This film is a sequel in name only to Valley of the Dolls (1967). An all-girl rock band goes to Hollywood to make it big. There they find success, but luckily for us, they sink into a cesspool of decadence. This film has a sleeping woman performing on a gun which is in her mouth. It has women posing as men. It has lesbian sex scenes. It is also written by Roger Ebert, who had become friends with Russ Meyer after writing favorable reviews of several of his films.
It’s deadpan-droll throughout (with at least as many highly quotable lines as Rocky Horror), cod-moralistic, carefully balanced between satire and melodrama, gratuitously focused on women with outsize breasts, and shot and edited with astonishing mastery. Much of Meyer’s film language, as Ebert points out, is redolent of ‘pure’ silent cinema: to-the-point storytelling and earnestly expressive performances, plus montage sequences worthy of Slavko Vorkapich.
— Tony Ryans, Sight & Sound Continue reading
Mondo Trasho is a 1969 16mm mondo black comedy film by John Waters. The film stars Divine, Mary Vivian Pearce, David Lochary and Mink Stole. It contains very little dialogue, the story being told mostly through musical cues.
A few excerpts from 1000misspenthours.com:
” In the meantime, what we can do is to revisit the moment of transition between Waters essentially making movies on a lark with his reprobate friends and the Dreamland Studios team (as they called themselves) becoming serious about building careers in cinema on their own eccentric terms. That transition came with Mondo Trasho, Waters’s first feature-length film, and his first to receive any approximation of professional distribution. Mondo Trasho premiered, as usual, with a nine-showing engagement at the Emmanuel Church rental hall, but it was quickly picked up by the New York-based Film-Makers Cooperative as part of their fledgling effort to break into the distro business. The coop never managed to secure a booking in their home city, ironically enough, but they did send Mondo Trasho to Los Angeles. Continue reading
The story takes place in the old streets of Porto and by the banks of the Douro River. A gang of very young kids has just accepted a new member, Carlitos, a shy boy who has “played it tough” by stealing a doll in a shop. Carlitos soon develops a crush on Terezinha,the only girl of the group. The trouble is that Eduardo, the “boss”, is also in love with the pretty little girl. And he will not allow any rival to challenge him… Continue reading
“Hitler’s Folly” explores what might have happened if Adolf Hitler’s art career had been more successful and instead of becoming an evil dictator, he was inspired to become an animator like Walt Disney. Continue reading
The Year is 1980 and it’s Summer in Vienna
Most people outside of Austria will rarely get a chance to see this movie, but if you get a chance like this, don’t let it pass as you as you’re on for a real treat. ‘Exit’ is not just an Austrian cult movie, it’s a funny and at the same time disturbing and at times depressing look into Vienna in the 80’s. This is “the” movie parents in 1980’s Austria did not want their kids to see.
Viennese crook and would-be playboy Kirchhoff dreams of owning his own coffee house and having lots of beautiful women. In order to reach his goal, he is sometimes compelled to leave the straight and narrow.
Comedy, violence, sex and vandalism are the ingredients of this Austrian cult classic. Continue reading
Portuguese director Manoel de Oliveira made this amazing film in 1981, at the age of 72; as powerful as it is stark, it suggests a blending of the modernist, minimalist techniques of Jean-Marie Straub with the elusive spiritual subject matter of Max Ophuls. In 19th-century Portugal, a rising young novelist falls in love with the daughter of an English army officer, provoking the obscure envy of an aristocratic friend, who resolves to marry the girl himself and make her suffer for her betrayal. The baroque plot is presented in a series of single-take tableaux, which do not attempt to embody the drama as much as allude to it, leaving the dense and passionate feelings to take shape entirely in the spectator’s mind. Oliveira limits himself to showing only what can truly be shown: not the story but a representation of the story, not the emotions but their material manifestations as they have crossed the decades. A masterpiece of the modern cinema, difficult but extremely rewarding.
Review by Dave Kehr of the Chicago Reader: Continue reading
Fat, Dumb and Rich
23 May 2007 | by mar9 (Newcastle, Australia)
The three nouns above were the episode titles for this 3-part documentary about the USA. “Fat” is naturally about food, and it’s no surprise to find that the portions from the perspective of an austere Englishman are mind-bogglingly huge. As are the people who eat them. “Dumb” is basically a road trip through the some of the stranger sights the US has to offer, and the stranger people who populate them. “Rich” is an exploration of the US lifestyle for those fortunate enough to be able to afford it, and the answer is that it’s pretty fine. Jonathan Ross is the perfect presenter for this show that proves that it is impossible to exaggerate the weirdness that is life in America. He gives his subjects free rein to be as mad as they obviously are, and participates wholeheartedly. Part 1 in particular is a good companion piece to “Supersize Me” and the other episodes are somewhat reminiscent of Michael Moore when he’s not being irritating and invading office foyers and boardrooms. Find “Americana”, watch it. It’s good. Continue reading