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 Watching Movies Alone with crumbsroom 
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crumbsroom wrote:
It does have Burt Young phoning his performance in with a bunch of cigar chewing, but that is about all it offers.

That does not sound like an endorsement. Burt Young was bad enough to ruin a Sam Peckinpah movie with ninjas. (Ninjas!) It seems he's only good when playing an alcoholic asshole. Like in Rocky. Or that scene in Rocky III when he throws a liquor bottle at a Rocky-themed pinball machine.

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Thu Jun 14, 2018 11:19 am
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Rock wrote:
That does not sound like an endorsement. Burt Young was bad enough to ruin a Sam Peckinpah movie with ninjas. (Ninjas!) It seems he's only good when playing an alcoholic asshole. Like in Rocky. Or that scene in Rocky III when he throws a liquor bottle at a Rocky-themed pinball machine.


Burt Young has a lot of phoned in performances in his career, but I always like him, even when he clearly doesn't care. Or is just rehashing his Pauly character (which is one of my favourite supporting performances ever, BTW, so I'll even take third rate Pauly). But I also was very clearly not using this as an endorsement. I want it known that nothing should endorse Blood Beach.


Thu Jun 14, 2018 11:26 am
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*throws bottle at Blood Beach poster*

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Thu Jun 14, 2018 11:33 am
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Rock wrote:
You've seen Hi, Mom! I'm guessing? That's prime early Dinero.

Yes, I have. It's like DePalma's Hitchcock homages, but turned into a soft-porn comedy instead.

And although I watched it many years ago, I also added The Wedding Party to my watchlist on Prime. After seeing the DePalma documentary last year, I was curious to see if it might be better than I remembered.


Thu Jun 14, 2018 11:38 am
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I don't think Hollywood Cop would break my top 3 Shervan flicks. You disappoint me. Nothing touches Samurai Cop.


Fri Jun 15, 2018 1:19 pm
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ThatDarnMKS wrote:
I don't think Hollywood Cop would break my top 3 Shervan flicks. You disappoint me. Nothing touches Samurai Cop.


Wrong

And stop classing the place up with all your Samurai Cop talk.


Fri Jun 15, 2018 1:50 pm
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crumbsroom wrote:

Wrong.

Yeah, pal. Well I say you're wrong!


Fri Jun 15, 2018 1:59 pm
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ThatDarnMKS wrote:
Yeah, pal. Well I say you're wrong!


Janson doesn't like Howling 2. Wooley doesn't like Rocky IV. You don't like Hollywood Cop. You just can't help some people.


Sat Jun 16, 2018 9:39 am
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crumbsroom wrote:
Hollywood Cop.
And here I was just noting the prevalence of Cameron Mitchell movies in the Recently Seen thread. Turns out its forum-wide.

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Sat Jun 16, 2018 9:48 am
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crumbsroom wrote:

Janson doesn't like Howling 2.

Given my love for Sybil Danning and werewolf orgies, this is a damning indictment for how badly they dropped the ball.

Anyway, I still own a copy.


Sat Jun 16, 2018 10:40 am
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BL wrote:
And here I was just noting the prevalence of Cameron Mitchell movies in the Recently Seen thread. Turns out its forum-wide.

Let's all just Ride in the Whirlwind.


Sat Jun 16, 2018 10:41 am
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crumbsroom wrote:

Janson doesn't like Howling 2. Wooley doesn't like Rocky IV. You don't like Hollywood Cop. You just can't help some people.

Whoa, now. I didn't say I didn't like Hollywood Cop. It's great. It's just perhaps my least favorite Shervan, who has eclipsed Neil Breen as my favorite schlock auteur, and I can't believe someone prefers it to Samurai Cop, which is clearly the magnum opus his entire career was building towards. It's his Inland Empire or Tree Of Life.


Sat Jun 16, 2018 1:46 pm
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ThatDarnMKS wrote:
Whoa, now. I didn't say I didn't like Hollywood Cop. It's great. It's just perhaps my least favorite Shervan, who has eclipsed Neil Breen as my favorite schlock auteur, and I can't believe someone prefers it to Samurai Cop, which is clearly the magnum opus his entire career was building towards. It's his Inland Empire or Tree Of Life.


But worse than Killing American Style...

Also Badlands>Tree of Life, Days of Heaven>Tree of Life. Sometimes artists are at their best directly out of the gate, and they need not build towards anything. They are already there. Phooey to Magnum Opus' (unless they are Inland Empire)

Hollywood Cop > Tree of Life


Sat Jun 16, 2018 9:58 pm
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Jinnistan wrote:
Given my love for Sybil Danning and werewolf orgies, this is a damning indictment for how badly they dropped the ball.

Anyway, I still own a copy.


Having rewatched it last night, quickly passing out drunk half way through, I can still unequivocally say that you remain wrong.

Apparently Sybil Danning covered in werewolf peach fuzz isn't enough for everyone.


Sat Jun 16, 2018 10:00 pm
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Rock wrote:
That does not sound like an endorsement. Burt Young was bad enough to ruin a Sam Peckinpah movie with ninjas. (Ninjas!) It seems he's only good when playing an alcoholic asshole. Like in Rocky. Or that scene in Rocky III when he throws a liquor bottle at a Rocky-themed pinball machine.

I thought he was good as Bed-bug Eddie in The Pope Of Greenwich Village.


Sun Jun 17, 2018 12:06 am
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Jinnistan wrote:
Given my love for Sybil Danning and werewolf orgies, this is a damning indictment for how badly they dropped the ball.

Anyway, I still own a copy.

Ya know, I've never seen it, and I like both werewolf-orgies and Sybil Danning. Should I give it a spin?


Sun Jun 17, 2018 12:09 am
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Wooley wrote:
Ya know, I've never seen it, and I like both werewolf-orgies and Sybil Danning. Should I give it a spin?


It's a weird movie in that it is stuffed with garish, over the top moments, but they are all filmed and edited together in such a stagnant way the movie seems inert. There is no suspense to be found, no rooting for any of the stock characters, no real engagement with the stakes of the plot. So if one can stick through the pointless wandering of the two main characters through the streets of Prague, and not worry about the fact that you couldn't give a fuck where the story is going, it is fun for the fact that it is still a consistently absurd movie filled with lots of werewolf orgies. Because werewolves loving to fuck in large groups will be the one take away from the film. Also, fans of wipe edits should congregate here, because the director loooves to show off all the different shapes he knows when transitioning from one shot to the next. Squares! Rectangles! Triangles! Circles! An entire lesson in geometry constantly sweeping us from one place to the next. One minute we are sitting inside of the hotel then *star wipe* we will be standing just outside of the hotel. Movie magic I tell you.


Sun Jun 17, 2018 1:11 am
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crumbsroom wrote:

But worse than Killing American Style...

Also Badlands>Tree of Life, Days of Heaven>Tree of Life. Sometimes artists are at their best directly out of the gate, and they need not build towards anything. They are already there. Phooey to Magnum Opus' (unless they are Inland Empire)

Hollywood Cop > Tree of Life


Hollywood Cop barely had Robert Z'Dar in it. Killing American Style is almost entirely about Robert Z'Dar and has a slick back, pony tailed, pink overall wearing "I only listen to Vanilla Ice" protagonist. It has a scene where a little boy says "hello sexy auntie" to what is presumably his actual aunt while she's in a bikini.

KAS>HC

Samurai Cop>All

Also, with all this Sybil Scanning talk, I recently watched Red Queen Kills Seven Times and enjoyed it. She has a very good interview on the Arrow Blu and it was funny hearing her read depth into a character that was probably described simply as a gorgeous man-eater. She still looked very good for her age too and seemed like a cool person. Interesting life, moving all around the world, modelling and being in various schlock flicks.


Sun Jun 17, 2018 2:38 am
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BL wrote:
And here I was just noting the prevalence of Cameron Mitchell movies in the Recently Seen thread. Turns out its forum-wide.


I am also beginning to see an outbreak of Reb Brown. It appears there are multiple contagions on hand here.


Sun Jun 17, 2018 3:21 am
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crumbsroom wrote:

It's a weird movie in that it is stuffed with garish, over the top moments, but they are all filmed and edited together in such a stagnant way the movie seems inert. There is no suspense to be found, no rooting for any of the stock characters, no real engagement with the stakes of the plot. So if one can stick through the pointless wandering of the two main characters through the streets of Prague, and not worry about the fact that you couldn't give a fuck where the story is going, it is fun for the fact that it is still a consistently absurd movie filled with lots of werewolf orgies. Because werewolves loving to fuck in large groups will be the one take away from the film. Also, fans of wipe edits should congregate here, because the director loooves to show off all the different shapes he knows when transitioning from one shot to the next. Squares! Rectangles! Triangles! Circles! An entire lesson in geometry constantly sweeping us from one place to the next. One minute we are sitting inside of the hotel then *star wipe* we will be standing just outside of the hotel. Movie magic I tell you.

Sold.

Edit: Never mind, it is not streaming on iTunes, Netflix, Amazon, or Shudder.


Sun Jun 17, 2018 3:48 am
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Much like Polanski found terror in the mundane details of domestic life in Rosemary's Baby, Killing of a Sacred Deer is very much a horror film, even if it seems to function more as a tense and surreal drama

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Behold! the horror of spaghetti eating.


Sun Jun 17, 2018 6:16 am
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Behold! Yorgos!


Sun Jun 17, 2018 8:47 am
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I want that kid to play Joel Edgerton's son in something. They can eat spaghetti exactly alike. How everyone eats spaghetti.


Sun Jun 17, 2018 9:16 am
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ThatDarnMKS wrote:
How everyone eats spaghetti.
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Sun Jun 17, 2018 9:27 am
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Sun Jun 17, 2018 2:04 pm
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Sun Jun 17, 2018 4:06 pm
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Come on, people. If we are talking spaghetti...

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Mon Jun 18, 2018 1:07 am
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This embiggins the heart.


Mon Jun 18, 2018 5:05 am
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Maybe the thread needs more wine.

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Wed Jun 20, 2018 4:42 am
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crumbsroom wrote:

I am also beginning to see an outbreak of Reb Brown. It appears there are multiple contagions on hand here.

I did just watch Yor: the Hunter from the Future. It was pretty dang entertaining.


Wed Jun 20, 2018 9:08 am
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All of this forum love for Starcrash and Yor has me feeling much better about my wasted childhood afternoons.


Thu Jun 21, 2018 12:44 pm
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Watching this, you can just tell Norris Culf was going to go places

Robot Holocaust is the all you can eat buffet of Norris Culf movies.


Thu Jun 21, 2018 12:49 pm
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I haven't seen that one, but as far as its genre is concerned, I assume it ranks somewhere between Zombie Holocaust and Schindler's List.

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Thu Jun 21, 2018 12:55 pm
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Rock wrote:
I haven't seen that one, but as far as its genre is concerned, I assume it ranks somewhere between Zombie Holocaust and Schindler's List.


Neither of those have Norris Culf in them. Does not compute.


Thu Jun 21, 2018 1:07 pm
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Jinnistan wrote:
All of this forum love for Starcrash and Yor has me feeling much better about my wasted childhood afternoons.


I've never had any reason to feel bad about my wasted childhood afternoons. But I've also had no reason to feel bad for my wasted adult afternoons. So what do I know?


Thu Jun 21, 2018 1:14 pm
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ThatDarnMKS wrote:
I did just watch Yor: the Hunter from the Future. It was pretty dang entertaining.

Not Reb Brown, but try The Sword and the Sorcerer.


Thu Jun 21, 2018 1:15 pm
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Wooley wrote:
Not Reb Brown, but try The Sword and the Sorcerer.

Reb Brown IS in it. It's been on my mind for some time as it's directed by Albert Pyun, a favorite bad director of mine.


Thu Jun 21, 2018 1:22 pm
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ThatDarnMKS wrote:
Reb Brown IS in it. It's been on my mind for some time as it's directed by Albert Pyun, a favorite bad director of mine.

Well, I'll be damned, so he is.
My memory of this movie is most fond, but it sure has been a long time.


Thu Jun 21, 2018 7:54 pm
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Any day now, someone''s going to gush over Hawk The Slayer, and that's when I'll feel fully vindicated. Better than Krull!!!


Fri Jun 22, 2018 11:28 am
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How do those compare to The Beastmaster?

Cuz I got The Beastmaster on tap for the weekend.

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Fri Jun 22, 2018 12:01 pm
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Rock wrote:
Cuz I got The Beastmaster on tap for the weekend.

Patience is the key. Beastmaster now, later for the gravy.


Fri Jun 22, 2018 12:08 pm
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Rock wrote:
How do those compare to The Beastmaster?

Cuz I got The Beastmaster on tap for the weekend.

I feel like The Beastmaster is a cut above. Coscarelli really tries to do something with that budget, and the film has real imagination.


Fri Jun 22, 2018 12:45 pm
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I was briefly tempted to rewatch Galaxy of Terror. Of course it's all of you's fault.


Sun Jun 24, 2018 9:57 am
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Jinnistan wrote:
I was briefly tempted to rewatch Galaxy of Terror. Of course it's all of you's fault.


I just watched the trailer, and I am okay at being faulted with a rewatch of that.


Sun Jun 24, 2018 10:00 am
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Not quite "literature" enough for that thread, but literature-adjacent, and since I think I mentioned the film somewhere upthread: I picked up the non-fiction The Candymen, which tells the tale of the book Candy and its writers Terry Southern and Mason Hoffenberg. Pretty much right in my wheelhouse of the counterculture, sexual revolution and censorship battles of the day. Olympia Press was also legally responsible for publishing Lolita, Naked Lunch, The Rosy Crucifixion and previously banned books like 120 Days of Sodom and Lady Chatterly's Lover, and this book spends ample time covering these controversies and court cases. Between the two writers, they knew just about everyone bridging the Beats to the Stones, and folks like Kubrick, Lenny Bruce, Dylan, Brando, WSB, Warhol, George Plimpton, James Baldwin, Richard Manuel and Michael O'Donaghue all make an appearance. I was unaware that the woman making out with Southern on the cover of his Red Dirt Marijuana book was Jane Fonda, but there you go.

Anyway, they all hated the movie.


Sun Jun 24, 2018 10:32 am
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Jinnistan wrote:
I was briefly tempted to rewatch Galaxy of Terror. Of course it's all of you's fault.

I have not seen this. I can't smoke weed again until July 4th (self-imposed sobriety period) but maybe that weekend, after Ant-Man and The Wasp, I'll get nice and stoned and watch Galaxy of Terror.


Sun Jun 24, 2018 10:36 am
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Wooley wrote:
I feel like The Beastmaster is a cut above. Coscarelli really tries to do something with that budget, and the film has real imagination.

Yeah, I enjoyed this one for those reasons. In Phantasm I'd found some of the low horror touches distracting (as that movie's best parts were more subtle form of horror that got into your subconscious), but that kind of sensibility translates quite well to a high fantasy setting. And while it mostly feels smaller than an A-movie like Conan the Barbarian, I think some of the imagery (particularly the raging fire during the climax) helps compensate.

Also, I felt a little sad when the one ferret sacrificed itself, so I suppose the movie did its job.

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Sun Jun 24, 2018 1:34 pm
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Rock wrote:
Yeah, I enjoyed this one for those reasons. In Phantasm I'd found some of the low horror touches distracting (as that movie's best parts were more subtle form of horror that got into your subconscious), but that kind of sensibility translates quite well to a high fantasy setting. And while it mostly feels smaller than an A-movie like Conan the Barbarian, I think some of the imagery (particularly the raging fire during the climax) helps compensate.

Also, I felt a little sad when the one ferret sacrificed itself, so I suppose the movie did its job.

Me too, man, that was a bummer.


Mon Jun 25, 2018 12:43 am
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Spoilers ahead, even though where this movie is ultimately leading should be pretty obvious going in.

THE BALDING OF OLIVER REED: A COMPREHENSIVE DETWIRLING OF A MOST SUSPICIOUS MOUSTACHE


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MOVIE: The Devils
DIRECTOR: Ken Russell
SOMETHING I LIKE: A no-nonsense approach in condemning its entire audience to Hell

As the temperature of sin and plague begins to rise within the town of Loudon, it is hard not to notice the white brick walls that fortify the city rising above it all, an unnervingly blank canvas waiting to be smeared. Like Chekov’s gun there are expectations by the third act something must explode upon their pristine quality. Surely it won’t be hard to find something rupturing within such a famously X-Rated film. With all of the fever blisters beginning to run, bodies burning in the streets, enemas spitting back and the increasing danger of whirling dervish nun taint reaching maximum crucifix thrust, stains should surely be a coming. But the immaculate quality of these walls will somehow remain intact through much of the films messiest moments. They stare unflinchingly back at the desecration that pantomimes in front of them. In a film steeped in religious sermonizing about the frailty of man and the temptations of Satan, they will serve as a reference point as to how far we have fallen, and how dirty we have become in the process.

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Coming home to find Loudon just as austere as he left it, Father Mignon could hardly fathom what his nuns got up to while he was out of town.


It will be upon this stage conveniently barren of nearly everything but the clutter of sin, lust, death and deformity, that director Ken Russell will find himself delightfully well positioned to provoke his audience. Granting them as little space as possible to look away, church desecrations and tangles of naked limbs will be presented as both scenery and much of the plot for those watching, whether or not they asked. With nothing but the theater stub in their pocket to prove any sort of consent, Russell proceeds without restraint, and those in the audience will have little choice but to watch as every grimy crevice of the human body is exposed for contemplation. And for those poor souls in the front row, maybe they can only hope to find distraction by counting the sweating pores upon each and every buttcrack pushed into frame, since clusters of pores are a much better alternative to dwell upon than other things.

At first glance, being so explicitly offensive initially seems to be a particularly counter intuitive approach for the director to take here though. The Devils is, after all, primarily a movie dealing with the misidentification of who the titular Devils truly are. It is important to remember they should not be confused with the sinners themselves, even if the stark emptiness of the sets can’t help but exaggerate the misbehavior of cock wielding priests, crookbacked nuns and Christ humpers, all the while drawing as much attention towards the vileness of the human body as the Black Death Ghouls of Loudon wither and blister away. All of these wretched creatures should be considered as nothing more than convenient distractions when it comes to determining who our fear and scorn should be directed towards, but when Russel is spending so much energy amping his audience up into a moral outrage, he seems to be inviting the same misidentification by the audience as we will soon witness those in Loudon adopt against their neighbors.

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When nuns attack, do not play dead in hopes of surviving the ordeal. You can't even imagine what they've just done to the body of Christ


In Russell’s defense, it is not as if he isn’t up front early on who he believes his films villains are. He will identify two particular characters quite literally as “The Devils” as the title of the film comes on screen. It will appear over their faces, almost as if branding them with the red hot scarlet of its letters. If this isn’t too on the nose for you, take note of the ominous music that swells as they begin to grin out at the audience. It is almost as if they are amused at how quickly so many watching will quickly forget about their sinister ways as soon as Russell ushers in his parade of horny priests and nuns. The specter of sexual appetite and nudity (who even really needs the blasphemy part) has always been more than sufficient camouflage for those willing to duck behind it to do their dirty deeds.

Who these devils actually are, as one having any sense of history should know, are the men in power who have positioned themselves to be the beneficiaries of sin. These will be King Louis XIII, who we will first meet on stage re-enacting the Birth of Venus via ballet, wearing what might as well be a coconut bra. Then there will be a curmudgeonly Cardinal Richeleau, who can only yawn at the succession of royal plies he is being subjected to in the audience. These ridiculous men are the church and the state, on the cusp of consolidating power, about to bring the hammer of justice down upon its populace. But as fond of torturing witches as they may appear to be, they are hardly here to eradicate sin as much as instigate it. They will become its conductor, and with a town so seemingly under command of their batons, they make easy work winding up the small rumbling of hubris and petty jealousy found inside of Loudon, into a squall of preposterous Satan worship in immediate need of exorcist intervention. They divide the populace against eachother, make them rally against their own best interest to prove their virtue, even if this virtue is composed of little more than ignorance, revenge and self disgust. Unsurprisingly, these will be the same virtues held by those who eventually would cry for the films banning and hopeful destruction. One can only imagine a solidarity forming between those characters cheering for the burning of Urbain Grandier (the accused priest who stands in the way of the States plans to tear down the protective fortifications of Loudon), and those in the audience who similarly would like to see this work of Russell’s give him some company upon the pyre.

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Watching Louis XIII's performance of My Beautiful Bikini, hardly impresses those who fancy themselves as being much prettier than the King. One particular member of the audience couldn't agree more.


Casting Oliver Reed as the tragic figure of Grandier, almost feels as yet another tactic for Russell to keep sympathy on hold for the character. At least until it is too late and our empathy is muted by the sounds of his shins cracking. Placing the likes of Laurence Olivier or Alec Guinness in place of Reed, and you would then have a character whose dignity would be ground in a civility that an audience might feel inclined to protect from being chipped away at by the State. But Reed’s bluster is something else entirely. He is the drunk sitting at the end of the bar boasting of past conquests, daring anyone to look at him wrong and risk the wrath of those knuckly hams he’s got swinging at the end of his arms. You might even be tempted to take a swat at him yourself. But even when it becomes a little more clear that his character is operating from a moral place, regardless of all the obvious moral failings he displays over the course of the film, it still may not be enough to help him. There is such a feral arrogance to the man, a baked in hardness to how he looks at everyone who surrounds him, that it becomes easy for those so inclined to disregard what his noble intentions are, and instead focus on his bar brawler physique and face slippery with liquor sweats. He is not appetizing as a hero. Instead he should be waiting for us outside of the pub to punch us in the stomach.

He is not an easy character to quickly box into ‘good’ or ‘evil’ though. There is an initial fuzziness to his morality. His sins of pride and lust loom just as large in his personality as his need for his sinning ways to be humbled beneath the eye of an almighty God . In early scenes, it very nearly seems that he is meant to be viewed as being cut from the same villainous cloth as the King and the Bishop of France. Scene after scene deepens his general unlikability. There is a violence to his sermonizing as he looks down upon his parishioners. When he wanders the streets of Loudon, it is framed as a devilishly lustful pilgrimage as nuns pile themselves into human pyramids to get a better look at his holy physique. He will walk in circles around those listening to his philosophical rants demonizing those who fraudulently look for penance from god, as if he’s trying to dizzy them into agreement. And most callously, he will take advantage of women who are in his tutelage, and then discard them when they confess they have become pregnant by him. While possessing a feral magnetism, it seems he works it only to his advantage. He does not appear to be a good man. It would be understandable if those watching may even consider him a bad man.

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Climbing over eachother to get a glimpse of Father Grandier, nuns not only prove that they can't resist a Bad Boy, but arouse suspicions that their favourite Backstreet Boy would have been A.J.


But unlike the King or the Bishop, as flawed a human as he may be, it is important to note that Grandier’s sins will always be earthly in nature. He is ultimately a man of the people. He is a human. His feet touch the same ground that the peasants walk upon, while the King spends his time pirouetting on stages and the Bishop has himself carted around in some sort of wheelchair contraption which keeps him always elevated at least a few inches from ever having to make contact with the earth below. These two will escape the world of God’s law unscathed, while Grandier seems to understand that a certain toll will ultimately be paid for the inescapabilty of his common sins. He fucks, he flaunts, he fights. And ultimately he will burn.

Which is where the great horror of The Devil’s lurks. Grandier is a sinner, but so are all of us. His misbehavior, which it would be easy for any to condemn him for, should be his binding agent to us. Sadly though, we will only discover his flawed heroism when it is too late and he is contemplating the inevitability of his torture and death. His insecurities regarding this are when it becomes clear he is one of us. He worries he will turn his back on his God in these final moments. That he isn’t strong enough. That he is frightened of how much it will hurt. These are moments of frailty that are viscerally relatable. And as the breaking of bones, and branding of skin and cutting of tongues begins, he will scream from the horror of this physical pain, just like we imagine we would as well.

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As Father Grandier becomes weary over the prospect of imminent torture, a chorus of nuns off screen plead for them not to harm his moustache.


But unlike us, it may turn out that Grandier is a greater man than us all, no matter how poorly we may have first thought of him. Ultimately, he will not bend to the will of the state no matter what they do to him, and as he is strapped to the stake and set alight so that the skin begins to bubble from his head, he will remain unflinching in his ideals, while we the viewer can only look away. It is too difficult for us to even absorb the penance of his sins second hand. And as for these sins of ours, they are only now coming home to roost. For those foolish enough to allow the spectacle created by the church and state to distract and divide us from eachother, the reward will be to watch those beautiful white walls of Loudon come tumbling down, and the charred landscape that has been hidden from our vision comeS into view. This desolate, smouldering world is what has been left for us.

And so it will be as the flames rise around the priest, those celebrating his death in the streets seem not to understand that it is them being burned as well. We will see the final moments of Grandier’s life from his point of view, looking out at the revelers, flames lashing up at their laughing and hysterical faces. And as the body of Grandier crumbles into ash, those in the street continue to dance, unscathed and unaware that these flames were also meant for them. Maybe just not on this particular day.


Mon Jun 25, 2018 2:18 am
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Post Re: Watching Movies Alone with crumbsroom

damn fine write-up :up:


Mon Jun 25, 2018 3:29 am
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