We’re in structural a-g territory here, a tennis player woking on his serve, over and over with precise editing. But then it’s twin true-crime re-enactments, actors playing murderers in interrogation.
A California teen girl is stabbed to death in 1984. The sound of typing throughout, cuts to black between her responses, ties to the novel Devil House, landscapes and artifacts. We have to listen to an entire song from Cats while watching a girl with perfect 80s hair talk on the phone. I don’t wanna have to think about the cost of music royalties when watching a movie, but putting a song from Thriller in your experimental documentary is okay?
Another girl is found dead at a Wisconsin farm in 1957. Static composition takes from around town, same as we just did in other town, listening to a radio preacher. Woman dancing alone to the worst version I’ve ever heard of “Tennessee Waltz.” This time no typing on the interview scenes, some ambient industrial sound.
It’s some pretty cool work by Benning, but I feel like I was tricked into watching a serial-killer movie, and I should’ve put on that four-hour George Harrison documentary instead. As far as my relative interest in musicians/murders go, I’ve skimmed the wiki on Ed Gein and though “oh no, that pretty much sucks” then moved on and never thought about him again. But I’ve considered George Harrison every day this year, and maybe that’s because I think I could pretty easily be a serial killer, but could never play guitar in a good group.
It’s strange to see space alien Bruno S. playing someone besides Kaspar Hauser. Here he’s playing a version of himself, as are many of the actors, who autobiographically collaborated with Herzog on his hastily-written Germany-to-USA adventure. Reformed criminal/music lover Bruno helps Eva Mattes (Petra von Kant‘s daughter) while she’s on the run from her thug pimps (one of whom would later play Vigo in Ghostbusters II). The thugs barge in, assault Bruno and break his accordion. The neighbor who looks after Bruno (Kaspar Hauser fan-favorite Clemens) is leaving for Wisconsin, so Bruno and Eva join him.
Bad luck right off the bat as customs confiscates Bruno’s mynah bird (using its real voice, which is a big deal for birds in cinema). Werner discovers Weird Wisconsin immediately, filming two neighboring farmers on tractors with rifles. Bruno’s house is taken away for non-payment… not making enough cash as a waitress, Eva returns to prostitution and runs off with some truckers… and Clemens is arrested for robbery (the bank was closed so he robs the barber next door). Everything around him going to hell, poor Bruno wanders a live-bird amusement park then kills himself on a ski lift.
The credits thank Errol Morris, Les Blank and the documentarian who discovered Bruno in West Berlin. Supposedly Ian Curtis killed himself right after watching this movie, and yeah it’s a downer, but one night earlier I’d coincidentally watched New Order’s live set from Coachella 2013, and after seeing what a crank Bernard Sumner can be, I wouldn’t be so quick to blame the film.
Doc about a filmmaker, whose parents moved from Latvia to Chicago and invented beer nuts and 360-degree cameras/projectors, who went on to make Monster A-Go-Go.
Rebane moved his family to Wisconsin (good sidebar piece on how strange Wisconsin is) and built a studio, making “secular rapture movies” which would influence the Avengers movies (maybe). Not super interested in watching any Rebane movies right now, but I was at an airport (in Wisconsin!) and had access to this, and it’s always nice to hang out with Mark Borchardt.