A Clockwork Orange
A classic tale of boy loves violence, loses violence, and reunites with violence. Alex de Large (Malcolm McDowell) is a romantic hero for a decidedly unromantic age, represented here by a Moddish parallel universe. When all things, including humans, lose their intrinsic qualities, becoming place holders in the stimulus-response equations of a totally administered world, even the most barbarous of acts, if freely chosen, can take on a heroic hue. Not exactly a comforting thought, that one. Thus, Kubrick enhances audience identification with Alex’s creative acts of resistance via a first-person voice over, visualizing his sadistic reveries (as in a masturbatory sequence involving Beethoven’s 9th), and shooting his violent deeds through an extreme wide angle lens which tends to slightly distort everything around our humble narrator.
Alex’s fun comes to an end when he’s betrayed by his droogs after having killed a lady. After 2 years in prison, Alex charms his way into an experimental procedure at the Ludovico lab, which via behavior modification instills in him an aversion to sex and violence, as well as his beloved 9th, which happened to be the background music to one of the videos he was forced to watch. He can look, but he can no longer touch, his feelings now associated with a crippling nausea. Having been turned into a normal(-ized) citizen, Alex is released back into society. The violence he perpetrated in the first act is inflicted back on him by his former victims to which he can only respond with learned helplessness. Through the repercussions of the last creative act left to him, an attempt at suicide, the world is restored of violent personal meaning to the familiar tune of Ludwig van.Continue Reading
Once upon a time in the golden period of films known as the 1970s, Mel Brooks was, along with Woody Allen, the biggest directing name in comedy. Both had been on the legendary writing staff of Sid Caesar's Your Show of Shows in the '50s (along with Neil Simon and Carl Reiner) and both brought a distinctly Jewish tone to their slapstick. While Allen represented the Manhattan highbrow, Brooks’s style lurked more in the offensively low end Borscht Belt style. By the '80s, when Allen's status raised to the level of genius, Brooks’s comedy had already become passe and completely juvenile, working in the obvious (Spaceballs, Dracula: Dead and Loving It, etc.). But his early string of comedies, from The Producers through High Anxiety, created a lot of laughs, peaking in 1974 with two comic masterpieces: Young Frankenstein and, maybe even better, the bawdy western spoof Blazing Saddles.
The western spoof is almost as old as the western itself—you had Laurel & Hardy in Way Out West, The Marx Brothers in Go West, Mae West and W.C. Fields did My Little Chickadee, and Bob Hope had The Paleface and then Son of Paleface, not to mention Destry Rides Again with Marlene Dietrich (which Blazing Saddles actually directly spoofs). The '60s saw an examining of the western most directly through the Italian spaghetti westerns and American western comedies such as Cat Ballou and Support Your Local Sheriff! In the '70s, the reexamining went to the extreme as the western was turned in on itself and poked at by post-modernists with films as broad as Jodorowsky’s El Topo, Altman&rs...
Dillinger is Dead
The essay by Michael Joshua Rowin included with this film seems to approach the film's historical aspects, presenting its theme as an overflowing aggression from the director in the turbulent '60s. Rowin addresses the fact that Ferreri - unlike his peers Antonioni, Pasolini, Bertolucci, and Fellini - made films that went against the norm and were arguably ahead of their time. For Ferreri, the '60s meant the drastic change in the importance of politics and culture, which was replaced by materialism, technological stimulus, and constant protest. He claims that Dillinger is Dead is Ferreri's “angriest” work, and that its masculinity shines through its use of a war-friendly atmosphere, "weak" female characters, and phallic symbols. There is no argument that Ferreri was tackling the changes in his world in a way that requires some delving into and critique. My review of Dillinger is Dead is not to go against those made by Rowin and other critics, but to give a different understanding of the lead character. From someone who is familiar with the films of Ferreri's peers, and other Foreign New-Wave directors, there was something fantastic about this film that has nothing to do with political and social change—a quality that is a bit more universal and relevant.
The protagonist of the film doesn't have a name outside of the script, in which he's named Glauco. He manufactures gas masks and is dissatisfied with his work. A colleague gives a long metaphorical monologue on the need to protect people from a deadly society and the alienation that has derived from such protection. Glauco returns home to find a cold and mediocre meal left for him and a beautiful wife who would rather nod off on pills than join him at dinner. Glauco returns to the meal and refuses to eat it. He has a vision of steak and starts to make his own gourmet dinner from a cookbook. While searching for ingredients in the kitchen, he stumbles upon a pile of old magazines in a cupboard. He notices an object wrapped in a dated newspaper. Inside is an old and rusted gun, and the paper is the front page that announced the violent death of Public Enemy # 1, John Dillinger. The gun fascinates him, and it appears to belong to the notorious criminal. He starts to take it apart as he cooks, oiling every part of it and adoring its complexity. His maid, Sabina, enters the story as a lazy, but pretty young woman who doesn’t seem to do any housework. He watches television, soaking in a world that he's removed from—a world with changing technology and young girls who are interviewed on make-up and miniskirts.Continue Reading
No Blade of Grass
For hardcore moviephiles the Warners Archive Collection has been a godsend. Instead of mass producing everything the company owns, many titles have been released as VOD (Video On Demand) and, because of the lower demand, these are titles that may not have otherwise ever seen the light of day. These are DVDs that include no extras and usually haven’t been remastered, but are still very watchable and often have never been available in any form in the home viewing marketplace. Titles range from Hollywood classics (Tea and Sympathy) to both live action (Sheena) and animated television series (Pac Man the TV show!). But where they have really excelled is in films from the golden period of the '60s and '70s that have never had much home viewing distribution, ranging from the great (Dark of the Sun), the bad (Doc Savage: The Man of Bronze), and the weird (Brewster McCloud) to the culty (You’re a Big Boy Now), the gritty (The Outfit), and the forgotten hits (Freebie and the Bean, The Fish that Saved Pittsburg). Many of these have been films I saw and even obsessed over as a kid (I was dreaming for the Dark Of The Sun release). Most excitingly I’ve finally been given a chance to catch up with a post-apocalypse flick I vaguely remember from an old grainy bootleg VHS copy I saw many years ago. (My memories of No Blade of Grass have haunted me). This most recent viewing reconfirmed the scary power this movie still carries.
Hungarian born Cornel Wilde was a long time pretty boy jock actor. He got an Oscar nomination early in his career for playing Frederic Chopin in A Song to Remember in 1945, but besides a nice supporting turn in The Greatest Show On Earth most of his career was awash in B-swashbuckling adventure flicks. He had dabbled in directing throughout the '50s but it wasn’t until 1965 when he fully connected the dots with his survival action masterpiece, The Naked Prey (a film that has gotten the full bells and whistles treatment from the high-end DVD distributors Criterion). Five years later No Blade of Grass, continues on much of those same themes of man vs. his savage impulses, going even further with the violence and throwing in deeper groovy environmental paranoia.Continue Reading