3 Reviews: Ossessione, The Exterminating Angel and Society
Warning: Spoilers and Graphic Pictures Below!
Criterion Challenge Film #2
The Exterminating Angel (1962, Bunuel):
7/10
Although not among my favorite Bunuel films (that honor goes to Belle de Jour and Un Chien Andalou), The Exterminating Angel is an extremely dark and cynical comedy that takes high society down more than a notch or two and injects surrealism in small but substantial doses. We are kept at a distance from the multitude of characters as they circle around the same conversations again and again when they understand they are unable to leave the dinner party they have attended. The director uses his disdain for the bourgeoisie, specifically the class as it was under Franco, to show that class merely depends on the living situation of others and not because anyone is any better than the other. Putting the upper class into a desperate situation breaks down the boundaries that the class uses to distinguish themselves from the lower classes thus showing them for who they really are. He also takes down religion as different characters make religious references and starts to turn to it the more hopeless everything becomes.
The way surrealism is used is perhaps my favorite aspect of the film. The way the characters are unable to address the fact that they cannot leave the room at first is wonderful to watch unfold. Everything carries the feeling of unreality with it through certain images strategically placed and different lines, shots or even scenes that are repeated just to further transfer the feeling of the situation to the viewer. The film is also saturated with e sense of ennui instead of creating a plot-driven narrative with a concept that on the surface seems to require just that.
Ossessione (1942, Visconti)
7.4/10
Considered by some to be the first film that fits the Italian Neorealism movement, Ossessione succeeds because of its portrayal of raw, loose and palpable depiction of sexuality and its combination of a noir plot executed in realism based mise-en-scene. The 1946 Hollywood adaptation of the novel The Postman Always Rings Twice by James Cain is certainly sexy but in a manufactured and ultimately superficial way. The tension and attraction is there but it’s somehow sterile and calculated.
The connection between Giovanna and Gino means more for several reasons. Clara depicts Giovanna as functioning outside of the femme fatale archetype to be so well known in film noir. While she is manipulative she is also cowardly and her misery with her husband is sympathetic. She is desperate and truly cares for him while Gino also truly cares for her. He grapples with himself throughout the film and deals with his moral boundaries and guilt. There is a sense of actual meaning to it all not to mention that they both feel like actual human beings. Giuseppe (Juan de Landa) pulls off equal amounts of gullibility and intimidation. In addition to all of this, there is a supporting character named Spagnolo that becomes friends with Gino which ends up being the best dynamic in the film.
The film meanders a bit though especially in the third act where it loses itself more than it should. Ossessione combines a noir story with a neorealist perspective in a way that predates the raw feel that would enter Hollywood film noir later on.
Society (1989, Yuzna)
4/10
Here are some pictures of Brian Yuzna’s directorial debut Society because I cannot describe it on my own. On the one hand it completely fails (for the most part) at its attempt at a metaphorical high concept social satire. It has a terrible script which wastes its first hour on laughable moments that do not set up the finale effectively. This idea that society exists and that we are born into it as something we have to accept and perceive as normal is meant to be explored here as well as paranoia. It actually has a lot in common with “The Lottery Ticket” by Shirley Jackson as both look at the potential laden within societal norms. It takes these assumptions about normality and uses the subgenre of body horror to nosedive into the abject with its half-hour climax unlike anything I’ve seen. The makeup effects done by Screaming Mad George show exactly why it does not get any better than the makeup effects of the 1980's.
The climax itself is impossible to fault when it deeply disturbs and simultaneously amuses. Where the first hour fails to build on any of the tension from Bill’s paranoia despite a couple of nicely off-putting shots, the last half hour made me feel sick and actually worked because it takes a nosedive into the abject, putting the audience through something that addresses a truly revolting alternate reality. The fact that Blanchard (Tim Bartell) is able to realistically convey terror in this absurd set-piece is what makes it more difficult to watch. It should be so grossly over-the-top that it is impossible to take seriously.
However, seeing an entire society of people flesh-sucking and ripping apart a man in a massive sexual assault that culminates in Blanchard being fisted so that the Judge’s hand comes out of his mouth, poking out his eyeballs and tearing apart his face made me feel nauseous but more importantly is the biggest WTF moment I can think of having seen in a film. Need further proof? Total Film named it the number 1 gross-out movie moment of the 1980’s. I actually feel like The Human Centipede would be a cake walk after this. So while the first hour of this is something laughably bad, it is hard to do anything but admire the extended climax which addresses deep fears in an absurdist but effective way and is more than worth seeing for the mind fuck that is the last half hour. Another fun fact; according to chud.com this is the only film in history to feature a man being pulled inside out through his own anus which happens in another scene which I had not even talked about. Worth seeing? Absolutely for that last half hour which is unforgettable and successful in what it wants to to but be prepared for a pretty awful first hour.
Criterion Challenge Film #2
The Exterminating Angel (1962, Bunuel):
7/10
Although not among my favorite Bunuel films (that honor goes to Belle de Jour and Un Chien Andalou), The Exterminating Angel is an extremely dark and cynical comedy that takes high society down more than a notch or two and injects surrealism in small but substantial doses. We are kept at a distance from the multitude of characters as they circle around the same conversations again and again when they understand they are unable to leave the dinner party they have attended. The director uses his disdain for the bourgeoisie, specifically the class as it was under Franco, to show that class merely depends on the living situation of others and not because anyone is any better than the other. Putting the upper class into a desperate situation breaks down the boundaries that the class uses to distinguish themselves from the lower classes thus showing them for who they really are. He also takes down religion as different characters make religious references and starts to turn to it the more hopeless everything becomes.
The way surrealism is used is perhaps my favorite aspect of the film. The way the characters are unable to address the fact that they cannot leave the room at first is wonderful to watch unfold. Everything carries the feeling of unreality with it through certain images strategically placed and different lines, shots or even scenes that are repeated just to further transfer the feeling of the situation to the viewer. The film is also saturated with e sense of ennui instead of creating a plot-driven narrative with a concept that on the surface seems to require just that.
Ossessione (1942, Visconti)
7.4/10
Considered by some to be the first film that fits the Italian Neorealism movement, Ossessione succeeds because of its portrayal of raw, loose and palpable depiction of sexuality and its combination of a noir plot executed in realism based mise-en-scene. The 1946 Hollywood adaptation of the novel The Postman Always Rings Twice by James Cain is certainly sexy but in a manufactured and ultimately superficial way. The tension and attraction is there but it’s somehow sterile and calculated.
The connection between Giovanna and Gino means more for several reasons. Clara depicts Giovanna as functioning outside of the femme fatale archetype to be so well known in film noir. While she is manipulative she is also cowardly and her misery with her husband is sympathetic. She is desperate and truly cares for him while Gino also truly cares for her. He grapples with himself throughout the film and deals with his moral boundaries and guilt. There is a sense of actual meaning to it all not to mention that they both feel like actual human beings. Giuseppe (Juan de Landa) pulls off equal amounts of gullibility and intimidation. In addition to all of this, there is a supporting character named Spagnolo that becomes friends with Gino which ends up being the best dynamic in the film.
The film meanders a bit though especially in the third act where it loses itself more than it should. Ossessione combines a noir story with a neorealist perspective in a way that predates the raw feel that would enter Hollywood film noir later on.
Society (1989, Yuzna)
4/10
Here are some pictures of Brian Yuzna’s directorial debut Society because I cannot describe it on my own. On the one hand it completely fails (for the most part) at its attempt at a metaphorical high concept social satire. It has a terrible script which wastes its first hour on laughable moments that do not set up the finale effectively. This idea that society exists and that we are born into it as something we have to accept and perceive as normal is meant to be explored here as well as paranoia. It actually has a lot in common with “The Lottery Ticket” by Shirley Jackson as both look at the potential laden within societal norms. It takes these assumptions about normality and uses the subgenre of body horror to nosedive into the abject with its half-hour climax unlike anything I’ve seen. The makeup effects done by Screaming Mad George show exactly why it does not get any better than the makeup effects of the 1980's.
The climax itself is impossible to fault when it deeply disturbs and simultaneously amuses. Where the first hour fails to build on any of the tension from Bill’s paranoia despite a couple of nicely off-putting shots, the last half hour made me feel sick and actually worked because it takes a nosedive into the abject, putting the audience through something that addresses a truly revolting alternate reality. The fact that Blanchard (Tim Bartell) is able to realistically convey terror in this absurd set-piece is what makes it more difficult to watch. It should be so grossly over-the-top that it is impossible to take seriously.
However, seeing an entire society of people flesh-sucking and ripping apart a man in a massive sexual assault that culminates in Blanchard being fisted so that the Judge’s hand comes out of his mouth, poking out his eyeballs and tearing apart his face made me feel nauseous but more importantly is the biggest WTF moment I can think of having seen in a film. Need further proof? Total Film named it the number 1 gross-out movie moment of the 1980’s. I actually feel like The Human Centipede would be a cake walk after this. So while the first hour of this is something laughably bad, it is hard to do anything but admire the extended climax which addresses deep fears in an absurdist but effective way and is more than worth seeing for the mind fuck that is the last half hour. Another fun fact; according to chud.com this is the only film in history to feature a man being pulled inside out through his own anus which happens in another scene which I had not even talked about. Worth seeing? Absolutely for that last half hour which is unforgettable and successful in what it wants to to but be prepared for a pretty awful first hour.
Horrorphile
Thoughts from a Cinephile
Thoughts from a TV Watcher
Horrorphile
Thoughts from a Cinephile
Thoughts from a TV Watcher
Tyler5 - I was able to find the film at a really awesome and massive movie rental store on Boston called Movieworks. It's on DVD but is hard to come by. You can't get it on Netflix and it's used on amazon for 15 dollars. I hoe you find it if you decide to seek it out!
Part 1 is here - Really Long Link