed to her. Now a member of a powerful industrial Milanese family, she is the respected mother of three. But Emma, although not unhappy, feels confusedly unfulfilled. One day Antonio, a talented chef and her son's friend and partner, makes her senses kindle. It does not take long before she embarks on a passionate affair with the sensuous young man. (IMDB)

This was watched under the worst throws of man-flu, which may have drastically coloured the viewing experience, but the glaring issues I had with the film would probably have stayed the same if I was physically well. It’s amazing that such a critically acclaimed film really has little in it, even a point to its existence, a really drab drama that feels empty without any sense of emotional engagement to it. It doesn’t live up to the praise it has been given for its ‘luxurious’ look either.  It completely pales to Italian films like The Conformist (1970) or Fellini’s Roma (1972) for example in terms of visual artistry, and considering the significance of food with its narrative, showing its vitality merely by glowing a golden light over Tilda Swinton’s face is not enough to convey the beauty of taste. It is a hollow film, even more disappointing so as there are moments in this where Swinton herself becomes a radiant, older beauty onscreen, the few threads of magic Italian cinema has within the film making a justifiably talented actress also completely gorgeous as any actress in an Italian movie becomes when reinterpreted on film.

From http://s3.amazonaws.com/auteurs_production/images/film/the-bloodiest/w448/the-bloodiest.jpg?1291055027

30^th November 2012: The Bloodiest* (Jean-Pierre Beholo, 2005)

Two streetwise women are sent on a strange odyssey through a decaying society in this offbeat sci-fi comedy, set in a fictional African nation in the year 2025. (MUBI)

A striking combination of sci-fi, softcore, feminist cinema, comedy, political art film and straight-to-video African cinema. It’s not for everyone, as is the case of the incredibly negative reviews I have read online for this film, but I wish more films like this were available to see. With its two beautiful protagonists driven by the ‘mevungu’, a word taken from a ritual among Beti women of Cameron that celebrated the clitoris and feminine power, this film is a lot more interesting than its Nollywood-esque genre melding appears to look like, feminine strength shot through such genre eroding aesthetic. (And it helps that the low-fi aesthetic, including martial-arts fight scenes at the end, is immensely entertaining). If only more African films, let alone this, were available in the West the world would be a lot better off, an erratic but fascinating film like this the sort of thing I need more often and African cinema may provide a lot of.

[*There is a possibility that the English translation of the film’s title, Les Saignantes, as The Bloodiest is a complete mistranslation. In the film, the two protagonists call themselves Bloodettes, and it may be the case that the title should be The Bloodettes, which someone needs to correct first on the film’s IMDB page and start from there.]

“You are on the road to Hell my children.” [Hell’s Ground (2007)]

From http://horrornews.net/wp-content/uploads/2010/11/hells_ground_2.jpg

Dir. Omar Khan 

Pakistan-UK

Originally intended to be a film for the Halloween 31 For 31 in October, I am happy to have seen the first Pakistani splatter movie in existence finally. It is a flawed film, but in keeping with my belief that film viewing is a geographical and culture expedition in celluloid form, this nightmarish West Asian horror film fits that idea greatly while spilling goo and blood. On their way to a music concert, a group of young adults end up on their way to Hell, an area of countryside that, after significant pollution problems, had become a place of death. Zombies roam the long grass and a white burqa-wearing killer awaits them as well. From this premise, it is clearly a mix of pre-existing horror iconography – Lucio Fulci, The Texas Chainsaw Massacre (1974) etc. – but it has a delirious charm to the whole work. Tonally erratic it may be, it adds a sense of unpredictability to the film emphasises the hellishness of the characters’ situation. It also helps that, despite being a lower budget, shot on digital work, the director and his director of photography actually attempted to add some visual distinctiveness to the film. When night rolls through for the main crux of the film, it feels atmospheric, most of the screen completely swallowed in black and with fog clouding areas of the image, giving this low budget film a character. Even before these scenes it helps that the sense of space is conveyed and that, despite being something all directors should know, the camera is actually pulled back from the actors once in a while and the scenery is allowed to be seen; that later point is utterly ridiculous to say, but it is amazing how many films, mainstream and straight-to-video, have the camera jammed up an actor’s nostrils all the time, or are locked by the cookie-cutter editing, resulting in visually flat looks. Combined with the appropriately intense music put together by musician, cult cinema writer and author Stepher Thrower, and Hell’s Ground sticks out.

From http://s3.amazonaws.com/auteurs_production/images/film/hells-ground/w448/hells-ground.jpg?1303225408

There is the issue that, by viewing this film because of it came from a different country, and celebrating it for this, can inadvertently become patronising and dubious. With Hell’s Ground it cannot be argued against though that, while its very influenced by the West, being a Pakistani horror film, with clear differences from the likes of American splatter films, is a factor in why it’s a lot more interesting a film. It’s not because it’s merely from a different country though that this is the case. The diegetic music for example, continuing with the sonic virtues of the film, is very different in sound, regardless of its country of origin, to the kind of music used in Western horror films, the distinct, vinyl-like sound to most of the songs adding a dreamy quality usually non-existent in this sort of content and helping the film greatly. It’s more downtrodden locations, of massive water pollution part of the plot, lower class population and transsexual prostitutes, in such a close proximity to the countryside and thick forests of trees is very different from the many Western horror films too with the obvious exceptions, as is the obvious cultural differences and the occasional references to (Islamic) religion. It is not merely that Hell’s Ground stands out for the better because it’s from a different country, but because the distinct differences from Western horror cinema, separating nationality from them, offer new perspectives on such repeated material. Hell’s Ground is still your basic gore film which is loose and ping-pongs through numerous sub-genres without a fully coherent story, but this crazed flippancy with its uniqueness feels fresh and invigorating for me compared to a lot of redundant horror cinema elsewhere.

From http://shenanitims.files.wordpress.com/2012/11/hells-ground-burqamans-knife-is-the-star.png

“And please don't you ask me if I love you” [Trash (1970)]

From http://s3.amazonaws.com/auteurs_production/images/film/trash/w448/trash.jpg?1341486291

Dir. Paul Morrissey

USA

Part of Videotape Swapshop’s ‘The Uncut Season’

This is my fifth and final contribution to the website Videotape Swapshop’s season on controversial films within the history of the British film classification organisation the BBFC. A film I was hesitant to rewatch, and included acquiring the wrong film in Morrissey’s loose trilogy before I finally got the right one, but nonetheless one I was grateful to see again.

Film Link - http://www.videotapeswapshop.co.uk/11393/trash-%E2%80%93-1970-director-paul-morrissey/

This Week... #1 (Saturday 24th November to Tuesday 27th November)

This originally was planned as another month of reviews like the Halloween 31 For 31, but instead I am deciding to combined a diary together with one of those challenges to watch 365 films each day of the year to create a weekly piece for the blog. The only rules for this feature are that –

1. The reviews will be small and not official write-ups like the other blog posts I do. If any are good films or any worth writing about, they may (hopefully) get full length posts on them later down the line.
2. Since I can usually watch two films per day, I will choose the one I would rather write about.
3. If I cannot get a film (or any other work) watched for a day, it doesn’t matter.
4. I will use this to clear through my To-Watch list, my pile of DVDs in my possession and any other lists I have. It’ll take years to clear through them, but that’s less of a concern to actually enjoying this ongoing goal.
5. These are fluff writing, little more. As long as you the reader find something in them, it doesn’t matter if they’re not fine art.

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Saturday 24^th November : La Grande Illusion (Jean Renoir, 1937)

During the First World War, two French soldiers are captured and imprisoned in a German POW camp. Several escape attempts follow until they are sent to a seemingly impenetrable fortress which seems impossible to escape from. (IMDB)

Pretty great drama from Renoir, another major director I’ve finally started digging into this year. The third act seemed disjointed from the rest of the film, but La Grande Illusion is a very interesting mix of humour, sadness and a reflection on how Europe changed after World War I. Seeing the bizarre experimental shorts on the disc he directed in the 1920s, it is amazing Renoir would transformed into one of the most esteemed realist directors from France.

From http://www.doctormacro.com/Images/Dietrich,%20Marlene/Annex/Annex%20-%20Dietrich,%20Marlene%20(Blue%20Angel,%20The)_02.jpg

Sunday 5^th November: The Blue Angel (Josef Von Sternberg, 1930)

Immanuel Rath, an old bachelor, is a professor at the town's university. When he discovers that some of his pupils often go into a speakeasy, The Blue Angel, to visit a dancer, Lola Lola, he comes there to confront them. But he is attracted to Lola. The next night he comes again--and does not sleep at home. This causes trouble at work and his life takes a downward spiral. (IMDB)

A slow burn for me to get into, but when the main crux of the story starts to play out it starts to get very good, a very down-to-earth yet elaborately blunt story to match the titular nightclub. It is amazing to see such a young Marlene Dietrich with a much softer face and (German speaking) voice compared to her trademark drawl and commanding appearance, but her prescience makes her character far more than a mere temptress for the better of the film.

From From http://s3.amazonaws.com/auteurs_production/images/film/pain-is/w448/pain-is.jpg?1333280915

Monday 6^th November: Pain Is... (Stephen Dwoskin, 1997) & Intoxicated By My Illness (Stephen Dwoskin, 2001)

Pain Is.. (1997): The film is just this kind wandering through the personal ways and whys of different kinds of pain in different kinds of people. Far from the academic and the medical, the film questions this phenomenon of pain. The film searches through the many levels of pain and finds it in its unique position between disaster and pleasure. Pain Is… thus plunges us instantly into the midst of controversy and the unknown. (MUBI.com)

Intoxicated By My Illness (2001): Intoxicated by My Illness (in which images photographed by several people are extensively superimposed) loosely and dreamily tracks a phase in Dwoskin's recent life that took him from medical examination to intensive care. (Luxonline.org.uk)

With shades similar to Sick: The Life & Death of Bob Flanagan, Supermasochist (1997), director Dwoskin, disabled by polio at a young age, tackles the concept of pain in a free flowing documentary work, an essay which puts together various types of pain within a 80 minute montage. He gives no concessions to the viewer in terms of softening the content, including scenes of body modification and sado-mascochism – including himself (?), behind a camera, being treated by a dominatrix – but through interviews, poetic scenes and pre-existing footage, puts together a complex view on a complex subject. It’s incomplete but does its best to analysis the concept.

On the same DVD and following similar themes, Intoxicated By My Illness is worth adding as an additional piece. Split into two parts, this 40 minute piece is a tableau of images, following an older man in critical care in hospital, which blurs together sex and death and literally superimposes them on top of each other. There are no restrictions to the content even compared to Pain Is... – from surgery footage to a close-up of a penis being masturbated by another person – and the link is made explicit, nurses made into dominatrixes and dominatrixes into loving carers. Made on digital video, it is experimental filmmaking that can only appeal to a small audience but its willingness to push itself as it does could be learnt from in mainstream cinema.

From http://s3.amazonaws.com/auteurs_production/images/film/andy-warhols-bad/w448/andy-warhols-bad.jpg?1289463553

Tuesday 27^th November: Andy Warhol's Bad (Jed Johnson, 1977)

Hazel runs a beauty salon out of her house, but makes extra money by providing ruthless women to do hit jobs. K.T. is a parasite, and contacts Hazel looking for work when he runs out of money. She is reluctant to use him for a hit, since she prefers using women, but decides to try him on a trial basis. Meanwhile, the local cop she pays off wants an arrest to make it look like he's actually doing his job, but she doesn't want to sacrifice any of her "associates." Several other side plots are woven in, populated with characters from the sleazy side of life. (IMDB)

A peculiar mix of Paul Morrissey’s films under the Andy Warhol name like Trash (1970) and really cult, poor taste cinema. It’s mixing of long scenes of conversation with clearly unrealistic and purposely distasteful content (especially a scene involving a baby) is very unique and something I’ve yet to see in another film. if there is a potential problem it’s that keeping to a more digestible narrative compared to Morrissey’s non-horror films, despite its content, hurts its ability to be really interesting in its fluid tangents, but if you can locate it its one of the kind in the right meaning of that term.