Category Archives: film

Jean-Pierre Bouyxou interviewed

Dailymotion has an interview by Stéphane du Mesnildot with Jean-Pierre Bouyxou –via I’m in a Jess Franco state of mind by

Summary:

Part 1: Il évoque la naissance de sa cinéphilie et l’importance de la revue Midi-Minuit Fantastique. Il nous parle aussi de Jean Boullet, de Kenneth Anger et de “l’adaptation” d’Histoire d’O par ce dernier.

Part 2: Jean-Pierre nous parle des années 60 et du caractère sulfureux du cinéma fantastique, mais aussi de Guy Debord.

Part 3: Jean-Pierre nous parle de cinéma expérimental, du cinéaste Etienne O’Leary et de la contestation dans les années 60.

Part 4: Jean-Pierre nous parle du peintre et photographe Pierre Molinier et de son film “Satan bouche un coin”. il évoque aussi Noël Godin et les attentats pâtissiers de Georges Le Gloupier.

Part 5: Jean-Pierre nous parle de son amitié avec Jean Rollin, le grand cinéaste de films de vampires français.

Part 7: Jean-Pierre nous parle de ses deux films pornos qu’il a réalisés dans les années 70 : “Entrez vite… vite je mouille” et “Amours collectives”.

Part 8: Jean-Pierre nous parle de la revue Fascination, la bible des amateurs d’érotisme « Belle Epoque ».

I’ve mentioned Bouyxou here.

“These guys are supposed to be American? My ass!”

I Spit On Your Grave (1959) – Michel Gast

On the morning of this date in 1959, Boris Vian was at the Cinema Marbeuf in Paris for the screening of the film version (see picture above) of his controversial “Vernon Sullivan” novel, I Spit On Your Graves. He had already fought with the producers over their interpretation of his work and he publicly denounced the film stating that he wished to have his name removed from the credits. A few minutes after the film began, he reportedly blurted out: “These guys are supposed to be American? My ass!” He then collapsed into his seat and died of a heart attack en route to the hospital.

Background:

J’irai cracher sur vos tombes (Eng: I Spit On Your Graves) is a 1946 French language novel by Boris Vian written under the pseudonym Vernon Sullivan. It was adapted to film by Michel Gast in 1959. Radley Metzger bought the American the rights to this film and distributed it there from 1963 onwards. Miscegenation, murder and revenge are the themes of this French crime drama set in the American south.

Plot

The story, like the other stories that Vian wrote under the “Sullivan” moniker, is set in the American South and describes the difficulties African Americans face in their daily lives with “whites”. In this novel, Lee Anderson, a light-skinned African-American, leaves his native town after his brother was lynched and hanged because he was in love with a white woman. Once arrived in this other city, Lee becomes librarian and fraternizes with the local youngsters who crave for alcohol and sex. His goal is to avenge his brother.

Different in style from other Vian novels, this story is more violent, rawer and most representative of the “Sullivan” series, in which Vian denounces the atmosphere of racism and the precarious situation of African Americans’ living conditions in the American South.

Shortly after its publication (in 1949) the novel was banned because it was perceived as pornographic and immoral; Vian himself was convicted of “outrage aux bonnes mœurs” [2] a French phrase meaning outrage to public morality or “an insult to public decency. (see Censorship in France) There was a 1947 illustrated version by Jean Boullet. The novel also exists in a bowlderized version.

I’ve previously written about Vian here.

Carnivalesque damsels

Apparently, Michel Houellebecq is to be found behind the camera these days. He is busy with the film adaptation of Platform (or is it Possiblity of an Island?). Some stills can be found on the website of Fernando Arrabal. Scarcely clad body-painted carnivalesque damsels draw the immediate attention. It has been rumored that Rem Koolhaas would design the decors. Fernando Arrabal is prominently present. –via De Papieren Man

Destruction and delight in the same pair of eyes

[Youtube=http://www.youtube.com/watch?v=vryyDAj2EbA]

Clive Barker, Roger Corman, Joe Dante and Tim Burton on Barbara Steele in Clive Barker’s A to Z of Horror.

More Steele:

Barbara Steele, photocredit unidentified

Barbara Steele in bed
image sourced here.

Maschera del demonio, La/Black Sunday (1960) – Mario Bava [Amazon.com]
image sourced here.

Maschera del demonio, La/Black Sunday (1960) – Mario Bava [Amazon.com]
image sourced here.

Midi-Minuit Fantastique no. 17 (1967)
“Midi Minuit Fantastique” #17 devoted to Barbara Steele – 145 Pages – Dated of 1967

Barbara Steele in The Horrible Dr. Hichcock (1962) – Riccardo Freda
image sourced here. [Aug 2005]

Barbara Steele

images sourced here, from, Curse of the Crimson Altar (1968);
an adaptation of Lovecraft’s Dreams in the Witch House

Caged Heat (1974) – Jonathan Demme [Amazon.com] [FR] [DE] [UK]

Der Junge Törless/Young Toerless (1966) – Volker Schlöndorff [Amazon.com] [FR] [DE] [UK]

A wild-eyed, sex-crazed maniac

Off-screen, Kinski often appeared as a wild-eyed, sex-crazed maniac. He chronicled his exploits in an autobiographyKinski: All I Need Is Love or Kinski Uncut, which, according to Werner Herzog’s My Best Fiend, a documentary about the pair’s experiences working together, was largely fabricated to generate sales. (A libel suit from Marlene Dietrich due to Kinski depicting her as a lesbian resulted in the book being withdrawn from circulation until her death). Throughout the memoir we witness encounters with young actresses, hookers, chambermaids and, in two memorable scenes, Alberto Moravia‘s wife and Idi Amin‘s daughter. He was married three times and had (according to his autobiography) at least five children, three of whom he regarded as such: two daughters (Nastassja Kinski and Pola Kinski), and a son (Nikolai Kinski), all of them actors. His brother Arne lives in Berlin, still bitter about the way Klaus portrayed him in his autobiography. He alienated his family with claims of incest with his sister and his mother.

Image via The Devil’s Honey

Import Export

A film by Austrian director Ulrich Seidl (Hundstage, 2001) I’d like to see:

Two individual fates move in opposite directions. Olga, a nurse from the Ukraine, abandons her family to look for a better life in the West and ends up working as a cleaning woman in a geriatric ward in Austria. Paul, an unemployed security guard from Vienna, is looking a reason to get up in the mornings and heads East with his stepfather, ending up in the Ukraine. Two young people on the move, eager to start a new life, confronted with a rough reality. Two stories about the pursuit of happiness and material advantages, about the darker sides of sexuality and death, and about the difficulties of cleaning the teeth of a stuffed fox. —- festival-cannes.fr, still

Taxidermia (2006) – György Pálfi

Taxidermia (2006) – György Pálfi

It’s difficult to write much about Taxidermia in a blog that my parents read! The film, directed by György Pálfi, is visually and thematically grotesque. It’s full of startling, transgressive images. (Even the original poster had to be obscured, though the poster used for the Cannes Film Festival premiere is uncensored.) www.matthewhunt.com/blog

György Pálfi’s grotesque tale of three generations of men, including an obese speed eater, an embalmer of gigantic cats, and a man who shoots fire out of his penis. www.imdb.com/title/tt0410730/

Taxidermia is a 2006 film about three generations from Hungary, including a taxidermist, starting during the Second World War. The film is surreal in nature with dark comedy. The director is György Pálfi. The film is a Hungary / Austria / France collaboration and the language is Hungarian. The film is based on short stories by Lajos Parti Nagy. en.wikipedia.org/wiki/Taxidermia

Aside from his albums and collaborations, Amon Tobin has also produced the composition to the Hungarian film, Taxidermia. en.wikipedia.org/wiki/Amon_Tobin

György Pálfi est un réalisateur et scénariste hongrois né le 11 avril 1974 à Budapest. fr.wikipedia.org/wiki/Gy%C3%B6rgy_P%C3%A1lfi

German language trailer at YouTube:

[youtube=http://www.youtube.com/watch?v=tMODCtHZmJo]

Hungarian trailer at YouTube

French trailer at YouTube:

Amon Tobin soundtrack excerpt of same

Tarantino’s take on the grindhouse phenomenon opens tonight

Grindhouse

[Youtube=http://www.youtube.com/watch?v=I6l-InqDHmA]

Grindhouse (2007) – Rodriguez and Tarantino

As I’ve pointed out before here, Greencine is serializing Eddie Muller’s 1996 non-fiction book Grindhouse: The Forbidden World of “Adults Only” Cinema on the grindhouse phenomenon. From Greencine’s latest entry:

“I’m almost surprised that Tarantino and Rodriguez didn’t convince their patrons, Harvey and Bob Weinstein, to coat the floors of the theaters themselves with the very special shoe-sole-sticking gunk that was an unavoidable aspect of the real grindhouse experience,” writes Premiere‘s Glenn Kenny. “Death Proof offers ‘thrills’ that are deeply unpleasant and deeply unwholesome, and it’s here that Grindhouse comes closest to achieving the ‘climate of perdition’ that another surrealist critic, Robert Benayoun termed the hallmark of ‘authentic sadistic cinema.’ A lot of people associate a taste for grindhouse movies with the tiresome condescension of the ‘so-bad-it’s-good’ ethos, but Tarantino understands the aesthetics of aberrance that animated the explorations of so-called trash hounds.” —Greencine

Returning to Glenn Kenny’s review, I am intrigued by his opening lines mentioning Ado Kyrou and by the mention of Benayoun. I quote:

“…[G]o and learn to see the worst films; they are sometimes sublime,” the surrealist filmmaker and critic Ado Kyrou advised in 1963. While neither Robert Rodriguez nor Quentin Tarantino are (to my knowledge) disciples of Kyrou, they carry his ethos in their bones.

And it’s here that Death Proof offers “thrills” that are deeply unpleasant and deeply unwholesome, and it’s here that Grindhouse comes closest to achieving the “climate of perdition” that another surrealist critic, Robert Benayoun, termed the hallmark of “authentic sadistic cinema.”

I am especially interested in where Benayoun supposedly talked about the “climate of perdition” and “authentic sadistic cinema.”

Anyone know more?