Tag Archives: Cult Cinema

CULT FILM REVIEW: ERASERHEAD (1977)

CULT FILM REVIEW: ERASERHEAD (1977)

Directed by: David Lynch

Produced by: David Lynch

Written by: David Lynch

Cast: Jack Nance, Charlotte Stewart, Allen Joseph, Jeanne Bates,  Judith Roberts etc.

Music by: David Lynch, Fats Waller, Peter Ivers

Cinematography: Frederick Elmes, Herbert Cardwell

***CONTAINS SPOILERS***





“In heaven everything is fine”, sings the ‘Lady in the Radiator’. Is it really, David, because during the course of your cinematic vision known as Eraserhead (1977), we witness all manner of things which demonstrate heaven is far from our reach. We see the scarred ‘Man in the Planet’, apparently controlling Henry Spencer’s (Jack Nance) fate with mechanical levers. There are also floating heads, blood-squirting chickens, weird alien-looking babies, an enigmatic femme-fatale, a shock-haired and shock-faced protagonist; all existing in an industrial abyss presented in bleak monochrome. If there is a heaven, no one’s getting there!

David Lynch’s debut feature film is a masterpiece of independent cinema. A surrealist, dystopian and anxiety-inducing collage of fantastic images and industrial sounds. Moreover, Eraserhead (1977) was a labour of love for the enigmatic filmmaker. Lynch took years to finish the production. So much so there is one scene where Nance’s character Henry, walks from a corridor through a door. While the edit is immediate, the filming dates were one year apart. Thankfully, Jack Nance didn’t get that famous quiff cut off. Moreover, money was tight. Lynch financed the film from doing part-time jobs, plus he received help from the American Film Institute, family members, and very good friends. There was no Kickstarter in those days.



While Eraserhead (1977) has many seemingly unconnected and bizarre images and freakish scenes, there are several powerful themes running through the film. Indeed, it is a Freudian classic with the nervous and anxious Henry, being lead from one challenging situation to another. The fear of responsibility and parenthood hangs heavy in Lynch’s psyche. Henry lacks confidence and sexual adequacy. Even when he attempts a relationship with Mary (Charlotte Stewart), his sanity is hanging on a thread. Mainly due to the fact their child is a sad, mutated monstrosity. But to Henry’s credit he attempts to love the child, even though such paternal care is doomed.

Lastly, given it had such a low-budget, took the best part of a decade to shoot and spent over a year in post-production, Lynch cinematic skills are meticulously represented in Eraserhead (1977). Kudos as well to the stark cinematography, Nance’s startling deadpan performance, plus Lynch’s incredible soundscape designed with Alan Splet. Ultimately, while it is a powerfully strange film, there is actually much method and heart in Lynch’s madness. The urban decay and freakish nature of Eraserhead (1977) taps into primal fears of bringing a child into a dark world. I, for one, can certainly identify with that.


UNDER-RATED CLASSICS #8 – THE NINTH CONFIGURATION (1980)

UNDER-RATED CLASSICS #8 – THE NINTH CONFIGURATION (1980)

Directed, written and produced by: William Peter Blatty

Based on The Ninth Configuration by William Peter Blatty

Starring: Stacy Keach, Scott Wilson, Jason Miller, Ed Flanders, Robert Loggia, Moses Gunn, Joe Spinell, Neville Brand etc.

Music by: Barry De Vorzon

Cinematography: Gerry Fisher

*** MAY CONTAIN SPOILERS ***



“I became insane, with long intervals of horrible sanity.”
― Edgar Allan Poe

Sparked by uber-film critic Mark Kermode waxing lyrical about The Ninth Configuration (1980) in one of his cinema books, I was extremely pleased when I found a remastered 2016 reissue streaming on Amazon Prime. I don’t always agree with Kermode’s effusive praise of certain films, however, his opinion should always be respected. Having watched the film I can concur that it is indeed an under-rated classic. Just to clarify, for me, an under-rated classic can be a film I love, plus satisfy the following criteria:

  1. Must not have won an Oscar.
  2. Must not have won a BAFTA.
  3. Must not appear in the AFI Top 100 list.
  4. Must not appear in the IMDB Top 250 list.
  5. Must not appear in the BFI 100 Great British films.
  6. Must not appear in the all-time highest grossing movies of list.

While the writer and director, William Peter Blatty, won a Golden Globe for best screenplay, I feel that The Ninth Configuration (1980) is somewhat of a lost masterpiece. It was released at the same time as Ordinary People (1980) , The Elephant Man (1980) and Raging Bull (1980) and rarely seems to be discussed or praised at all these days. Well, aside from Mark Kermode’s gratefully received validation. Thematically, it is very strong as it deals with mental breakdown and illness amidst soldiers post-Vietnam. Moreover, it also contains memorable iconography within a curiously foreboding setting.



Based on Blatty’s 1978 novel, which in itself was a reworking of an earlier story called, Twinkle, Twinkle “Killer” Kane, The Ninth Configuration centres the action in a grand chateau located, rather weirdly in America somewhere. The dark, shadowy castle (which was actually in Germany), is surrounded by deep forestation and is used by the U.S. government as an insane asylum for military personnel. Spring-boarding themes and ideas from movies such as: One Flew Over The Cuckoo’s Nest (1975), Mash (1970) and, in regards to its exploration of P.T.S.D., The Deer Hunter (1978), the narrative features a whole host of eccentric and over-the-edge characters. They include an Astronaut, Captain Billy Cutshaw (Scott Wilson), who went mad and sabotaged a space launch, Jason Miller as Lieutenant Frankie Reno, a soldier attempting to direct Hamlet with a cast of dogs; and the recently arrived, new psychiatrist, Colonel Vincent Kane (Stacey Keach). It is Kane’s and Cutshaw’s developing relationship which powers many of the philosophical and existential debates within the film’s incredible script.

For a film set in an asylum Blatty unsurpisingly uses dark humour, hysterical personalities and some incredibly funny lines of dialogue to propel an absurd first half. However, as Cutshaw and Kane’s connection grows deeper, the two men push each other into some very dark places. Exploring the slight gap between insanity and sanity is a tricky thing to get right in terms of tone, however, Blatty, is a brilliant writer and succeeds with a script that zig-zags the line between chaos and structure. He also benefits from an amazing ensemble cast of character actors who throw themselves heartily into the chaos on show. Scott Wilson and Stacey Keach are especially memorable in their intense and honest portrayals of soldiers pushed too far by their respective commands.

Overall, The Ninth Configuration (1980) is a forgotten masterpiece which deserves revisiting. I was blown away by the endlessly quotable dialogue and the risks Blatty took as a director. I mean, he opens with an incongruous Country and Western song-backed montage before the credits. This pop video beginning is jarring, but somehow makes sense in the end. Blatty then veers between farcical humour, crazed episodes involving the lunatics taking over the asylum, and philosophical and theological discourse within the therapy sessions. Finally, the film finishes with a violent and cathartic denouement, yet one which, given the dark existentialism that has unfolded, is amazingly full of hope, faith and optimism.

Mark: 9.5 out of 11




CULT FILM REVIEW – VIDEODROME (1983)

CULT FILM REVIEW – VIDEODROME (1983)

Written and directed by: David Cronenberg

Produced by: Claude Herroux, Pierre David, Victor Solnicki

Cast: James Woods, Sonja Smits, Deborah Harry, Les Carlson, Jack Creley, Peter Divorsky etc.

Music: Howard Shore

***CONTAINS SPOILERS***



With the lack of cinema-going action, I am now looking at building other review ideas and articles into my blog. I have regular new release reviews, classic film reviews, great ensemble casts and under-rated film reviews. I suppose that’s enough really, but there are some films that don’t quite fit these categories and they are cult movies. How does one define a cult film? It could have been a box-office bomb or be a no-budget gem, be transgressive or have controversial subject matter. Conversely, it could be a video nasty or banned or even an ultra-arthouse film which defies classical filmmaking conventions. More importantly, I do not have to actually like the film for it to qualify as a cult film. It could be a difficult film I am evaluating or re-evaluating from a fan or academic perspective. Lastly, it could just simply be a film that is uncategorizable or so bad it’s bad or so bad it’s good.

My first review in this category is David Cronenberg’s body-horror film, Videodrome (1983). Now, it may fit the specific rules of an under-rated classic laid down in previous articles, however, Videodrome (1983) is not necessarily a film I love or believe is a classic. It is a remarkably original narrative descent into the hellish and surreal world of demented psychological snuff television. It contains amazing practical special effects by the legend Rick Baker, yet, having re-watched it last week I cannot say it’s a film one can enjoy from an entertainment perspective. Don’t get me wrong, David Cronenberg is a true auteur and genius filmmaker, it’s just Videodrome (1983) is a hallucinatory and disturbing nightmare of a film that works outside the boundaries of usual image systems and narrative conventions. Basically, it’s more a powerful set of concepts and scenarios rather than a simple and satisfying story.

The story opens with anti-heroic, Max Renn (James Woods) as president of CIVIC-TV, seeking new content for his Toronto-based TV channel. Despite Woods’ charisma as an actor he is an expert at playing dominant alpha male types who challenge the audiences’ empathy. He portrays Max with a sleazy charm hunting for, what one may consider, soft-pornographic shows for his station. He’s basically an addict looking to push the walls of taste for his sex-hungry viewers. Max then discovers a channel, via a grainy satellite feed, called Videodrome. It shows unfiltered torture and sexual aggression, and Max becomes determined to tap into that market. At the same time, he begins a sado-masochistic sexual relationship with a radio host, Nikki Brand (Deborah Harry). Soon, these two intense narrative strands entwine and threaten Max’s mind, body and very existence.



Videodrome (1983) is a highly intelligent shocker which explores the nature of television violence, notions of taste and censorship, fears of technological programming, and the mental damage caused by over-exposure to violent pornography. It is an extremely psychologically and physically graphic film to watch. Nevertheless, it is also full of incredible imagery involving on-screen murder, Renn being swallowed by his TV; and also literally transforming into a human video cassette player. While an audience may not like Max Renn as a person, his journey is one that grips with magnetic shock and disgust. As he gets ever closer to the Videodrome channel his downward spiral plays out like a demented morality story, with Max representing the journey of those audience members who lose themselves in the illusory realities of television product. As he begins to lose touch with reality, Max experiences a complete lack of control over his mind and desires, all seemingly controlled by a heinous corporation led by insidious suit, Barry Convex (Leslie Carlson).

Incredibly, David Cronenberg apparently turned down directing The Return of the Jedi (1983) to write and direct this more personal vision of cinema. Could there be two more different films? Nonetheless, while it may not be a film I can easily recommend to those of a sensitive disposition or those who like their horror to have tidy conclusions, Videodrome (1983), retains its relevance and power to this day as a shocking critique of modern media. Hence qualifying it as a cult horror film which pushes all the wrong buttons in the right way.