The Stendhal Syndrome (1996, Dario Argento)

Someday I’d like to visit Italy and see if everyone acts the way they do in Argento films, moving all artificially and speaking poor dialogue out-of-sync with their mouths. Probably it’s just a very bad movie. And that’s not even counting the fact that it’s about a rape investigator (played by Argento’s daughter) who gets repeatedly raped (she’s also a cop who repeatedly gets her gun stolen), then it justifies this in the second half by having her become the killer. “He forced his way into me and now I can’t get rid of him.” Worse, I’m not even sure why I watched this. I’d previously read up on Argento and decided which movies might be worth watching (just the ones I’ve seen plus Crystal Plumage, Grey Velvet and Opera), and Stendhal Syndrome was not on the list. Maybe I put it on the netflix blu-queue as a placeholder? Anyway at least the picture on the disc looked fantastic.

The earliest Asia Argento I’ve seen, two years before New Rose Hotel. After being kidnapped and raped the first time she acts prickly towards a creep coworker (Marco Leonardi, love interest Pedro in Like Water For Chocolate) who is relentlessly trying to date her, starts seeing a psychologist (Paolo Bonacelli of Salo, one of the few films more icky than this one), and eventually returns to her stress-inducing family (to relax, haha), where she’s followed by both creep Marco and blood-obsessed rapist Thomas Kretschmann (Argento’s Dracula, also in Queen Margot with Asia).

Then she kills the rapist but keeps insisting he’s still alive, as she carries on his work, taking out the psychologist, her new French boyfriend Marie (a boy with a girl’s name as the movie continually mentions), Marco and a couple others.

Moo Orleans:

And by the way, Asia has the Stendhal Syndrome, which causes you to become entranced by works of art, but the movie doesn’t know what to do with this, plot-wise. It combines well-staged practical effects with the worst computer graphics I’ve ever seen, which is used with Fight Club excess (why, when she swallows pills, must we follow them down her throat?). It’s not just 1996 CGI – it’s Italian 1996 CGI. The movie has story problems (a half hour in, it’s already explaining its first scenes in flashback), missed opportunities (Marco brings Buster Keaton videos to a girl who imagines herself falling into paintings, but we get no Sherlock Jr. clip) and the unsurmountable flaw of having no recognizable human behavior. After reading that interview about invisible acting in The Dirties, and watching well-performed horrors like Hellraiser and The Tenant, this is especially disappointing. At least I could enjoy the paintings, the cinematography and the blatant Vertigo references.

Asia takes up painting:

Things I remembered while going through screenshots: (1) Asia gets amnesia between passing out at the art gallery and being raped by the loony, (2) she kisses a fish in a dream sequence, which looks like the romantic opposite of the zombie-vs-shark scene in Zombi 2, (3) she sees graffiti come alive in the loony’s lair, (4) her dad is freaky.

Asia loves fish:

A Summer’s Tale (1996, Eric Rohmer)

Currently my favorite Rohmer movie. I’ve always thought his movies looked nice, but never thought they looked glorious until now, and I’m worried that’s because I watched this one in theaters, which I’ve got little chance of doing with the others. Either way, the color cinematography, its look naturalistic but never at the expense of style and framing, was perfect.

The story doesn’t seem like all that, but the lead boy’s girl problems become increasingly engrossing. Don’t know how this fits with the Moral Tales, since we wait for our hero to make moral (or at least hastily-justified) life decisions, but he can’t seem to manage, finally ditching all three of his women to pursue a music career.

Melvil Poupaud (of Genealogies of a Crime and Mysteries of Lisbon), with black tousled Garrel-hair, is at the beach awaiting his girlfriend Lena. He befriends Margot (Amanda Langlet, title star of Pauline at the Beach), they hang out, go on long walks and once to a dance club where he sees Solene. Margot claims to be in a relationship, boyfriend is away for the summer, but doubts that Melvil’s is gonna last since his girl is a week late, encourages him to date Solene instead. Lena finally shows up, they have a great day then a less-great day, and Melvil has to decide if he’s taking his long-anticipated trip to a nearby island, and if so, with which girl (at this point, he’s invited each of them separately).

Not officially released in the U.S. until this year.
Third of his four seasons films, which I’m now tempted to watch all of.

G. Kenny:

As Gaspard tries to juggle his girls, he fails to perceive that he’s sinking into the quicksand of little white lies. And the more confident he gets, the more insufferable he becomes. Looking at the picture’s mostly sun-drenched and drolly cheerful surface layer, one marvels at Rohmer’s unerring sense of what drama kings and queens young people can be. But not too far below that surface is an ironic parable about how people, regardless of their age, use their romantic lives to construct their self-images.

Demonic Toys (1992, Peter Manoogian)

“Full Moon Entertainment presents”

FM made this between Puppet Masters 3 and 4, and the year after Dollman, now fully invested in Puppets, Dolls and Toys, dreaming of franchise crossovers to come.

“Screenplay by David S. Goyer”

Goyer later wrote The Puppet Masters (no relation!), the Blade movies (arguably his peak) and the latest Batman movies.

“Directed by Peter Manoogian”

Manoogian isn’t a made-up alias for Charles Band, but a guy who worked on The Howling, Trancers and Ghoulies.

Opens with POV shot of a demonic-toy and grandfather-clock-filled dream sequence, and I’m afraid the budget might be spent already. Then undercover cop Jude (Tracy Scoggins of Toy Soldiers, no relation to demonic toys, and Watchers II, which was a remake, not a sequel to Watchers) is explaining her dreams to scruffy boyfriend/partner Matt (Jeff Celentano of American Ninja 2: The Confrontation), and enter the Goyer trademark dialogue: “You got your piece? Then let’s dance.” While Matt is clumsily arresting arms dealers, he’s killed and an enraged Jude (I keep typing “Dude” by mistake) follows them into – where else? – a conveniently unlocked warehouse. As an injured criminal stumbles into a toy company, I’m checking to see how long ago Child’s Play came out, oh, was it four years before this?

Chicken Boy:

Hold up, movie is getting too action-packed this early on, so suddenly we’re asked to care about a rebel chicken delivery guy named Mark, played by Bentley “grandson of Robert” Mitchum, who also starred in hits like Nice Guys Finish Dead and Real Men Don’t Eat Gummi Bears. He is friends with the gross security guard (Pete Schrum, Santa Claus in Trancers) at the conveniently unlocked toy warehouse. After long periods of time without any toys, demonic or otherwise, finally the injured baddie (possibly Barry Lynch of The Call of Cthulhu) is killed, followed soon enough by the security guard, and we’re off. If the guard worked here for years, how come tonight the demonic toys kill him? It’s something to do with Jude the cop, her pregnancy and/or dreams. An actual kid with glowing eyes (Daniel Cerny, who’d go on to star in Children of the Corn 3 before getting involved with a movie called Bitch Slap) explains all this but I was barely listening, just caught the line “we feed off your fear” and reminisced about Ghostbusters 2.

Trick-or-treating flashback:

Intense surviving baddie (longtime stuntman Michael Russo of The Toxic Avenger and Death Wish 4) and Jude have their “you killed my partner/boyfriend” standoff extended, the chicken delivery guy helps out, and in a moment of Cube-like genius, a dirty-haired girl drops in from the air ducts. More top-notch dialogue: “I played the old houdini act on your lady friend back there, chicken boy.” Flashback to 1925 in which some lady gives a stillborn demon baby to trick or treaters. Homeless girl dies, as does the demonic jester toy, but the talking baby gets away. Did I dream it or was there some decent stop-motion for a second?

Isn’t that Bob Stoeckle of Bloodsucking Pharaohs In Pittsburgh?

What of the toys? Baby Oopsydaisy speaks, which was a bad move. The jester, with its long coiled tail with a rattle at the end that I only now realized was supposed to resemble a rattlesnake, and the sharp-toothed teddy bear aren’t bad, and there’s a robot tank that you don’t see too often. As opposed to most Puppet Master murders, demonic toys are slow, painful, and take teamwork. A single Puppet is a killing machine. I think it’s clear who’s going to win when these groups face off.

Jester, jack-in-the-box, whatever:

The movie is foul and stupid, and I hated watching it, and afterwards vowed to not watch any more bad movies on purpose, but writing it up days later is kinda fun, so maybe I’ll just limit to one shitty Full Moon direct-to-video possessed-toy flick per Shocktober.

Dead Man (1995, Jim Jarmusch)

Kind of a dark movie, as Depp moves west towards nothing good, becoming a killer of white men before/after being killed by one. But it’s also possibly Jarmusch’s funniest and most beautiful movie, with great music.

Nobody: Gary Farmer (how did I miss him in Adaptation?)

Thel: Mili Avital, whose film career didn’t take off after Stargate

This was possibly Robert Mitchum’s final film:

Two Marshalls named Lee and Marvin:

The Kid: Eugene Byrd, a regular on Bones
Conway: Michael Wincott of Alien Resurrection and Basquiat

Benmont Tench (at right): Andy Warhol in I Shot Andy Warhol

Crispin Glover played Andy Warhol in The Doors. This movie has two Andy Warhols!

Whahappan:

Deseret (1995, James Benning)

I’ve finally watched a James Benning movie. I knew I’d either love it, or not get it, which would be frustrating since I have about 15 Benning movies on my must-see list based on critic recommendations. Whew, loved it. Felt like Profit Motive and the Whispering Wind meets Hollis Frampton. I noticed he was cutting the picture on every new spoken sentence, but later I discovered it gets more Framptony yet: there’s one literal/relevant shot per segment, the long between-segment shots get gradually shorter, movie switches to color when Utah becomes a state and there are precisely as many b/w frames as color.

All spoken text is from historical New York Times articles, which don’t seem overly fond of Utah or the Mormons, so it’s interesting to get a history lesson told by a suspicious narrator – from early reports on Brigham Young, U.S. military expeditions to quell the Mormon rebellion, fights against polygamy, the cross-country railroad, and the Mountain Meadows massacre, in which Mormon militia killed 100+ non-Mormon settlers. Things get somewhat less extreme once statehood is achieved – standouts include the U.S. army’s nerve gas tests killing thousands of sheep and Robert Smithson’s great Spiral Jetty.

Amazing quote from 1880s: “Mormonism is a good deal as slavery seemed once to those of the north who had never seen, but only read one-sided unreliable representations of it: not half as bad when you come to see it.”

Rosenbaum: “Benning’s eye for evocative beauty is as sharp as ever, and his complex invitation to the viewer to create a narrative space between his separate elements keeps this 1995 film continually fascinating.”

Lessons of Darkness (1992, Werner Herzog)

“The oil is trying to disguise itself”

Impressionistic doc shot in aftermath of Kuwait war.

Divided into sections:
– A Capital City (pre-war helicopter shot)
– The War (bombing footage)
– After the Battle (post-war helicopter shot, big horns on soundtrack)
– Torture Chambers (implements and stories)
– Satan’s National Park (oil-drenched landscape)
– Childhood (traumatized survivors)
– And a smoke arose, like the smoke from a furnace (burning oil wells)
– A Pilgrimage (firefighting)
– A Dinosaur’s Feast (vehicles, opera music)
– Protuberances (boiling oil)
– The Drying Up of the Wells (capping wells with new hardware)
– Life Without Fire (some of the fires are re-lit, great narration here)
– I am so weary of sighing, oh lord, grant that the night cometh (finale)

Minimal narration, lots of slow motion. Great music selections from Mahler, Arvo Part, Prokofiev, Wagner, others. I know little about the Kuwait war apparently – why were the Iraqis torturing people to death? But these details are beyond the scope of the film.

Great point by Noel Murray:

Herzog was booed at the Berlin film festival after a screening of Lessons Of Darkness, and accused by the audience of being more interested in pretty pictures and philosophizing than in the human toll of the Gulf War. That’s not an entirely unfair criticism. Throughout his career, Herzog has shown less engagement with any one particular political conflict or social issue than with the bigger picture of how humans continue to fight with each other and with their environment. But then that’s why Lessons Of Darkness is still so beguiling, decades after the war that inspired it.

Herzog:

The words attributed to Blaise Pascal which preface my film Lessons of Darkness are in fact by me. Pascal himself could not have said it better… With this quotation as a prefix I elevate the spectator, before he has even seen the first frame, to a high level, from which to enter the film. And I, the author of the film, do not let him descend from this height until it is over. Only in this state of sublimity does something deeper become possible, a kind of truth that is the enemy of the merely factual. Ecstatic truth, I call it.

The Thin Red Line (1998, Terrence Malick)

First time I’ve seen this in a while, watched in lovely HD.

I think Ben Chaplin (Bell) was the only major Thin Red Line actor to return in The New World, but I never recognize him when I watch it. He’s the thick-browed guy with traitorous wife Miranda Otto (later Tom Cruise’s wife in War of the Worlds).

Blu-ray outtakes: Witt gets berated by John C. Reilly. “Made a mistake getting in this discussion.” Don Harvey gets berated by Paul Gleeson. After Danny Hoch gripes about Lt. Gleeson, Pvt. Larry Romano drunkenly confronts his superior. Private Nick Stahl freaks out after bayoneting an enemy. Bizarre conversation between Witt and sniper Mickey Rourke. Taking Japanese prisoners, one can’t walk. Bell brings his divorce letter to Clooney, who makes good on his earlier comment that he’ll always be available for questions. And a doctor sends Adrian Brody home for his leg injury after Witt dies.

The on-disc interviews are fascinating. It feels strange, though – the actors speak of the movie as Malick’s personal vision, so it’s all Terry this and Terry that, and the absence of his own perspective in the extras makes it seem like reminiscences of a dead artist. Of course it’s understandable that he doesn’t want to participate, that’s just the impression I got. After actors there’s editing, source novel/author, and music (Hans Zimmer says Terry wanted the music to ask questions, not answer them).

The Sensualist (1991, Yukio Abe)

Goofball Juzo bets his penis that he can sleep with high-class courtesan Komurasaki. There is no way this will happen, but fortunately Yonosuke, the most sexually experienced man alive, overhears his troubles and helps him out.

The same 17th century novel was adapted by Yasuzo Masumura as A Lustful Man.

Eyes Wide Shut (1999, Stanley Kubrick)

Thinking about this movie again thanks to Room 237. It’s nice to sit down with a “proper film” like Wolf of Wall Street, an austere classic like Winter Light, an idiosyncratic puzzle like Upstream Color, but in some ways, Kubrick knocks them all on their asses. From the start it has a commanding power and grace that seems unreal. It’s a motherfucker of a movie.

At a party, Dr. Bill meets his med school friend (Pianist Nick) and two hot babes, but he escapes upstairs to help save host Sydney Pollack’s prostitute from an overdose, while Bill’s wife Alice (for once, seemingly not a Lewis Carroll reference) dances drunkenly all night with a suave Hungarian.

That night, Alice accuses Bill of infidelity, mocks his total confidence in her by confessing an infatuation with a naval officer last year.

Called away because friend Marion’s father has just died, she confesses her love for Dr. Bill just before her boyfriend arrives.

After being pushed aside by rowdy homophobes, Bill allows himself to be taken inside with prostitute Domino (Vinessa Shaw of The Hill Have Eyes Remake), who has masks on her walls, foreshadowing many masks to come, but after a call from his wife he leaves.

Bill comes across the bar where his pianist friend (Todd Field of The Haunting Remake) plays, and wrestles the details of Nick’s next engagement out of him.

Fully flowing wherever this weird evening will take him, Bill goes to a costume shop to get a mask and cloak, awakens the proprietor (Rade Serbedzija, Boris the Blade in Snatch) who discovers his young daughter fooling around with a pair of Japanese men in wigs.

To the masked ball, where it turns out Bill is immediately suspected for having arrived via taxi. Much nudity, an actually-pretty-tame orgy, and taunting masks everywhere as Bill gets caught and kicked out.

The next morning things aren’t going too well for people Bill met last night. Nick has disappeared (according to hotel clerk Alan Cumming), the costume shop man has reached an “arrangement” with the wig men and offers to rent out his daughter to Bill, Domino got news that she’s HIV positive, and Pollack’s prostitute (who Bill suspects was his rescuer at the masked ball) has turned up dead.

Pollack has Bill over to talk him down, and Bill arrives home to see his wife has found the mask, so he tells Alice everything.

The next day they go toy shopping with their daughter. Alice: “Maybe I think we should be grateful – grateful that we’ve managed to survive through all of our adventures, whether they were real or only a dream.”

Cruise plays so overconfident that his character seems on the verge of being a huge asshole, flashing his doctor’s license all over town like a cop, but he also plays unhappiness and remorse so well that it’s hard to judge. Kidman spends too much of her screen time drunk or stoned, moving and speaking very slowly, but nails the last few scenes.

I enjoyed Rosenbaum’s article, and a detailed analysis of symbols on Vigilant Citizen. I knew I’d easily find such a thing, based on the level of Kubrick analysis/lunacy displayed in Room 237.

From an amazing article by Tim Kreider in Film Comment (although note that he buys into the Room 237 theory of The Shining being about the massacre of the Native Americans):

The real pornography in this film is in its lingering, overlit depiction of the shameless, naked wealth of end-of-the-millennium Manhattan, and of the obscene effect of that wealth on the human soul, and on society. National reviewers’ myopic focus on sex and the shallow psychologies of the film’s central couple, the Harfords, at the expense of every other element in the film – the trappings of stupendous wealth, the references to fin-de-siecle Europe and other imperial periods, the Christmastime setting, or even the sum spent by Dr. Harford on a single illicit night out – suggests more about the blindness of the elites to their own surroundings than it does about Stanley Kubrick’s inadequacies as a pornographer. … Kubrick’s films are never only about individuals. (Sometimes, as in the case of 2001, they hardly even contain any.) They are always about civilization, about human history.