posted on: October 19, 2020
My favorite was the second film, Hair, which made me laugh out loud maaaany times. That means, in this case, leaving in the original and, unfortunately, difficult-to-read English subtitles that were burned into the only existing print. The Naked City arrives on Blu-ray alongside Brute Force, Hellinger’s prior collaboration with Dassin, and the films assume fascinatingly different attitudes about social systems, especially law enforcement. Four new special features are included on the 4K and all of them make clear that Requiem for a Dream would not have been possible without Pi.
It’s a narrative conceit that has been done before and since, but rarely does it pack both the symbolic logic and narrative punch that closes The Holy Mountain. All of the extras on this Blu-ray release of Pierrot le Fou have been ported over from past Criterion releases of the film. [07 Aug 1993, p.F16], The three films of Body Bags were horrid, but they weren't horrifying. This release brings much-needed attention to Berry’s tender portrait of black love and the failures of the welfare system. Make-up artist and creature designer Joe Blasco talks about the wisdom of turning down Easy Rider and Night of the Living Dead, taking the gig on Shivers when he heard he’d be working with horror icon Barbara Steele. You can probably guess who that turns out to be, but the episode’s real pleasures lie elsewhere: in appearances from Craven, David Naughton (An American Werewolf in London), and Sam Raimi, and in-jokes like the burg being named Haddonfield in homage to Halloween. The action opens in a smoky pool hall, where pretty boy Dave Roberts (James Murray) convinces patrons that he can’t be punched before storming out the door to save a damsel in distress from a brawny meathead boxer, Battling Roff (George Kotsonaros). Typical of the film’s high-wire act, the comment is clearly said in mockery of both consumerism and feminine concerns, but the image—that of a perfectly aligned Madison Avenue-engineered derrière—is just as clearly appreciative of what youth, fashion, and mass media can accomplish: great ass. Cronenberg’s root metaphor of the parasites as libidinal motivators flips the script on traditional notions of good and evil, the individual and the collective, and sex and death. “Hair” is an absurdist lark about Richard Coberts (Stacy Keach), a businessman who’s desperate to discover a remedy for his receding hairline. Was this review helpful to you? Journalist J.B. Kristano discusses the difficulties of studying Indonesian cinema when there’s hardly a single book on its history. That Body Bags largely succeeds, despite the perceptible lack of novel material, can be attributed to the strength of the assembled performances as well as the filmmakers’ attention to the dynamics of visual storytelling. He highlights the importance of Helmut Käutner’s films in West Germany in the mid-20th century and traces the rise and fall of the Heimatfilm, which eventually led to a resurgence of crime films like Black Gravel in the late 1950s and early ‘60s. Formally, this film is a more mature examination of exploitation than a mere plot summary can convey. Requiem for a Dream is also the film that firmly established Aronofsky as a primarily visual filmmaker. In a recent interview with Cronenberg that contains some overlap with the commentary, he discusses the dearth of genre films in the Canadian film industry at the time, almost moving to L.A. to work with Roger Corman, the film’s less than enthusiastic reception, and its influence on Dan O’Bannon’s script for Alien. His 1998 feature-length debut, Pi, was stylish but empty; later, he would elevate The Fountain’s philosophical hooey through sheer operatic force of will and The Wrestler’s solid but rote script through an expressive and soulful appropriation of the Dardenne brothers’ close-up tracking shots. The audio commentary, recorded in 2003, features filmmaker George Tillman Jr. and a number of the film’s actors, along with Dan Pine, son of the film’s screenwriters, serving as something of a de facto MC. Depending on your own political convictions, this fantasy is either poignant, insidiously misleading, or both. A research team finds a mysterious cylinder in a deserted church. Where the earlier films show Jodorowsky arriving at private rituals and symbolic acts to deal with his own issues, Psychomagic expands his sphere of influence to include men and women who find themselves in a cul-de-sac of existential distress. Particularly in the era of its release, when blaxploitation films driven by violence and exaggerated black masculinity were at the height of their popularity, Claudine was a true outlier: a tender and sobering rendition of the African-American experience from a female perspective, grounding the intense love and passion between Claudine and Rupert in a gentleness and vulnerability that wasn’t yet typically afforded to black characters on screen. Establishing Requiem for a Dream’s parallel editing schema, Aronofsky and editor Jay Rabinowitz cut between its central characters—Sara Goldfarb (Ellen Burstyn), her junkie son, Harry (Jared Leto), and Harry’s best buddy, Tyrone (Marlon Wayans), and girlfriend, Marion (Jennifer Connelly)—and their respective drugs of choice: heroin and ecstasy for Harry and Tyrone, heroin and cocaine for Marion, and sugar, television, and, eventually, amphetamines for Sara. Witness the scene where a bearded professor type, Dr. Emil Hobbes (Fred Doederlein), murders and then vivisects a young woman, Annabelle (Cathy Graham), dressed like a schoolgirl. Fando y Lis, El Topo, and The Holy Mountain are presented in new 4K restorations, and each looks pretty spectacular, marking a significant improvement not only over Anchor Bay’s 2007 DVD editions, but also over the individual Blu-ray releases of El Topo and The Holy Mountain from 2011. The film’s relentless sound editing and Clint Mansell’s remarkable score is perfectly presented, never sacrificing the clarity of the dialogue. On his commentary track, film critic Nick Pinkerton covers a lot of ground in 65 minutes, touching on the careers of all of the film’s major players, Universal’s challenging transition to sound, and William Wyler’s transition from short westerns to feature filmmaking. Radio spots, a piece on Merrick’s real life, and a booklet—featuring passages from Chris Rodley’s book Lynch on Lynch and an 1886 letter to the London Times concerning Merrick—round out a sturdy package. In dressing this conflict, and an overwhelming sense of paranoia and entrapment, up in the tropes of a thriller, Käutner exhibits his mastery of atmosphere and mood, but the complex social commentary of Black Gravel offers a raw and eye-opening look at Germany at a time when its cinema mostly ignored reality and its true national history was often deliberately kept secret. Criterion presents Pierrot le Fou in a new 2K restoration that’s a few notches above their already excellent—and long out-of-print—2009 release in terms of color saturation and the clarity of fine details. Given the importance of these restorations, it’s difficult not to be at least a little disappointed with the slim supplements. As each individual was recorded separately, there’s a fair amount of dead air throughout the track, but the numerous participants do manage to bring a diverse range of topics and opinions to the table. Whether the film is in the midst of depicting murder, tragedy, or revolution—and Lucía abounds in depictions of all three—Solas directs with a focused fury seldom seen in the annals of cinema; he constructs indelible images of beauty and rage with an intensity that’s wild-eyed but simultaneously grounded in the specificity of each era. Who can dislike a film with Wes Craven, Sam Raimi, John Carpenter, Tobe Hooper and more? That Body Bags largely succeeds, despite the perceptible lack of novel material, can be attributed to the strength of the assembled performances as well as the filmmakers’ attention to the dynamics of visual storytelling. Then a follow-up interview permits the participants (some of them couples) to describe the therapy’s impact on their lives. He also demonstrates how one of the slug props (which he says looks more like a penis than a turd) was operated with a length of wire and two wooden paddles. The smallest of details are vividly rendered, lending the interiors of Claudine’s cramped apartment and her family’s Harlem neighborhood a strikingly tactile quality. The good doctor’s miracle cure proves all too effective, much to the initial delight of Coberts and his girlfriend (Sheena Easton), who goes gaga for her man’s luxuriant tresses—though, truth be told, Coberts mostly resembles James Earl Jones in Conan the Barbarian. Making its domestic Blu-ray debut with a sparkling transfer and lots of informative extras, David Cronenberg’s first feature is a decidedly bloody valentine to libidinal liberation. Artistic antennae of a certain sensitivity must have been picking up some peculiar vibrations in 1975, when, within months of sci-fi impresario J.G. Aronofsky’s influential hellride of a film gets a sturdy 4K upgrade and a few new extras that extol its technical merits. A short archival interview with Jodorowsky from 2007 touches on the phenomenon of the midnight-movie craze inaugurated by screenings of El Topo at New York’s Elgin Theater in 1970.
Diving headfirst into ABKCO’s gorgeously assembled box set is bound to be a mind-altering experience for Jodorowsky fans and novices alike. Taken together, these extras tend to repeat themselves, though the central story of The Elephant Man’s realization from a spec script to Lynch’s second film is rendered here with great detail. Go out and get myself a little job on the side…then I’m cheating. The crown jewel of this collection, Humberto Solas’s 1968 epic Lucía follows three different women named Lucía at transitional moments in Cuban history: 1895, 1932, and an unidentified year in the 1960s.
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