nnad Reviews

Freaks (1932)

Not to be Judged as an Exploitation Film.

[19 July 2002]

Is Freaks exploitation or art? I consider it as art or an interesting tale of love, relationships, and revenge. But I do not believe that by putting sideshow freaks as the avengers of their betrayal and abuse that Tod Browning was exploiting them or making them look hideous and evil. Yes, that may be the interpretation. But I think that Browning was presenting the actors as surpassing others and establishing some dignity and respect for people who are usually dismissed as worthless and incompetent. Freaks has been generally called a horror film but I would rather think of it as a drama with elements of infidelity, revenge, and murder. Does Freaks have to be a horror film just because it stars sideshow freaks? Definitely not!



There has always been a fascination with the unusual. Several magazine and websites feature people with deformities and people who do bizarre acts. But lately these mediums have been blending violence and sex with deformities; therefore, warping the original intention of these magazines and sites. This intermixing is historically not a recent idea. People have always made the Unusual synonymous with the Macabre. In one way this idea is similar with blending rock music with sex, as in the 1950's. By judging the unusual with the macabre from this standpoint is how people judged the film Freaks: as a horror movie.

Freaks was banned for several years and was highly edited by distributors. In the 60's William Burroughs and Antony Balch were on of the first people to reshow Freaks in theaters. Freaks was shown in Europe alongside two of Burroughs/Balch pictures. However, it took a while for America to catch on but now here it is finally on DVD.

It is interesting why films get banned for certain reasons and why people want to suppress them from viewers. Freaks was looked at in this way but now is considered tame by most moviegoers. For those who are interested in sideshow freaks (if you would call them that) and their history check out Being Different and Freaks Uncensored. Both films bring up my same argument and go in-depth about their abuse and finally their acceptance by the majority.

Jimi Hendrix at the Isle of Wight (1991)

Could be presented more accurately but still good.

[19 April 2002]

Not to sound trite but this performance was indeed one of Hendrix's mediocre concerts. However, (still sounding trite) this is a must see film for die-hard Hendrix fans and others considering that he died 18 days after the show. One reviewer mentioned that The Isle of Wight had scheduled Hendrix to perform early in the morning. Yes, that is true but also at this time Hendrix was consuming a large amount of drugs which eventually led to his state of depression and respectively accidental death. This latter factor had also played a part in his inability to play as well as his previous shows --ie, Monterey Pop and Winterland. Nevertheless, the lineup had considerably worked with enough energy to crank out some of Jimi's new compositions, some that already appeared on Band of Gypsies, and others that were about ready to be put on New Rays of the Rising Sun, Hendrix's next album. Some of this new songs "Freedom" and "In From The Storm" and "Machine Gun" were presented hastily and rough compared to there polished studio versions. In addition, some old songs (All Along The Watchtower, Spanish Castle Magic) were performed as well. Unfortunately, Jimi died before the releasing of his new album New Rays so producer Alan Douglas distributed them in several posthumous collections. Alan Douglas, the "butcher" as some Hendrix historians called him, had released several rearranged (and rerecorded) tracks that Hendrix left unfinished. In other words, some studio musicians was ordered by Douglas to taped over some of Jimi's guitar tracks and add other wall of sound instruments in order to fool fans that they were buying unissued gems. Douglas's name is featured in credits of the Isle Of Wight video as producer. It's not surprising to me that he took his little carving knife and embellished some of what we're watching as well. These embellishments were apparently (I had to listen clearly) added audience cheers, double vocals and backstage chatter, and edits of long songs, ie Machine Gun. My suggestion for the die-hard fans is to seek out the posthumous LPs Live at the Isle Of Wight vol. 1-2 and compare to difference of the record from the video. All in all, Isle of Wight could have presented more accurately but check out the film anyway considering it being a part of rock n' roll history.

Variety Lights (1950)

First Fellini --- not bad.

[3 April 2002]

Variety Lights is Fellini's debut film. The film consists of ideas and motifs that would succeedingly appear in movies like 8 1/2 and The Clowns. However, these traits are still undeveloped but we can see how they would be used as personal metaphors for the director. Running under an hour, the film is shown in black and white with legible subtitles and moving at a smooth pace. The story follows a variety show troupe and an female audience member who is so inspired by one of their performances that she asks to join their group. We are then presented with the rise of the performer's act and how mistakes like having her dress fall off soon attracts the attention of the audience. Soon the variety show begins displaying a more racy repertory all which is fronted by sexy novice. Some images in the film like large behinds and women in bikinis may have been provocative for its time in America --although Italy's standards tended to be more shocking. Nevertheless, as discussed in the documentary Rated X, Fellini's movies was generally restricted to Adult theaters due to subject matter, although much more provocation was soon to come. Variety Lights features Masina, Fellini's wife, in a supporting role as a dancer with few scenes, although she still gives a good performance nevertheless. Masina would soon gather more attention to her acting in succeeding Fellini films like Night of Cabaria and La Strata. However, the focus of this film is directed at De Filippo for his role as the impresario and Poggio as the desperate actress. Veriety Lights is not the best Fellini production but still worth a look.

Accattone (1961)

It all started here -- possible spoilers

[28 March 2002]

Accatone is an interesting film because Pasolini exposes to his audience a particular lifestyle and social class which would not be accurately touched on in an American picture. If Hollywood had ever discussed Accatone's subject matter they would display it with all its stereotypical adornments and falsities which most US moviegoers are accustomed to. Pasolini is not afraid to present the grittier side of the subproletariat as is epitomized in the film's main character, Accatone, who struggles with his profession of pimping and becoming more sensitive to his women and to the world. Pasolini's debut is delicately permeated with political concepts and allegories, yet we can see that he is experimenting newly with the technique of film and developing a filmic narrative structure; more of his full-fledged sociopolitical allegories would be pursued in films like The Gospel and Hawks and Sparrows. The film stars Franco Citti who at the time of making of the film was a nonprofessional. However his performance is substantial considering him being a novice and having his voice overdubbed by another actor. Citti would soon become a Pasolini regular, starring in Oedipus Rex, Arabian Nights, and other supporting roles. However, as the film progresses the attention is centered on the female lead, who plays the naive soon-to-be callous farm worker who is duped by Accatone into prostitution. Before Pasolini ventured into the cinema he had a knack for writing. In his first two novels Pasolini had utilized the language of his mother's homeland, Friuli, for colloquial discourse amongst his characters who lived in subproletariat communities. It is not surprising that the subject of these novels would be the focal point of Accatone. In addition I believe Pasolini had rendered his ideas (from his literature) appropriately for his film, yet not becoming to carried away with fidelity and technical aspects which are profuse in films today. To this day there are apparently no film directors as consciously aware of his country and government as Pasolini was and that would transcend these beliefs into his art with controversy yet at the same time subtlety.

The Running Jumping & Standing Still Film (1959)

A Fun Trip

[17 September 2001]

The Running Jumping & Standing Still Film (1959) is a 11 min short by Richard Lester. Supposedly one of his first films, The Running Jumping is basically one sight gag after another, cleverly crafted yet somewhat rudimentary; obviously it was produced as an experiment. Lester's use of droll antics and irony predated what would manifest itself in A Hard Day's Night, although Lester had already developed a certain style in preceding films. Nevertheless, what ignited Lester's career was soon to come, however, as funny as it seems, The Running Jumping billed an actor who would garner more stardom than Lester himself: Peter Sellers. Peter Sellers is featured as a sly Nimrod who prances around a field and soon engages in a duel with a muscleman. This is a far cry from a serious role as Chance the Gardener, however Sellers still is riot and it is appropriate considering that The Running Jumping was made at the height of a postmodern British Slapstick movement. Other hilarities in the film include a frustrated photographer at his wits' end, a family of buffoons dragging an English kite, and the absurd yet cliched boxer signaling a fool into his direction. Although a fun trip, The Running Jumping is not a good introduction to Lester's oeuvre. If you can try to find that rare copy of Hard Day's Night with Running Jumping tagged on at the end: that's how I saw it. Then give How I Won The War, Help, and The Forum a chance.

The Gospel According to St. Matthew (1964)

Pasolini's own rendering of the Scriptures.

[15 August 2001]

Basically, the title is self-explanatory: the gospel according to the Scriptures, about Jesus, in the book of St. Matthew. This was Pasolini's first major production - Accatone was his debut. St. Matthew utilizes a throng of unknown Italian actors that acquired recognition after the film was released. However, amid this interesting quality there seems to be a clashing between the Latin physiognomy in a Biblical Jerusalem. Nevertheless, the film appears to exhibit many anachronisms: A Blues singer humming incidental music, traffic sounds in the distance, street settings resembling 1960 Rome, etc. Likewise, the actor playing the Son of Man looks like a cross between Andy Garcia and Al Pacino ---get a load of the heavy brows.

Despite these minor traits, altogether, the film stands as another great retelling of the birth, death, and resurrection of the Messiah himself. In addition, the film presents a more profound examination of the gospels. Is Pasolini offering a straight-faced story of the Lord or is he telling it with biting scorn? These questions are brought up and the viewer can look at it as either "the greatest story ever told" or as a satirical metaphor on Christ and dogma. To my knowledge, Pasolini had always questioned theology. Be it his famously controversial (some say blasphemous) lament for the near-death Pope or his subsequent film Theorem: these both revealed Pasolini's steadfast philosophy.

Having some knowledge of the Scriptures would definitely help getting through St Matthew. Although, after seeing the film, one may want to go back and reread parts of the New Testament and then re-watch the film. My only complaint about St Matthew is that the subtitles are barely readable, although the re-mastered version may have remedied this flaw - beats me, I only own the original edition. Above all, St. Matthew works as both a creative adaptations for art-house film lovers (or Pasolini fans) and as a family film.

The Hawks and the Sparrows (1966)

Not the Usual Pasolini --- but still a great film.

[9 February 2001]

I picked up this Pasolini film a few days back, and I must say it was something a bit incongruous for Pasolini to make. The film takes place in a barren farmland, where a boy and his father meet a talking crow. Thereupon, the film shifts to a local monastery where we see the boy and father as monks. Inch by inch, they have the ability to talk to birds (i.e. chirping and whistling) as well as communicating with them. However, these birds (sparrows) are suddenly being killed off by the Hawks, and the rest is history. Although appearing dull at first, the movie soon gathers interest after the interaction with the crow, but abruptly finishes on a demented yet humorous note. Not as graphic as his later film would be, even so there's a sick sense of style idiosyncratic to Pasolini; although "The Hawks and the sparrows" still seems a bit weird, as if part of the school of Surrealism. I've heard Pasolini made this film as an allegory for his personal eroticism, or an across-the-board motif for homosexuality. If that were the case, it's a very imperceptible one that is obscured by the film's visual aesthetics altogether. Nevertheless, it's worth a look, and most hardcore Pasolini fans would understand it for its existence and beauty.

Salò, or the 120 Days of Sodom (1975)

The Way Art Works

[6 February 2001]

I hear a lot of complaints about this little film and I'm wondering "what's the fuss? This is the way art works." Pier Paolo Pasolini was previously known as a writer who finally he got his big break doing film scenarios for Fellini. Thenceforth as a director himself, Pasolini created many films, mostly based on famous literature (i.e., Decameron, Medea, Arabian Nights, etc.) One day Pasolini decided on adapting de Sade's "120 days of Sodom" to the big screen. Little did he know what fuss it would cause. Salo is a film depicting Fascist Italy and it's malefactions while keeping a group of children hostage. The film follows the fascist revelry in the abuse, rape and murder of the children; thus the film is set as an allegory for the decadence and depravity of humanity. Sounds like a great film . . . well, truly it is. Although a controversy at the time (for which Pasolini was murdered for) Salo seems tame today compared to films like Natural Born Killers, Crash, and Saving Private Ryan. Nevertheless, what people seem to not understand is how to appreciate Salo as a work of art that it is. Liken to most controversial art forms (notably Dada and "surprisingly" things done by Andy Warhol) Salo was created to instill a reaction in its viewers. Be it the famous "Circle of Sh*t" which had me gagging on the floor, or "Circle of Blood" which made me feel uneasy and somewhat angry. However, that is the way art works, it is geared to provoke and/or imbue emotions. Andy Warhol had people yawning, L'age D'or had people protesting, and Salo found deep-seated hatred by most of it's viewers; again, these artists all succeeded in making there point. It is sad to say that Pasolini was murdered for this film; if only he lived what other masterpieces would he create. For those who are interested in Pasolini, check out "Whoever Says the Truth Shall Die" one of the better documentaries of the artist himself.

The Valley (Obscured by Clouds) (1972)

Pink Floyd, Hippies, Natives, and the Truth.

[6 February 2001]

The Valley is not for everyone's taste but is still worth a look. Sometimes looking like a cross between Jimi Hendrix's Rainbow Bridge and National Geographic, the Valley pretty much centers on the same themes of the former although it exhibits a much more lucid character development, not to mention poetic discourse. The Valley brings up many ideas of its era: free love, mind expanding drugs, psychedelic music, and ontological excursions. However, the foremost point seems to be a clash between the first and last cited, and sometimes presented sporadically.

The film follows a girl who latches on to group of hippies on an expedition for the `Valley obscured by Clouds.' Her primary motive is to collect rare feathers for her husband in France, but she inevitably falls in love with two of the hippies. Amongst their infidelities and hypocrisies, the group manages to find aid with a friendly New Guinea native tribe who slaughter pigs and perform ritualistic dances. Finally, the group makes their way back on the path, but do they?

Although somewhat slow at moments (i.e., the group's interaction with a peaceful African tribe) the Valley primarily has a steady pace; however, this minor flaw is (!) obscured by the beautiful cinematography and scenery. I enjoyed a large percentage of this film (especially the incidental music composed by Pink Floyd) but the ending a bit abrupt, a quality that may upset some viewers wanting more. Nevertheless, the Valley is still a great film with a beautiful story and beautiful images.

Note: about the music, if you're looking for another Pink Floyd album in this movie, forget it! As mentioned above, it's purely incidental and few of the Floyd's songs are in this film. Go buy the complete soundtrack in the stores.

The Canterbury Tales (1972)

Perverse, Dull, and sometimes Fun.

[6 February 2001]

Chaucer must have rolled over in his grave after this movie was released. Pasolini combines several stories from Chaucer magnum opus, adds a lot of bathroom humor, and gives it a glossed over look purposefully for art lovers and other diehard fans. What we have is a sloppy mess which can be offensive as well as being humorous. Some scenes had me laughing (not to mention the scene where Satan defecates lost souls) while others had me dozing off. Nonetheless, as a whole the film is pretty clever but a little goes a long way. Look close for Tom Baker (the most famous Doctor Who) in a brief nude scene. For Pasolini fans only.

The Valley (Obscured by Clouds) (1972)

Great Film and music by the Floyd.

[5 February 2001]

The Valley is not for everyone's taste but is still worth a look. Sometimes looking like a cross between Jimi Hendrix's Rainbow Bridge and National Geographic, the Valley pretty much centers on the same themes of the former although it exhibits a much more lucid character development, not to mention poetic discourse. The film follows a group of hippies on an expedition for the `Valley obscured by Clouds.' Interwoven with the story is the relationship of the films two main characters ---- likewise, their infidelities and their hypocrisies. Although somewhat slow at moments (i.e., the group's interaction with a peaceful African tribe) the Valley primarily has a steady pace; however, this minor flaw is (!) obscured by the beautiful cinematography and scenery. I enjoyed a large percentage of this film (especially the incidental music composed by Pink Floyd) but the ending a bit abrupt, a quality that may upset some viewers wanting more. Nevertheless, the Valley is still a great film with a beautiful story and beautiful images. Note: about the music, if you're looking for another Pink Floyd album in this movie, forget it! As mentioned above, it's purely incidental and few of the Floyd's songs are in this film. Go buy the complete soundtrack in the stores.

Oedipus Rex (1967)

Read the play, then see the film.

[29 January 2001]

Sophocles' Oedipus Rex is adapted well for the foreign screen. Pasolini, better known for the controversial Salo; 120 Days of Sodom, has kept the intensity level to a minimum while still presenting the perverse qualities for which he would be known for. If you don't know the story (like who doesn't) read the play before seeing the movie - there tends to be a shortage on literature freaks these days. Beautifully filmed, Oedipus Rex begins in modern times, continues sometime BC, and finally ends back in the 20th century; thus presenting a sociological thesis for the viewer. The acting is a bit hammy (seeing Oedipus with a mad streak can be over the top) although the characters are developed well and recite their lines as if on stage. My only complaint is the subtitles seem to blend in with the scenery --- white subtitles against a white background. Therefore, this flaw makes it difficult to enjoy some scenes, and Pasolini's poetry is usually superb. Nevertheless, it's still a great film and is worth a look, especially by people with preconceived hatred for Pasolini's later work -and there's definitely a lot out there.

Slumber Party Massacre II (1987)

Hallucinations can sometimes be deadly – or fun.

[25 November 2000]

This movie is definitely not for the delicate, but if you're a movie buff (or horror-movie buff), rent it just for the laughs. Slumber Party Massacre 2 picks up 3 years after the brutal murders in the first of this series. Courtney, the films main character (the last survivor of part 1) is having nightmares and unpleasant hallucinations of the killing of her friends. Courtney is also noticing a greased Elvis lookalike sixstring-welded driller killer in her dreams as well. However, after making love to her boyfriend and believing that she is dreaming about the Killer again . . . guess again Courtney, he's real and ready to kill. SPM2 is far worse than it's original (and I'm not saying the first one was award winning material) but it somehow creates the ambience of USA movie up-all-nite fun when there's nothing to do around the house. The film rollicks with its utilization of psychobilly incidental music akin to Little Richard meets Tangerine Dream. As mentioned above, the Killer has that Elvis slicked look about him (and you call that scary?) and sings grade-B 50's Rock n' roll tunes. Driller Killer's (as he is mentioned in the credits) kicks off hit after hit of R&B flavored tunes --- i.e. the classic 45 `Let's Buzz,' featuring stupid lyrics as `Got a penthouse at the Ritz, I bought it with all my hits.' I can't even tell if he's really trying to be Elvis or Pat Boone! Likewise, the films jumps around with its scenes of dweebs and chicks covered in home-made gore, half naked girls running like chickens with their heads drilled off, stereotypical cops who are always disbelieving and other assorted elements that make up a B-movie. To be frank, if there were more sex and gratuitous nudity in this film it would be more enjoyable for the majority – a trait most 1990-2000 films exhibit. Nevertheless, the SPM2 has enough silly catch phrases and inside jokes to keep most lighthearted viewers satisfied.

Xtro 3: Watch the Skies (1995)

better than the last sequel.

[20 November 2000]

Xtro 3 takes place on a deserted island where a group of Marines try to figure out just what happen at their Japanese intern camp. Once they land, they find an alien spacecraft and an ET looking creature living inside it; thereupon, all hell breaks loose. I actually enjoyed this sequel more than Xtro 2. The film has an enjoyable plot and alien effects; nonetheless, it can become too rakish for some people. Look closely for Tom Hanks's brother Jim Hanks, who has a supporting role.

Xtro (1982)

Entertainment or --- a message?

[20 November 2000]

It was the summer of '94, when randomly skimming through my idiotic Leonard Maltin movie guide, I discovered an intriguing yet haphazardly produced film entitled Xtro. After reading Maltin's critique, I was still curious of the films content, regardless of Maltin's bad review. Despite all the hubbub, I finally sat down in my new pad and watched this so-called bad movie. A quick opening scene zipped by, that of an Englishman Sam, played by Philip Sayer who's playing in the yard with his son Tony. Thereafter an Xtro, or alien, abducts Sam who then returns 3 years later as an alien. At this point Sam rapes a woman who then gives birth to a full grown man, the new and improved Sam. Monotony occurs when Sam returns to his wife and the film dawdles in scenes where a midget clown turns Tony's nanny into an alien breeding machine. As you can see Xtro has its good and bad moments. However, even if these scenes (i.e. the pregnancy scene) may seem revolting, they were done for a reason:Hint, the birth of the 2nd coming (ala the film Begotten). If the director Harry Bromly Davernport had eliminated these ingredients for "family viewing" (ala, Leonard Maltin) we'd have motel art. In short, a composition is not completed until it has its colours, and Xtro is filled with 'em. Xtro represents the security from fear, disturbance, and bigotry; in effect Nirvana. As you finish watching the film you'll understand why. I deeply recommend Xtro for cult buffs who relish grade Z production. However, those repulsed by gore should stick with a Spielberg production.

Maniac (1980)

Psychosis Can Be A Roller Coaster -- Sometimes.

[16 October 2000]

Maniac is a very disturbing movie depicting a lone schizoid psychotic impelled to murder women one by one. After he murders them he scalps them and uses their hair for his collection of mannequins. These murder scenes are performed with lewd gusto and sometimes exceeds melodramatic violence with its use of gore.

The director makes an effort at portraying the killer's psychological structure. In a few scenes we hear the maniac's hallucinations asking him `why do you do these things,' and a few scenes depict him as somewhat conscious and fearful of his demons. However, the film does not pursue these themes and, unfortunately, we are made to hate the murder for who he is.

Nevertheless, the film was made at a time when mental illness was overlooked,and in addition, this is a horror movie and not a drama where these issues are questioned --- a la, Henry; Portrait Of A Serial Killer.

On the contrary, Maniac can be an entertaining film, once the viewer relinquishes its disturbing topics. Maniac was made on a low budget and this gives the film a suspenseful ambiance. The film has fun with misogyny, sometimes sticking it in the face of the viewers while scorning us at the same time. My favorite scene is the Bunuelian hallucinatory sequence, where rotting mannequins attack the title character, thus (somewhat) recapitulating the film.

Maniac is one of those films where we shouldn't care one bit; in other words, it's a bomb. Moreover, once the viewer has immersed into it he/she will forget the pitfalls and have fun – i.e. a roller coaster ride. However, for those who are offended by graphic violence and psychological stereotyping, stay away from The Maniac.

The Slumber Party Massacre (1982)

Feminism in a slasher film? -- I think not!

[9 October 2000]

I've heard a lot of stories about this film: that it was directed and written by a feminist of the 70's; that it stood as an allegory for Women's Rights, or in this situation, P*ssy Power and the S.C.U.M manifesto; that Amy Jones' main proposal was to present her victims as developed characters and not pieces of meat. However, after finally viewing Slumber Party Massacre, I wasn't impressed one bit, and did not identify these redeeming qualities mentioned above.

The film depicts a group of beautiful teenage girls planning for a weekend slumber party. Two male characters decide on panty raiding the party, as well as picking up a few assets; however, what they don't know is a drill-welding sadistic murderer has just escaped from prison and he has a few plans of his own.

A large percentage of the film features some brutal scenes, and sometimes reaches the point of gratuity. Overall, Slumber Party has a few chills but mainly works under a hackneyed slasher-flick foundation (i.e., who is the most foolish? Who will be the survivor(s)? Will the killer be a sequel? etc.) Nevertheless, it's a very violent and foolish film (nice try Amy) but if it's a overall feminist statement the director was trying to make, why does she have to resort to the sophomoric horror commonplaces that we are sick of. And of course, this film was followed up by 2 sequels.

Rating: 1 star.

Pieces (1982)

Watch this on your day-off.

[24 September 2000]

I saw Pieces after a hard day at work – I wanted something entertaining yet not too refined. However, while watching Pieces, I realized that I had rented a video below Grade B value. Although, it had its moments, Pieces is the kind of film that literally undermines it viewers. Like most horror films, it placing stereotypical characters (not to mention dumb girls) in ridiculous situations where they're asking to be killed. Pieces has everything of a bad movie: unnecessary nudity, Violent acts performed with lewd gusto, Badly dubbed lines, and a pretty daft ending. Nevertheless, it still has a certain quality about it (in the same vein of Prom Night and Happy Birthday to Me) that makes this whodunit picture barely entertaining. All in All, if you've seen one slasher flick, you've seen them all.

Tales of Ordinary Madness (1981)

Don't Judge A Video By Its Cover.

[21 September 2000]

The first time I've heard about this film was by viewing its risqué poster. Nonetheless, the film wasn't so great as I thought it would be. Ferreri is well-known for his controversial films (a la, The Last Women, Bye Bye Monkey); however, this time he presents a more subdued approach to his filming. The film depicts Ben Gazzara in the role of a struggling poet (Charles Bukowski) who has his way with women and booze. Ornella Muti's character, a self-abusive prostitute, has her way with walking around bottomless and using safety pins. However, the acting is second-rate, the poetry is half-witted, and the story feels like a mock version of a Cassavette's film. It looks like Ferreri was trying too hard at rendering an artistic looking picture -- or else a cult film, which it has become. I'd stick with Barfly myself.

The Discreet Charm of the Bourgeoisie (1972)

The Savory Charm of This Film.

[21 September 2000]

Bunuel is the godfather of Surreal-cinema. In this film Bunuel limns a tale of an oddball dinner-party group, that finds themselves going to every extreme possible. However, considering every episode they encounter, they never finish one meal. This film utilizes common surrealist resources; absurdity, shock value, and repetition which Bunuel has mastered. If you like this film also check out Bunuel's The Exterminating Angel, which was the precursor to the one in question.

Tristana (1970)

A Love/ Hate Movie.

[21 September 2000]

One of the better melodramas by Bunuel that stars Catherine Deneuve --Belle De Jour was the most successful. Tristana is the third installment to Bunuel's ill-fated heroine yarn: as we know, Viridiana and Belle De Jour were the first 2. Nevertheless, the film's not as surreal as these previous two films; however, Bunuel still maintains his use of dream sequences and familiar motifs. Rey is excellent as the lecherous uncle, and Deneuve is also good as the title character. Bunuel has definitely excelled in focusing on the aesthetic approach to a story-line; however, this respect can be overwhelming for some viewers, especially those who are more comfortable with the fast-paced American movies. In short, Tristana is still an excellent movie regardless of these unusual aspects.

Diary of a Chambermaid (1964)

Let It Sink In.

[21 September 2000]

The Diary of a Chambermaid is one of Bunuel's most perverse films, in the sense that it deals with decadent behaviors and assorted execrations. The story follows a chambermaid's sojourn at a godforsaken estate, which is inhabited by a foot fetishist, a pro-Nazi brute, and an impotent father. Once confronting these oddball monsters, she must fulfil their aberrant desires in the subtlest yet disturbing ways possible. Although not imbued with his usual surrealist alchemy, Bunuel's main focus for this film is presenting a linear narrative (a la, melodramatic) as well as developing the film's character structure. The film has that `Voyeuristic intention' about it, sometimes making its viewer feel a bit agog and at other times discomforting. All goes as Bunuel had planned for this film, particularly the glossed-over B&W picture; however, the film's final scene may be a bit hazy for those with a low attention span - sometimes mine.

L'Age d'Or (1930)

Ahead Of Its Time

[21 September 2000]

After completing Un Chien Andalusia with Salvador Dali (who helped write the screenplay) Bunuel began his new film titled L'age D'or, translated as The Golden Age. Altho not entirely collaborating on the screenplay, Dali still received his credential for L'age D'or; however, this film was primarily a sole project for Bunuel. In this film Bunuel attacks religion with the famous image of a skeletal clergy resting on the shore of Catalonia. In addition, the film contains other sensational and bizarre imagery (i.e. a cow laying on a bed, a woman having a bowel movement, a man with a boulder on his head, a festering wound on a man's eye, and the like). Obviously, L'age D'or was controversial at it's time, and still is for some audiences. However, the films takes at least 3 times to completely understand Bunuel's symbolism (the way I saw it), as well as the ambiguous conclusion which is still a bit hazy for me. The film's pace is rather slow and can be dull at moments; nevertheless, it takes a lot of patience to even enjoy this film, considering the irregular structure of the story-line. However, that doesn't mean the film is a bomb: it's definitely a standard in the history of art-and-film, influencing a dozen surrealist filmmakers (ie, Cocteau, Fellini) as well as underground directors. In Short, this film will start to grow on the viewer after several viewings. Bunuel was ahead of his time as a director, therefore L'age D'or may seem out of place for todays audiences as well as todays critics.

Un chien andalou (1929)

Short and Sweet

[21 September 2000]

Luis Bunuel and Salvador Dali decided to create a film scenario out of their random dreams. The result was Un Chien Andalou, a short surrealistic film that lacks a plot, but utilizes bizarre imagery and satire to instill shock value on its audience. A lot of memorable scenes: the famous eye slicing, the Freudian breasts that turns to buttocks, ants crawling out of a man's hand, a severed hand in the road, a man pulling pianos filled with rotting donkeys, and the like. Also included in this package is Land Without Bread, a documentary about a poverty-stricken town in Spain.

Hey, Let's Twist! (1961)

Joe Pesci On Guitar

[16 July 2000]

Another rock n roll/quasi-dramatic picture from the 60's, this film features that one hit wonder "Peppermint Twist," by Joey Dee. The film is USA network material, centering on a good o' Lounge Club in the city, where musicians are situated with bad acting roles and free booze. The film's highlight is seeing a young Joe Pesci as a stand-in guitarist for the Starliters. I understand Pesci had an ear for music before acting; this film would lead him to the latter.