Category Archives: Saturday Matinee

Saturday Matinee: Massacre at Central High

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Though its unfortunate title makes it sound like a standard slasher film, Rene Daalder’s “Massacre at Central High” (1976) (aka “Blackboard Massacre” or “Massaker in Klasse 13”) is actually a clever political allegory in a high school setting. When new student David observes the degree to which the student body is dominated by a small clique of thugs, he sets out to liberate the school from its oppressors. Though he succeeds, conflicts soon arise among various factions to fill the power vacuum. Losing patience with everyone, David begins planning the destruction of the entire high school. The film is dated in terms of fashions and soundtrack and hamstrung by a low budget and occasionally stilted dialogue, but its message is timeless and problems it addresses such as bullying and high school violence are even more relevant today. Massacre at Central High is likely an inspiration for the later cult film “Heathers” (1988).

Saturday Matinee: Mind Game

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“Mind Game” (2004) is possibly the strangest anime feature film ever made. It was produced by the groundbreaking Studio 4C animation studio and directed by Masaaki Yuasa, previously most famously known for his involvement in the “Crayon Shin-chan” series (sort of a Japanese take on “The Simpsons”). The film’s plot is deceptively simple, centering on a young man named Nishi who is killed while trying to defend his childhood crush Myon. After a short visit to the afterlife he has a chance to change his fate, transforming his previously dull life into a psychedelic, mythopoetic adventure. At times the film overwhelms the senses with its wild mix of animation styles, exaggerated colors and perspectives, absurd situations and wild soundscape by Seiichi Yamamoto of noise rock band The Boredoms. Mind Game has never had an official DVD release in the U.S. but last June a kind soul put it on YouTube for the world to enjoy.

Saturday Matinee: Anima Mundi

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“Anima Mundi” (1992) was the third collaboration between director Godfrey Reggio and composer Philip Glass (following Koyaanisqatsi and Powaqqatsi). It was produced in collaboration with the World Wildlife Fund’s Biological Diversity Campaign and features amazing, beautiful and hypnotic images of a multitude of animal species from around the world. At just under half an hour, it’s a relatively short film but well worth seeing, especially for fans of non-narrative documentaries such as Koyaanisqatsi, Baraka, and Samsara.

Saturday Matinee: Duck, You Sucker! (aka A Fistful of Dynamite)

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Most people know director Sergio Leone for his classic collaborations with Clint Eastwood on the “Man With No Name” trilogy of westerns or his later epics, “Once Upon a Time in the West” and “Once Upon a Time in America”. Fewer are familiar with the film he directed between the “Once Upon a Time” films, “Duck, You Sucker!” (1971). Its relative obscurity in the U.S. could partly be attributed to the horrible marketing from its American distributor United Artists.

The film’s title and advertising may have misled viewers to think they were in for a lighthearted comedy. It does have comedic moments but also contained scenes of massacres, some of which was edited out. For the film’s initial U.S. release it was trimmed by over half an hour because of violent and politically subversive content. Leone reportedly believed “Duck, You Sucker!” to be a common American colloquialism and so was probably not aware of the title’s slapstick tone. Not long after its release the film was reissued as “A Fistful of Dynamite” to cash in on the Clint Eastwood westerns which were popular at the time. Many were probably disappointed to discover that Eastwood wasn’t in the film. To add to the confusion, the title “Once Upon a Time…the Revolution” was used for some European releases to associate it with Leone’s previous film “Once Upon a Time in the West”.

Though “Duck You Sucker!” is not quite on par with Leone’s more well-known westerns such as “The Good, the Bad and the Ugly” and “Once Upon a Time in the West”, it’s still a great film though unfairly underrated. It contains many elements of classic Leone films such as beautiful panoramas, tense showdowns, extreme close-ups, morally complex characters, and a memorable soundtrack by Ennio Morricone. Similar to some of his earlier works, “Duck, You Sucker!” is at heart a philosophical action film exploring morality, honor, friendship, betrayal, idealism, pragmatism, redemption and the consequences of violence.

Update: Looks like MGM pulled it from YouTube, but the film is still available here: http://www.metacafe.com/watch/7555695/rod_steiger_james_coburn_duck_you_sucker_legendado/

http://www.dailymotion.com/video/x21vzyh_a-fistful-of-dynamite-1971_shortfilms

Sunday Matinee: The Spook Who Sat by the Door

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“The Spook Who Sat by the Door” (1973) is one of the most unabashedly radical revenge fantasies ever filmed. Based on the 1969 novel by Sam Greenlee, the film was directed by Ivan Dixon, and co-produced by Dixon and Greenlee, who had to resort to grassroots community fundraising to get it made. The plot centers on Dan Freeman, a covert black nationalist who infiltrates the Chicago offices of the CIA as a token black employee in a clerical position (they seat him by the door to demonstrate their commitment to diversity for visitors). After learning what he needs to learn, Freeman promptly resigns, gets a new position as a social worker in the ghetto, recruits an army of freedom fighters and teaches them CIA guerrilla warfare tactics in preparation for an uprising. Not surprisingly, the film was removed from theaters shortly after release due to pressure from the FBI and was not available on home video until 2004.

The full version of the The Spook Who Sat by the Door presented on the following YouTube video is preceded by interviews with Sam Greenlee who provides details about how his film was suppressed by the government:

Saturday Matinee: Walker

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Following the modest successes of “Repo Man” and “Sid and Nancy”, director Alex Cox took a chance on an Acid Western filmed in Nicaragua about soldier-of-fortune William Walker. Featuring a script by cult screenwriter Rudy Wurlitzer, a great soundtrack by Joe Strummer of the Clash, and an excellent performance by Ed Harris in the title role, “Walker” (1987) is unlike any historical biopic made before or since. The stylistic madness of the film reflects the madness of Walker’s misadventures. A sense of absurdity and inevitability is added to the proceedings through intentional anachronisms. While this may take viewers out of the story, it also makes it impossible to ignore parallels between the colonialist, imperialist attitudes of Walker’s time and U.S foreign policy of the 1980s and today.

While the film failed at the box-office in the U.S., it became the second highest grossing film in Nicaragua at the time. Walker is a rare film that not only has a radical message but its production was a radical political act in itself, having economically supported the Sandinista government.

Saturday Morning Matinee: The Net

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Notes by Other Cinema:

Ultimately stunning in its revelations, Lutz Dammbeck’s The Net explores the incredibly complex backstory of Ted Kaczynski, the infamous Unabomber. This exquisitely crafted inquiry into the rationale of this mythic figure situates him within a late 20th Century web of technology—a system that he grew to oppose. A marvelously subversive approach to the history of the Internet, this insightful documentary combines speculative travelogue and investigative journalism to trace contrasting countercultural responses to the cybernetic revolution.

For those who resist these intrusive systems of technological control, the Unabomber has come to symbolize an ultimate figure of Refusal. For those that embrace it, as did and do the early champions of media art like Marshall McLuhan, Nam June Paik, and Stewart Brand, the promises of worldwide networking and instantaneous communication outweighed the perils. Dammbeck’s conceptual quest links these multiple nodes of cultural and political thought like the Internet itself. Circling through themes of utopianism, anarchism, terrorism, CIA, LSD, Tim Leary, Ken Kesey and the Merry Pranksters, The Net exposes a hidden matrix of revolutionary advances, coincidences, and conspiracies.

Saturday Matinee: Bad Boy Bubby

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In “Bad Boy Bubby” (1993), an Australian film by writer/director Rolf de Heer, Nicholas Hope gives a brilliant performance as Bubby, a man who’s been kept confined and abused physically and emotionally by his mother for 35 years. He eventually escapes and has a number of chance encounters which reveal different aspects of himself and society. The first portion of the film is the most brutal, but as Bubby ventures out into the world the film’s tone lightens a bit and becomes more of a traditional (yet still twisted) dark comedy. Bad Boy Bubby is definitely not for all tastes and is initially difficult to watch, but is ultimately rewarding for its uniformly great performances, writing and direction.