Videodrome

Dir: David Cronenberg, 1983. Starring: James Woods, Sonja Smits, Deborah Harry. Cult.

Let’s revisit the early 1980s. Picture yourself removed from all forms of technology that are now so familiar and seem to endlessly grow. We’re talking Internet, texting, Blu-ray, and even modern day cable television. Now imagine that satellite television is the most exciting concept. Let’s also imagine the thrill of recording and watching something on videocassette. Supposing you are one of the privileged few who has access to this technology, what would you choose to watch? Remember, you’re now able, for the first time, to pull video feed from anywhere with this satellite into your home. How much would you want to devour with your own eyes and in what ways might it change the way you live?

I have something I want you to watch. Its name is Videodrome. Directed and written by David Cronenberg, it is a film with a philosophy about a mind-altering pseudo-program that has a philosophy of its own. James Woods plays Max Renn—the president of a small cable television channel that presents exclusive and mostly erotic content. His idea is simple: allow people to manifest their desires at home and, as a result, keep it off the streets. While working with his assistant he comes across segments of a pirated television show called Videodrome. In short, Videodrome is a near primitive display of unlucky souls who are tortured and/or raped, never to return onscreen. The simplicity and terror of the program is unlike anything he’s ever seen. He wants to share this vision with his viewers, thus beginning a quest to find its source.

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Posted by:
Edythe Smith
Mar 1, 2010 6:35pm

Murmur of the Heart

Dir: Louis Malle, 1971. Starring: Benoît Ferreux and Lea Massari. Foreign.

Some of Louis Malle’s most daring films capture the bewilderment that comes with entering young adulthood. Features such as Au Revoir Les Enfants and Pretty Baby not only guide the audience through the tender and turbulent times of their leading youth, but also deliver a glimpse of the social environment and conditions in which they live. Murmur of the Heart is, in few words, a nuance of intimacy and perhaps a re-working of the Oedipus complex. It follows Laurent—a fifteen-year-old boy whose aristocratic identity and layered personality result in a constantly altered state of mind and lavish exercises in rebellion. Due to his social standing and education Laurent is not your average fifteen-year old, and thanks to the privileges of a lax society and the perspective of older, rambunctious brothers, he has come to think of himself as a young man. The current leading lady in his life is his mother; a beautiful Italian who, like a girl of a much younger age, is constantly impressed and smitten with Laurent’s charm and innocence. Known to his older brothers and surrounding family as "sensitive" and intellectual, Laurent also shares a certain vulnerability to jazz, theft, and women. All of this is put to a halt, however, when Laurent develops a heart murmur and is sent on vacation with his mother to receive treatment. With plenty of free time and leisurely activities, Laurent and his mother grow even closer than before, ultimately leading to displays of affection that must later become secrets, and yet are still handled, by Malle, with delicacy.

For a first-time feature-length actor, young Benoît Ferreux is full of surprises. Laurent’s character is like a balanced mesh of puppy dog and tyrant, which somehow blends to make an odd and highly entertaining finished product. Portraying the unmasked desire by boys of this age and social class to become men is a refreshing alternative to the rough-edged machismo upbringings we often see presented in film. For Ferreux to be able to grasp that concept early and portray it correctly is in itself a promise of the fruitful career that was to come.

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Posted by:
Edythe Smith
Feb 24, 2010 6:01pm

Fat Girl

Dir: Catherine Breillat, 2001. Starring: Anaïs Reboux, Roxane Mesquida, and Arsinée Khanjian. Foreign.

Doctor: " What are you doing here, honey? You’re not even old enough to know how bad life gets." Cecilia: "Obviously, doctor, you’ve never been a 13-year-old girl." -- Sofia Coppola’s The Virgin Suicides

 

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Posted by:
Edythe Smith
Feb 24, 2010 2:05pm

Cries and Whispers

Dir: Ingmar Bergman, 1972. Starring: Harriet Andersson, Ingrid Thulin, Erland Josephson, Liv Ullmann, Kari Sylwan. Foreign.

"In the screenplay, it says that red represents for me the interior of the soul. When I was a child, I imagined the soul to be a dragon, a shadow floating in the air like blue smoke....But inside the dragon, everything was red." -- Ingmar Bergman

For most of Ingmar Bergman’s career, the decision to shoot in black and white, both before and after Cries and Whispers, has been one of choice and trust. The delight of seeing his vision in color is not simply based on color itself but of his use of it in the film. Like a poet, Bergman decided to look past what color can mean for the eyes alone, to its purpose to help us understand and appreciate life, death, and the soul.

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Posted by:
Edythe Smith
Feb 16, 2010 2:50pm

Who’s That Knocking On My Door

Dir: Martin Scorsese, 1967. Starring: Harvey Keitel and Zina Bethune. Drama.

"A broad. You know, there are girls, and then there are broads. A broad isn't exactly a virgin, you know what I mean? You play around with them...You don't marry a broad..." -- Who's That Knocking At My Door

Who’s That Knocking At My Door, directed and co-written by Martin Scorsese, has had various names, influences, and spans of time in which it was filmed. One thing that leaves no question is that for Scorsese and Harvey Keitel’s first feature-film, it is an ambitious and carefully executed debut that will leave you wanting more. Keitel plays J.R., an average Italian-American whose idea of a good time is romping around with his friends and persuing “broads.” All that changes when he meets a beautiful and traditional girl (Zina Bethune) whose purity is so alluring that he cannot help but get involved. His Catholic classification of women to be the “Madonna or the whore” ignites an inspiration not only to be a gentleman, but also to offer up a willingness to settle for such a girl. But when a secret from her past distorts the fine lines he thought every woman could be defined by, J.R. must confront and break down everything he once understood about affection and his convictions.

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Posted by:
Edythe Smith
Feb 16, 2010 2:39pm

The Brown Bunny

Dir: Vincent Gallo, 2003. Starring: Vincent Gallo, Chloë Sevigny, Cheryl Tiegs. Cult.

It could be a hearty bias that this is currently one of my favorite feature-length independent films. With that said, I understand that it is arguably very exclusive in terms of its audience. The Brown Bunny, written and directed by Vincent Gallo, might lend itself to being watched a few times before going down smoothly.

This film is the haunting story of Bud Clay (Vincent Gallo)—a professional motorcycle racer caught in his own literal nightmare. A repetitive adventure from New Hampshire to California coming across women that he attempts to let into his life with haste in order to mend his loneliness. But as he soon discovers, the ghost and memory of his only true love Daisy (Chloë Sevigny) is not only irreplaceable, but at the peak of his heart's desire and torment. Though Bud tries daily to fill the void of her existence, the film concludes with us being able to view the tragic end of their love and leaves a bold statement you won’t soon forget. A statement, etched in pulchritude, of a nature that only the human race suffers and yet is one of the eerie qualities that still manages to make it wonderful and unique.

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Posted by:
Edythe Smith
Feb 8, 2010 5:02pm

Straw Dogs

Dir: Sam Peckinpah, 1971. Starring: Dustin Hoffman, Susan George, Peter Vaughan, and T.P. McKenna. Drama.

If you like your ultra-violence with a pulse, you must see Sam Peckinpah’s Straw Dogs—the tale of David and Amy Sumner, played with fervor by Dustin Hoffman and Susan George. Unlike Hoffman’s more well-known portrayals of a man with wisdom and/or humor, his performance in the film produces a chill and admiration that could rival with any cold-blooded killer onscreen. He plays a mathematician who, with his wife, decides to take up residency in her native village of rural England. A place that seems peaceful, yet is nothing but—occupied with Cornish thugs, rat-breeders, tyrants and more than one sexual deviant.

While trying to find relaxation and work on their marriage and his profession, the two find themselves in a vicious and animalistic race to restore peace, David’s masculinity, and to survive. After days of passive-aggressive plots, spiteful conversation, and violence against women, a local girl goes missing. The man suspected of her demise, Henry Niles (David Warner), the town metal-handicap, winds up in the Sumner’s custody one evening. While protecting him in his home, a war unfolds between Sumner and the village thugs, unleashing a competition of wit vs. experience that sends more than one man to their graves.

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Posted by:
Edythe Smith
Feb 8, 2010 5:00pm
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