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 Watching Movies Alone with crumbsroom 
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crumbsroom wrote:
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Russian science fiction that tantalizes with all of its moody possibilities, but instead delivers a bit of a deliberate shrug of an ending. The lack of answers though, considering the strange journey the film moves through, from train rides through inferno plagued waste lands, reclusive shotgun packing dwarves that are tracked down through dreams and a rain drenched town filled with mysterious hooded men called 'wetters', allows one to enjoy the surrealistic mood if the science fiction mostly ends up coming up as a bit of a bluff.

Have you seen Lopushansky's Visitor of a Museum? Ugly Swans is very good, but Visitor is on another level.

http://www.imdb.com/title/tt0173024/

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Sun Mar 18, 2018 3:27 am
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Bandy Greensacks wrote:
Have you seen Lopushansky's Visitor of a Museum? Ugly Swans is very good, but Visitor is on another level.

http://www.imdb.com/title/tt0173024/


I loved Visitor to a Museum. Recently watched it, maybe a month or two ago, and it was a movie that managed to nail both the lyricism of its ideas with its Sci-Fi plot line. It would be up there with my other favorite Russian science fiction film Ikarie XB-1, which is a must for any fan, not only of the genre, but just movies in general.


Sun Mar 18, 2018 3:38 am
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Jinnistan wrote:
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I have to say I recommend it.


Where did you find this one?


Sun Mar 18, 2018 3:39 am
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crumbsroom wrote:
Where did you find this one?

From Prime, which has become my primary source for random older titles. I'm still not sure if being on Prime necessarily means that it's in print, and I think I may have seen where that one is in a twofer with a second title, but I think that it was more explicitly soft-core fare.


Sun Mar 18, 2018 6:13 am
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Things (1989)

A Pictorial

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THE END


Thu Mar 22, 2018 1:30 pm
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crumbsroom wrote:
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THE END

Looks like a .... happy ending.

Things II is on Prime, and....I dunno, dude. I mean, Uninvited is one thing, but I see neither cats nor bikinis in this one.


Thu Mar 22, 2018 2:25 pm
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Jinnistan wrote:
Things II is on Prime, and....I dunno, dude. I mean, Uninvited is one thing, but I see neither cats nor bikinis in this one.
This Things II? That's a sequel to a completely different Things.

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Thu Mar 22, 2018 11:26 pm
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Billy Mitchell didn't take it well when Steve Wiebe beat his Donkey Kong record.

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Thu Mar 22, 2018 11:59 pm
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BL wrote:
This Things II? That's a sequel to a completely different Things.

Hm. Another example of blatant Canadian appropriation. I blame their weak IP lawyers.


Fri Mar 23, 2018 8:14 am
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Jinnistan wrote:
]I dunno, dude. I mean, Uninvited is one thing, but I see neither cats nor bikinis in this one.


It has Canadians in sweaters. It has sandwiches. What the fuck else do you expect? George Kennedy or something?


Fri Mar 23, 2018 11:38 am
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crumbsroom wrote:
George Kennedy or something?

This is exactly what I've been expecting. And bikinis. I mean, he's got to be a C-cup.


Fri Mar 23, 2018 12:38 pm
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Jinnistan wrote:
This is exactly what I've been expecting. And bikinis. I mean, he's got to be a C-cup.


I just googled "george kennedy bikini" and got nothing. Just pictures of George Kennedy standing around in regular clothes. What the fuck?


Fri Mar 23, 2018 12:47 pm
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crumbsroom wrote:

I just googled "george kennedy bikini" and got nothing. Just pictures of George Kennedy standing around in regular clothes. What the fuck?

I just got a bunch of Ted Kennedy pictures :shifty:

Well known for his swimwear.


Fri Mar 23, 2018 12:57 pm
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George Kennedy Bikini.


Fri Mar 23, 2018 2:11 pm
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Maybe it's the angle, but George Kennedy looks like he has small hands in that picture.

Why couldn't we have elected him instead?


Fri Mar 23, 2018 2:13 pm
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I could never do better at explaining this movie.



As much as he tries, not even Max Landis can ruin this.


Sat Mar 24, 2018 12:28 pm
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crumbsroom wrote:
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I could never do better at explaining this movie.



As much as he tries, not even Max Landis can ruin this.
Forgive me if I'm forgetting a previous interaction on the topic, but is this your first encounter with Neil Breen?

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Sat Mar 24, 2018 12:32 pm
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BL wrote:
Forgive me if I'm forgetting a previous interaction on the topic, but is this your first encounter with Neil Breen?


I've seen Fateful Findings before, which I loved.

This one took a little more warming up to, but once warmed, I also loved.


Sat Mar 24, 2018 12:34 pm
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crumbsroom wrote:

I've seen Fateful Findings before, which I loved.

This one took a little more warming up to, but once warmed, I also loved.
Oooh...so you still have my favorite Neil Breen movie ahead of you: I Am Here....Now (note the extra dot in the ellipsis; that's crucial). I Am Here, etc. probably takes the most warming up to of all his movies, but I think it's the most rewarding when you consider just how insane it is. It starts with Breen establishing himself as Zombie Cyborg Jesus and proceeds to get weirder from there.

There is something lovable about Breen's ineptitude in his first three outings despite his pseudo-fascist leanings, but that quality really soured on me with his latest movie, Pass Thru, where he basically advocates a genocide of the "harmful people" in a speech delivered point blank to the camera.

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Sat Mar 24, 2018 12:52 pm
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BL wrote:
There is something lovable about Breen's ineptitude in his first three outings despite his pseudo-fascist leanings, but that quality really soured on me with his latest movie, Pass Thru, where he basically advocates a genocide of the "harmful people" in a speech delivered point blank to the camera.


This might explain why I began fantasizing about a Neil Breen directed biopic of the Trump presidency while watching it.


Sat Mar 24, 2018 1:11 pm
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crumbsroom wrote:

This might explain why I began fantasizing about a Neil Breen directed biopic of the Trump presidency while watching it.
Pass Thru is like Breen's audition to be Trump's Leni Riefenstahl. It somehow anticipated and advocated for Trump's whole policy of seeking the death penalty for drug trafficking.

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Sat Mar 24, 2018 1:14 pm
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But it's worth pointing out that I Am Here...........Now is weirdly progressive in its views on climate change. Neil Breen is not easily boxed in by our political labels, man.

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Sat Mar 24, 2018 1:17 pm
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It’s not entirely clear what HG Lewis was up to when he created Montag the Magnificent. Before Wizard of Gore, his villains were always uncomplicated beasts. We know what they want and what they have to do to get it. An authentic Egyptian Feast. The perfect shade of red. Vengeance for a resurrected South. Mutilated flesh is multipurpose and manages to serve may needs in Lewis’ universe. Simplicity is his essence. Unfurling a couple of sheep intestines is his cure all tonic to settle an unbalanced mind. Good thing then that he is always sure to bring a couple of spare carcasses to each of his movie shoots. It wouldn’t be good direction if he didn’t have something for his actors to play with after they have exhausted reciting all of their lines from the cue cards.

Initially, there is no reason to think that Montag will not maintain the tradition. Any lazy review of the film will be sure to outline his character as a magician who saws women in half, only for real!!! Can you even imagine? Well, of course you can. The film should nearly write itself, the only variable even worth wondering over being exactly what traditional magic tricks will be perverted by Lewis’ not terribly versatile imagination. There may even be the whiff of hope that he will remove a hat in order to pull a rabbit out from the brains of one of his victims. Or at least pull one out of somewhere it shouldn’t be. Rabbits improve everything.

The first appearance of Montag as he walks onto a stage, will immediately suggest to the audience that this is very much your standard Lewis villain. He’s got the look. An unpleasant, pockmarked, bad breath sheen. The director seems to have an uncanny eye for casting sort of guy you might find ahead of you in a line at the supermarket, giving the teenage cashier a hard time with some petty grievance. He recognizes the homicidal maniac inside of such a man, weaponizing the sort of personality who can make the world a worse place for everyone if his long expired coupons for Salisbury Steak TV Dinners are not validated.

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Stare into the eyes, deep into the hideous soul, of a man who does not care if he has too many items for his supermarket's Express line

Because of this, whether it be Montag, or Fuad Ramses, or Adam Sorge, the villains in Lewis’ films are hardly men who evoke feelings of danger in his audience. That is never really their purpose, no matter how many close ups we get of evil eyebrows waggling in Blood Feast. Instead, these men are better at eliciting pained discomfort. They are men who you simply wouldn’t want sitting next to you on a bus. They are the sort of men who can be battled with eye rolls and sighs of irritation if they try and start up an unwanted conversation with you waiting for an elevator. They are barely worth running away from, even as they begin to read out the ponderous monologues relating to their greatness that Lewis constantly fills their mouths with. And so with this absence of fear, it somehow manages to make the violence they inevitably commit less about the horror for the victims, and more about the pathetic ugliness of who they are. In short, they can be laughed at. Or rather, they should be laughed at.

But while Montag seems to check off many of the boxes expected of the standard murderous schmuck in an HG Lewis film, a couple of key elements seem to be missing. What does Montag really want? And, if we can determine this, exactly how is he attempting to achieve it? Both of these elements seem to be constantly contradicted and shrouded in some kind of mystery born of either incompetence or a deliberate, but clumsy, act of misdirection on the part of the director. Maybe a coin was supposed to eventually be pulled from the ear of his audience, but in the end, all he managed was the fluttering of magical hands and the confession that the quarter is still in his pants pocket. If we want it we can reach for it ourselves.

The confusion is born from no clear notion of exactly what Montag is doing to his victims once he brings them up onto the stage with him. As he uses a chainsaw to split one particular girl in half, and then take an uncomfortable amount of time fingering what spills out, we are shown shots of the audience as they watch the carnage, non-plussed and gazing stage bound as if they are watching a presentation for Sham-wows they have no intention of buying. There is a strange level of complacency they seem to be finding in what is happening in front of them. Then, muddying things further, intercut amongst the footage of this killing, will be shots of Montag performing in a more traditional way. No blood and guts, just going through the motions of a crappy magic trick with all the charm of a Trump appointee. Which version is true and which isn’t. Well, when all is said and done, and the woman leaves the stage in one piece the answer seems clear as Montag gives a bow to tepid applause. But it would be foolish to assume safety for the girl. It will only be once she has returned home that she will come apart, the evidence of a magic trick gone horribly wrong.

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On casual Fridays, Montag frees himself from the shackles of his magician's outfit, and does his killing in comfortable slacks.

Even though it is murky what has happened, clearly Montag is doing something nefarious here. He is clearly responsible. But what exactly has he done? Are the images of on stage mutilation nothing but the lurid fantasies inside of his head as he performs his mock acts of violence upon women? Are they so vivid to him that they imprint on his victims and they unknowingly carry them home with them, unsuspecting that the violent imagination of a magician is following them closely into their apartments. Or is it the wish fulfilment of the audience itself? To be sure, hoisting any deeper subtext on a HG Lewis film, or daring to accuse him of being meta in any capacity, is patently ridiculous. But it does seem that he wants his audience to question something that is happening here. He wants to leave them in a nether world of confusion. Toss in some mysterious dream-like scenes where Montag steals corpses and slides them through a small hidden door in a mortuary, and a supposed plan for him to get on television in order to make the hands of those watching begin dripping with blood, and things become even more impenetrable. It is obvious this son of a bitch is up to something, but Lewis is clearly keeping mum, probably because he isn’t really sure what it is either.

All of this, whether intentional or not, lends an air of mystery to this film. In refusing to acknowledge what in the film is real and what is imagined it becomes a shoddily produced dream that floats around the standard HG Lewis set pieces of mutilation. By the time it reaches its final scene, and the director just goes straight to the jugular of total absurdity, crafting a moment that causes the whole film to seemingly loop around on itself and start over again as if recoiling from any obligation to explain itself, Wizard of Gore has cemented itself as being the only film he ever made that seems worth trying to piece together after the fact. Even if this façade of worth or purpose is ultimately its biggest illusion of all.


Mon Mar 26, 2018 4:02 am
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crumbsroom wrote:
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Pretty scary, for Borat or somebody.

Just wait until Crispin Glover spills his creep sauce all over the role.

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Mon Mar 26, 2018 7:31 am
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Holy....

Crumbs, the remake also stars Jeffery Combs and Brad Dourif. And has an even worse IMDb score!


Mon Mar 26, 2018 7:35 am
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I feel like I need to get some Lewis movies under my belt just for their historical significance but I'll be danged if I can ever get myself in the mood to try one. Some day.

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Mon Mar 26, 2018 7:39 am
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Captain Terror wrote:
I feel like I need to get some Lewis movies under my belt just for their historical significance but I'll be danged if I can ever get myself in the mood to try one. Some day.

I have exactly the same condition.


Mon Mar 26, 2018 10:10 am
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This is a highly underrated film which feels more mysterious upon re-watches. Korine creates the surreal by bombarding our senses with cold reality and by infusing the repulsive with art. As shocking as it is fascinating, it seems to cross the line to such great of an extent that the viewer doesn't know whether to squirm or be awe-struck. Either way, however, you cannot help but be captivated by its unique and striking tone that you remain mesmerized from beginning to end.

10/10 - My 8th favorite film of all time.

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Mon Mar 26, 2018 11:16 am
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Wooley wrote:
I have exactly the same condition.

I've only seen Blood Feast and Two Thousand Maniacs! (exclamation marks is Lewis's, not mine). The latter is more competently executed, but the former is more memorable for its tenuous grasp of filmmaking and abundance of unintentional comedy, so it gets my vote.

Although Crumb is making me want to watch The Wizard of Gore now...

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Mon Mar 26, 2018 11:44 am
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I can only watch Gummo alone when I happen to have plenty of spare electrical tape.


Mon Mar 26, 2018 11:56 am
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Sometime in 1969, when Martin Scorsese was finishing up his Who's That Knocking at My Door? in Amsterdam, filming its non sequitur sex scene to satisfy his distributor, he came into contact with another director, Pim de la Parra, who then asked Scorsese to punch up his script for this vaguely Hitchcockian farce (titled Obsessions in English). We can all guess to what extent Scorsese's work made it to the screen (I'm guessing that references to John Wayne and Bogart are all his), but it's more flattering to assume as little as possible. The dialogue is pseudo-pulp and emulates some of the darker humor of Hitch, but this is poorly translated through Parra's stilted staging and, especially, the utterly softest fish of a leading man, Dieter Geissler (unsurprisingly, not a successful actor). I hope that the idea of the sedating agent used by the villain came from Scorsese - an injection of DMT - because, good god, what the fuck? Only Scorsese would find DMT to be a sedative. Only Scorsese would want to inject liquid DMT straight into the bloodstream. Suddenly, that Knocking sex scene starts to make a little more sense.

It's easy to see why Scorsese would be attracted to the material, at least. The film is a pastiche of classic Hitchcock tropes - the peephole of Psycho, the voyeurism on criminal neighbors of Rear Window - which is exactly the kind of pastiche that his buddy De Palma would soon perfect. Perhaps in De Palma's hands, this film could have been something, with his requisite humor and taut framing and frenzied pacing. This film has none of those things. It does have the standard every-other-page nudity and (most alarmingly!) a Bernard Herrmann score (which apparently consisted of some discarded sheets from the 30s that he dug up and handed off as a favor).

I was most curious to see if Scorsese had also managed an editing credit. Not that the majority of the film warrants the credit, but in a handful of brief isolated montages, the cutting seems similar to the late-era sections of Knocking, Bertha and Mean Streets, crude but sharp. Maybe Parra was simply influenced by Scorsese's style, at least in temporary bouts. Either way, it's hardly enough to salvage the rest of this mess. Purely for die-hard Scorsese enthusiasts (like myself) or the more terminally curious.


Tue Mar 27, 2018 10:35 am
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Why the fuck are all of the images I created myself for this thread disappearing? Are more image hosting sites pulling a Photobucket?


Sun Apr 15, 2018 7:31 am
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crumbsroom wrote:
Why the fuck are all of the images I created myself for this thread disappearing? Are more image hosting sites pulling a Photobucket?

Were all of your images from "postimg.com"? Rump also had this problem, but I don't know which site he was using. If so, I'd check with them. They may be down or have changed their hyperlink policy.


Sun Apr 15, 2018 8:17 am
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Jinnistan wrote:
Were all of your images from "postimg.com"? Rump also had this problem, but I don't know which site he was using. If so, I'd check with them. They may be down or have changed their hyperlink policy.


Yup. I think this happened once before at RT, so I'm just going to ride it out for now and hope they reappear.


Sun Apr 15, 2018 8:22 am
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crumbsroom wrote:

Yup. I think this happened once before at RT, so I'm just going to ride it out for now and hope they reappear.

I'm just going to use Imgur for now on.

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Sun Apr 15, 2018 8:45 am
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crumbsroom wrote:

Yup. I think this happened once before at RT, so I'm just going to ride it out for now and hope they reappear.


They apparently have changed their address, and so all old images can no longer be accessed through their new site. So I guess I have to go through every image and fix them separately to update to the new address? Ugh, fuck that.

EDIT: Oh, it's super easy to do. No worries.


Sun Apr 15, 2018 8:46 am
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crumbsroom wrote:
No worries.


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THE END


Sun Apr 15, 2018 9:19 am
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Jinnistan wrote:

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THE END


This image should from here on in be the universal symbol for triumph over adversity.


Sun Apr 15, 2018 11:12 am
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If you want to see a movie where lions sneak into houses through chimneys, and Tom Skerritt never shows his fear in the face of adversity, this movie has everything you're looking for.


Wed Apr 25, 2018 12:13 pm
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Sounds like Alien with lions and chimneys (the only two things Alien was missing, sadly). Do any of the lions explode out of John Hurt's chest?

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Wed Apr 25, 2018 12:16 pm
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Rock wrote:
Do any of the lions explode out of John Hurt's chest?


If them climbing down chimneys isn't enough for you, you're out of luck.


Wed Apr 25, 2018 12:22 pm
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The poster seemed to have gotten bigger after I made that post, so the Alien parallels only strengthen.

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Wed Apr 25, 2018 12:27 pm
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I hope one of those lions turns into Dennis Hopper and starts talking about his childhood in Kansas.


Wed Apr 25, 2018 12:35 pm
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Have you ever seen this one crumbs? Mexican, and a little rapey. It has some Dennis Hopper wanna be playing an executed pervert who travels on a comet from 1661 to 1961 so hee can enjoy little secret bites of a brain casserole before sucking the brains of his inquisitors descendents (only one each, conveniently, after 300 years) out the back of their necks.

I don't know how to categorize it. I'm going to call it a circumcision allegory.

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Fri Apr 27, 2018 11:45 am
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Jinnistan wrote:
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Have you ever seen this one crumbs? Mexican, and a little rapey. It has some Dennis Hopper wanna be playing an executed pervert who travels on a comet from 1661 to 1961 so hee can enjoy little secret bites of a brain casserole before sucking the brains of his inquisitors descendents (only one each, conveniently, after 300 years) out the back of their necks.

I don't know how to categorize it. I'm going to call it a circumcision allegory.

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Yes, I'm a fan. Pretty sure I tried to force feed this one upon people in RT many moons ago, probably by insisting it was a must see, but claiming I was too drunk to explain why. Mexico has a serious amount of creepy/weird/uncategorizable movies from that period that have virtually zero cult status, and it is a shame. This is one of the weirder ones.


Fri Apr 27, 2018 12:03 pm
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MUSIC, SEX, VIOLENCE AND THE BENEFITS OF MAYBE NOT LOOKING AWAY


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Movie: The Fan
Director: Eckhart Schmidt
What's Worth Talking About: The dangers of listening to music made by German New-Wave dorks


Der Fan is about an unwavering gaze. Highschool student Simone stares fixedly towards a future where she and her favourite pop star are finally allowed to be together. The audience stares only at Simone. We will watch the daily rituals of her tiny life of day dreaming, listening to her Walkman and mailing fan letters that she is convinced are being intercepted by a conspiracy of jealous secretaries determined to keep her apart from her fated love. The camera coolly stalks her from frame to frame as she moves through the city, unaware of the world happening around her, rarely speaking, leaving the constant voice over she narrates as the only indication of what is going on behind her unmoving Sphinx like expression. But even with this window into what is happening inside of her, all there is to be found will be her monomaniacal recitations of what she has written to this pop star who may or may not even be reading. There is nothing to her beyond her obsession. There would be no reason for her to exist in a material form at all if not for her need to gaze at the posters on her wall or decipher lyrics in hopes of finding secret messages to her.

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The fixed gaze as applied to self inspection concludes that it is sometimes best not to look at oneself too closely.

Also frozen by their staring are all of the older men on the street as Simone passes them by. She seems oblivious to what it is they want from her, entirely disinterested in their plays for her attention. But there is also the very real possibility that her detached attitude is all a front. Maybe she is all too aware of what they want as one strange man after another lingers a little too long inside of the camera frame, always just behind her, following her from street to street. Maybe it is specifically because of them that she is retreating inside of herself and finding a safe space to hide in this obsession of hers, a place where she is not the one being preyed upon. And who could blame her? The entire front end of the film is filled with men in cars who offer her unwanted rides, leer at her, linger on street corners and stare, licking their lips. There is a sedated and unspoken sense of unease in every early scene of Der Fan, and it is only partly due to the unhealthy obsession of Simone. Much credit needs to go to the obsessions of unknown men who haunt the afternoons and nights of the city she lives in.

When she finally decides to make her break, leave the city, leave her parents and find R (the mysteriously abbreviated and pretentious nom de plume her pop star affliction goes by) there is a sense that the sexual violence that has been lurking beneath the veneer of the film is beginning to boil up and out of the pores of the lecherous men that want her. It becomes particularly evident in a scene where she is hitching a ride with a sweat greased fat man. As he turns to ask her bluntly what she thinks about sex, we will watch as her permanent cool suddenly dissipates in an instant. One moment lounging casually on her elbow in the backseat as if posing for a Modigliani, she will visibly recoil at just the sound of the word, sex, as if it is the first moment that such a notion has manifested in her life.

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Unimpressed with the dangers of hitchhiking, Simone reclines in the backseat with a casual indifference towards the lumpy menace sitting up front

With a single sentence the illusion of safety has been rubbed from her eyes and all of the sexual turbulence she has fearlessly navigated up to this point, seems to dash her confidence against the rocks. It is also the moment where there is the realization that as composed as this girl has been up to this point, she is truly little more than a child, regardless of all of the sexual attention she has been expertly batting away. By the next scene the driver of the car will be climbing into the backseat to pester her, and after narrowly escaping, she will continue her odyssey towards the television studio where R is expected to be performing. Haunting the perimeter of the building, she stands watching and waiting as indecipherable as ever, but it is not hard to assume memories of the danger she faced in that car still cling closely to her as she nears the moment when she finally will meet her obsession.

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Staring blankly at eachother in close proximity as if looking for blackheads to squeeze, Der Fan knows how to crank up the sexual tension

R will ultimately turn out to be a rock and roll robot, much in the lines of a Gary Numan or member of Kraftwerk, nearly without any identity of his own beyond his programming to bed as many of his fans as possible. Once he takes Simone under his wing, there is an inevitable predictability of the downward arc this will lead everyone involved on. We already know that Simone is an unstable presence and that R will inevitably do something to provoke the retaliatory sexual violence that lays in wait inside of her. But the manner in which it will all be presented, with its truly discomforting use of nudity and a clinical, detached, nearly Fassbinderian stylistic approach towards the inevitability of oppressive violence within human relationships, is what manages to become the agent that will unsettle the audience more than the grisly details.

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Don't worry about the knife, or the blood lust, the real danger here is the oppressive German ennui. Your life is meaningless and so are your hopeless, empty obsessions.

Director Eckhart Schmidt will create a compellingly dissonant feel in this film, blending the slick new wave polish of 80’s pop music with the cold and ponderously observant styles of other German films such as Angst or the aforementioned early movies of RW Fassbinder. He is interested in detailing the dreary and neverending Sunday afternoonness of his characters life against the dreamy yet empty Top Pop sparkle of what Simone is washing into her ears through her headphones. And like his characters, and his audience, Schmidt himself seems resolute in keeping his gaze fixed upon his obsession, this character he has created named Simone, never daring to turn away even as what she is reduced to becomes almost unwatchable spectacle. All of this will amount to a real surprise in the world of ‘extreme’ filmmaking (of which it isn’t really all that extreme, just really really uncomfortable). Schmidt turns what could be mindless sexual exploitation into a thoughtful, solidly made, sadly beautiful, completely horrifying descent into the despair of clinging onto ones adolescent obsessions even as the tide of the adult world is beginning to rise high enough to drown.


Sun Apr 29, 2018 5:38 am
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crumbsroom wrote:
Schmidt turns what could be mindless sexual exploitation into a thoughtful, solidly made, sadly beautiful, completely horrifying descent into the despair of clinging onto ones adolescent obsessions even as the tide of the adult world is beginning to rise high enough to drown.
Sold!

Bandy Greensacks wrote:
Have you seen Lopushansky's Visitor of a Museum? Ugly Swans is very good, but Visitor is on another level.
And I have to second Bandy, here. All the Lopushansky is good, but Visitor of a Museum is amazing.

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The Red Snowball Tree ▪ Sheer Madness ▪ Women in Love ▪ The Witches ▪ The Legend of Hell House ▪ The Little Girl Who Lives Down the Lane ▪ Seven Blood-Stained Orchids ▪ The Addiction ▪ Creepy

Voyage | Female Gaze | MACBETH | Sokurov | Fassbinder | Greenaway | Denis | Sono | my bookshelf


Sun Apr 29, 2018 9:57 am
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Shieldmaiden wrote:
And I have to second Bandy, here. All the Lopushansky is good, but Visitor of a Museum is amazing.


The only other films of his I've seen is Dead Man's Letters. I didn't like that one nearly as much as these other two, but being that it was the first movie of his I watched, it says something that it still made me track more of his work down.

That said, in regards to Russian sci-fi, has anyone else at all seen Ikarie XB-1? I mentioned it upthread, as I repeatedly used to do at RT, and I still have no idea what anyone else's opinion of it is. I think it is incredible, but I am also known to oversell an awful lot of shit in my threads, so I was just curious if my enthusiasm is as misplaced as usual.


Sun Apr 29, 2018 10:17 am
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crumbsroom wrote:
That said, in regards to Russian sci-fi, has anyone else at all seen Ikarie XB-1? I mentioned it upthread, as I repeatedly used to do at RT, and I still have no idea what anyone else's opinion of it is. I think it is incredible, but I am also known to oversell an awful lot of shit in my threads, so I was just curious if my enthusiasm is as misplaced as usual.
I haven't, but I'll try to get a hold of it.

_________________
The Red Snowball Tree ▪ Sheer Madness ▪ Women in Love ▪ The Witches ▪ The Legend of Hell House ▪ The Little Girl Who Lives Down the Lane ▪ Seven Blood-Stained Orchids ▪ The Addiction ▪ Creepy

Voyage | Female Gaze | MACBETH | Sokurov | Fassbinder | Greenaway | Denis | Sono | my bookshelf


Sun Apr 29, 2018 11:02 am
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We need more links of this Soviet stuff. I don't know where to start.




Sun Apr 29, 2018 11:05 am
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