by ·Comments Off on Rumours (2024, Maddin/Johnson/Johnson)

A different sort of thing for Maddin, his most restrained feature. More Bunuelian perhaps, tricking viewers with a political arthouse drama with Cate Blanchett then gradually accumulating unnatural quirks until the giant brain in the woods is only a distraction from whether sentient pedo-hunting AI has Lawnmower-Manned all communications in an apparently depopulated Germany. Seven world leaders were in a gazebo hard at work crafting the most bland and vague statement they could, when they found themselves cut off from outside contact. Each one gets their standout moment, but Canada (the most emotional and least respected) steps up during the crisis, triumphantly editing and reading their final statement aloud to the masturbating bog people.

Germany is the Australian Blanchett, Canada is Roy Dupuis (I think he’s the woodsman who yells “strong men!” in Forbidden Room, which also features a giant brain). UK is late Shyamalan fave Nikki Amuka-Bird, USA is the inexplicably British gent Charles Dance (who I just saw in The First Omen). Then there’s Italy (I got nothing on Rolando Ravello), France (Denis Ménochet, the violent PTSD guy in Beau Is Afraid), and Japan (Takehiro Hira of the new Shogun). They come across two suicidal European Union workers: Zlatko Buric of Triangle of Sadness, and Alicia Vikander, subject of the best joke in the movie (they think the brain’s influence has got her speaking in ancient lost languages, but it turns out to just be Swedish).

by ·Comments Off on Archangel (1990, Guy Maddin)

The madness, montage, and absurd deadpan humor has all been doubled in intensity from Gimli Hospital. Veronkha is married to amnesiac Ari Cohen (Page’s dad in The Tracey Fragments). One-legged Kyle McCulloch’s dead beloved was Iris, a lookalike of Veronkha. Michael Gottli (Gimli’s Gunnar) is blind again, with a wife who (I think) is not Veronkha. What happens in the second half, though? Maybe the least memorable Maddin movie, it casts an amnesiac spell on the viewer.

Jonathan Rosenbaum agrees… from Essential Cinema:

The superimposition of a late-20s / early-30s style over a story set around 1917 yields a movie that is oddly ahistorical and that seems set adrift from any sustained sense of place, time, or even meaning. The film’s true subject, in fact — if it has one at all — is amnesia: virtually all the major characters suffer from it acutely, to such a degree that they can barely grasp their own identities — or anyone else’s, for that matter. And the film induces a kind of existential free fall in the spectator that is oddly akin to the helplessness of the characters.

My HD copy was not HD, so the stills look crappy, but there was a nice shot of a wreath with the words “dispatched by wounds innumerable” on a little banner.

by ·Comments Off on Tales from the Gimli Hospital (1988, Guy Maddin)

Cat tossing. Occasional sync dialogue. Pretty calm editing for Maddin. A variety of ancient crackling songs in different languages. Framing story is children being told the hospital’s history to distract them from their dying mother.

In quarantine from the epidemic, Einar is jealous of fellow patient Gunnar for his popularity with the hot nurses. Gunnar is a widower because he rejected his beloved Snjófridur on their wedding night when she revealed that she also had the epidemic, and so she promptly dropped dead. Now, due to their shared interest in fish bark cutting (scissoring pieces of tree bark into fishy shapes), Gunnar learns that Einar has defiled his dead wife and stolen her shears. G goes blind and starts stalking E like a vengeful ghost, and this leads to a weary showdown where they mutilate each others’ asses and faces. Maddin’s career of made-up histories starts off with a bang.

fish bark appreciation:

I belatedly realized the fish bark appreciation homage in Hundreds of Beavers:

by ·Comments Off on Woodlands Dark and Days Bewitched (2021, Kier-La Janisse)

A long doc, broken into chapters with Guy Maddin collage art in between. Begins in-depth on the unholy trilogy of Wicker Man, Witchfinder General and Blood on Satan’s Claw. Quatermass creator Nigel Kneale comes up, and I should really watch more of those, even though I disliked the first. Penda’s Fen looks cool, Rawhead Rex as cheesy as I remember it. The 1980’s films attacking heritage: The Company of Wolves, Lair of the White Worm. Paganism and witchcraft, sure. America gets a chapter, featuring Christian cults, and the “Indian burial ground” obsession (colonizers fearing being colonized, having their own homes taken away). Fear of poor people (Deliverance), racist voodoo movies, then positive shouts to Candyman and Ganja & Hess. The Fool Killer sounds cool, both as a movie and a profession. Into the global folk horror chapter, the doc started to feel long – I tuned out during Brazil and Germany, but should prioritize watching The Juniper Tree, maybe a double-feature when the next Robert Eggers film comes out. Also got my second Jacques Derrida reference this SHOCKtober.

by ·Comments Off on The Saddest Music in the World (2003) and Guy Maddin shorts

There’s a Guy Maddin retrospective on Criterion so I rewatched the great Saddest Music in the World, where everyone is tormented and traumatized except for cheesehead Mark McKinney, so he has to die in the end. Since this came out, Mark has starred in Superstore, which I heard was very good. Amnesiac Maria de Medeiros was in Son of Joseph and Pasolini. Serbian Ross McMillan was in a Dave Franco zombie/cannibal horror called Bad Meat. Canadian dad David Fox was in Jessica Chastain horror Mama. And Isabella… half the actors I’ve looked up this week have led to Two Lovers, so maybe it’s time I watch that thing.

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How to Take a Bath (2009)

In its original form, so the MPEGing transitions predate The Forbidden Room by a few years. Mmmm, that’s what bathing is all about.

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Lines of the Hand (2015)

Wow – another Forbidden-adjacent short. This one takes a John Ashbery poem, a Jean Vigo script, Vigo’s daughter Luce, and Udo Kier, and smooshes them into a colorful impressionist blob.

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Accidence (2018)

A music video masquerading as installation art. Single take, mostly wide shot of an apartment building where a murder/investigation is happening along with much hanging-out.

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The Rabbit Hunters (2020)

A sequel to My Dad Is 100 Years Old! This time Isabella plays Fellini, and the short is a dream fantasia with very funny dubbing. The rabbit hunters are discovered inside a bed, after searching in vain for the screening room of a movie premiere, and en route to a flight with Fellini’s ailing wife… it makes more sense while watching then written down.

by ·Comments Off on World of Tomorrow 3 & Stump the Guesser

World of Tomorrow Episode Three: The Absent Destinations of David Prime (2020, Don Hertzfeldt)

Hertzfeldt comes up with his biggest horror yet: embedded-HUD popup ads. A future Emily backup clone contacts a past David and sends him on a disfiguring journey to retrieve secret messages about the clandestine between-time assassinations of various Davids by other Davids. It’s twisty! And excellent, and full of more wonderful quotes, and I’ll be watching these forever.

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Stump the Guesser (2020, Maddin/Johnson/Johnson)

The Odenkirk-looking Guesser (The Editor from The Editor) is renowned for his abilities, but when he runs out of guessing milk, things go bad and his guessing license is revoked. But during this time he falls in love with his long-lost sister, spends some time scientifically disproving theories of heredity in order to marry her, but things go badly at the end when he has to guess which door she’s behind. Some fun leaps of logic and distorted visuals here, but I wasn’t feeling it as much as other Maddin films.

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Accounting for some other things watched recently… The Mads from MST3K have been doing monthly live shows. I checked out Glen or Glenda, a movie that’s so busy explaining itself that it never gets to the movie, and told Neil:

That was… really fun. That’s the most I’ve enjoyed a MST3K-related thing since the end of the sci-fi channel years. I don’t know if it’s because of their obvious affection for the material, or if I’m just in the right mood. I’d never seen the feature either – shame on me, after digging the Tim Burton version for 25 years now (oh you just tried to watch it, is it cringey now? Is it Johnny Depp’s fault?) and the Mads nailed it in their intro when they said this movie has everything, but it also has nothing.

Next was The Tingler, which I already just barely remember (also explainy, features Vincent Price)… then the truly baffling, tensionless version of The Most Dangerous Game called Walk The Dark Street. I think the guy from The Rifleman played the baddie. Then some shorts I should track and name, but am not gonna.

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Hannah Gadsby’s Douglas is her stand-up comedy special to follow Nanette, which was the special to end stand-up comedy, and yet she pulls off the follow-up by creating another perfectly-constructed show and this time being breathtakingly funny. That sounds like a cliche, but I had to pause the show to catch my breath.

And Katy and I watched something called Australia: Land of Parrots, which is everything you’d dream it would be, and I should just play it on a loop.

by ·Comments Off on The Green Fog (2017, Guy Maddin & Evan Johnson & Galen Johnson)

I thought about watching this, then rewatching Vertigo, then rewatching this… but I’m not made of free time here, so I just wikipediaed Vertigo then watched this once. It’s 90+ percent footage from San Francisco movies and shows (credited at the end in a dizzying rush of title cards), with some added effects: manipulated TV and film screen images, dialogue chopped out leaving behind only pauses and breaths, and the titular fog. Everything is fit into 4:3, a few bits of dialogue or voiceover are left in, and the whole thing is accompanied by great string music by Jacob Garchik and the Kronos Quartet.

I probably would’ve enjoyed this just as much without knowing the story concept, but having the Vertigo storyline to follow makes it more memorable. Favorite sections: the “women looking at paintings” scene, the “Chuck Norris being pensive” footage, and especially the ending, a montage of bickering couples and earthquakes leading to the final death plummet. Good use of screens and tape recorders, and humor throughout – this isn’t as extreme as Tscherkassky or Martin Arnold in its found-footage manipulation, but just as enjoyable. David Cairns points out there’s a Bill Morrison equivalent, Spark of Being as a found-footage Frankenstein.

by ·Comments Off on Major 2017 Shorts Roundup

En levande själ (A Living Soul, 2014, Henry Moore Selder)

A living brain, with ear and eyeball, awakens in a fishtank and eventually succeeds in psychically communicating with its nurse Emma. Happy birthday to me – thanks, Trevor!

Based on a novel by a physician. Ypsilon and Emma and nearly everyone else in Sweden acted in the TV series The Bridge, and the briefly-appearing inkblot psychiatrist (the “ink” was on an ipad, nice touch) was in Fanny & Alexander.

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Sarah Winchester, opéra fantôme (2016, Bertrand Bonello)

“Dance but don’t move. Do the solo in your head.”

Symphony and dance, spooky old drawings and accusing ghosts, and the story of Sarah, inheritor of the Winchester rifle fortune, who became a crazy recluse after losing her family. I liked this even more than Nocturama. Similarities include doom music, seclusion in abandoned buildings, mannequins, guilt.

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The Cabinet of Jan Svankmajer (1984, Quay Bros.)

A child visits Master Svankmajer, who removes the fluff and toys from the child’s head and teaches him stop-motion filmmaking. This makes a lot more sense than it did when I watched in the 1990’s, now that I know who Jan Svankmajer is. The cluster of mobile pins still reminds me of Edward Gorey (“Death and Distraction, said the Pins and Needles”)

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Stille Nacht I, Dramolet (1988, Quay Bros.)

Extremely short and amazing, dollman watches as his spoon-world grows moldy with magnetized metal filings.

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Stille Nacht II, Are We Still Married? (1992, Quay Bros.)

A motion-blur paddleball confounds a toe-stretching girl’s pet bunny

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Stille Nacht III, Tales from Vienna Woods (1994, Quay Bros.)

Somebody died in 1892? Spinning smoke bullet, disembodied hand, hovering desk and extra-long spoon. I liked the His Name Is Alive song in the previous film – this one sounds like a buzzing TV from the next room.

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Stille Nacht IV, Can’t Go Wrong Without You (1994, Quay Bros.)

The heroes of part two return, the tiptoe girl now quietly bleeding as the rabbit uses his antigravity powers to protect his eggs from a keyhole-peeping Death.

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An Eastern Westerner (1920, Hal Roach)

At a hotel we saw this Harold Lloyd short on TCM, and since I watched it, I am duty-bound to put it on the blog somewhere, even though I was entirely focused on being aggravated about the picture being squished and don’t remember anything that happened in the movie itself. I guess it’s the one with the famous still of all the guns pointing at Harold’s head?

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Three Monks (1982 Jingda Xu)

Short, flatheaded Red Monk, tall skinny Blue Monk, and fat Yellow Monk arrive separately at a mountaintop shrine and spend their days guzzling water and trying to make the other monk(s) bring up more water from the lake. Eventually they’re all angry, and are stealing water from the shrine’s flowerpot, when a mouse almost burns the place down and they have to cooperate to bring up plenty of water in a hurry. The catchy tunes and musical-instrument sound effects were the best part.

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Feeling Good (2010, Pierre Etaix)

A 1965 outtake scene from As Long As You’ve Got Your Health. Etaix goes camping with a campfire and electric coffee pot. Confusion and bad coffee ensues. Then he’s in a military tent camp and I get lost as to what’s happening, because between bird songs and people whistling and blowing whistles, my birds got quite agitated.

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Pas a Deux (1988 Renault & Van Dijk)

A couple is dancing, looks maybe like rotoscoped with colored pencil, then he transforms into Popeye the Sailor complete with voice clip, then they each transform (pretty seamlessly) into different famous characters. Cool effect, but feels like they’re just screwing around. Katy called it a precursor to Logorama.

Made by a couple of Dutch animators. Gerrit’s final film was based on a Burroughs story and featured the voice of Rutger Hauer. Monique has a whole bunch of films on vimeo

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The Northleach Horror (2016, David Cairns)

Apocalyptic story of a mad scientist doing Frankenstein experiments in an underground bunker, the movie casually killing off characters (and resurrecting them) for laughs. I meant to watch this again and note character names, but my link has gone dead. Fun while it lasted. From the creator of the also-great Cry For Bobo.

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Seances: The Disputed Honours (May 31, 2016)

Some familiar footage from The Forbidden Room, with changes. When Jacques Nolot is hired as a gardener, does he usually steal a magnifying glass? Whole new sequence with a man retrieving a key while two women (Camille and her sister?) cower in the night, only to be sucked into a vortex. Color and tinting changes mid-shot. All new intertitles! “O to quench the thirst of my wheat with the blood of slain mail coachmen.”

I wanted to watch When The Broken Toilets Cry but didn’t figure out the website in time. Can’t tell what to make of interruptions like the one below. It looked like typical streaming glitching at first until I realized the shots emerging through the glitch aren’t part of the scene I’m in.

And since I have nowhere else to mention these, I also watched and enjoyed a pile of Netflix’s comedy specials from this year… Joe Mande… Amy Schumer’s The Leather Special (all the fat jokes and poop stories get old, but I admit I laughed at ’em)… Sarah Silverman (more poop stories)… Louis CK “2017” (this has now replaced my memory of his Omaha show – I should’ve taken notes after each)… Dave Chappelle’s Spin and Texas specials (some bits set off my political-correctness alarm, but they’re perfectly constructed/paced hours)… Norm MacDonald’s Hitler’s Dog… three we burned for the drive to Atlanta: Trevor Noah (who we also saw in person a few weeks ago), Hari Kondabolu “Mainstream American Comic”, and the great Hasan Minhaj… and probably a couple I’m forgetting.

by ·Comments Off on Bring Me the Head of Tim Horton (2015, Guy Maddin, et al)

Kind of Maddin’s most difficult film and his most purely comic one at the same time. Behind the scenes on the filming of great Canadian war epic Hyena Road, Guy reflects on being an extra (dead body in the desert) and subverts his other job as EPK flunky, while the effects-minded Johnsons toy and screw with the footage. I happened to watch Cuadecuc Vampir a few days earlier, one of this film’s most obvious predecessors.

N. Rapold in Film Comment:

The closest these flagrantly uninformative digressions come to a standard featurette is a couple of outtakes of a producer doing a walk-and-talk TV-ad bumper. While earning Maddin some needed cash, this supposed promotional project burlesques the look of a seamless studio-grade war movie — and its very notion. It’s like any number of subversive reappropriations of mainstream genre cinema, except with the added nose-thumbing of having been done with full permission, during the production. But if Maddin expresses some frustration or resentment about Gross’s comparatively big-budget illusionism, he also can’t help but see the playful, bizarre, and beautiful possibilities in these expensive toys.