Blog Update: Fall Preview

Fall is shaping up to be one busy season.  My output over the next few months might be a bit sporadic, but rest assured, I’m still alive and blogging.  Here’s a sampling of what I have in store:

Silent September, my month-long tribute to silent movies, is just around the corner.  As a result, or byproduct, it only seems natural that I’d take part in the GishSisters Blogathon, sponsored by the inimitable Fritzi of Movies Silently.   

On the heels of Silent September, will be October’s annual Horror Month (not to mention Cinematic Catharsis’ third anniversary!).  As usual, I plan on covering an assortment of familiar classics, personal favorites and new reviews from one of my favorite genres.  I’ll also premier a new feature, “Double Take,” with a comparison of Psycho and Psycho II for Backlots’ Hitchcock Halloween blogathon on October 31st.

On a personal note, I’m looking forward to teaching my first college course (gasp!).  Yep, the future of America is in my hands.  Hmmm… that’s a little scary when I put it that way.  

As always, your comments and feedback are welcome and appreciated.  See ‘ya next post…

The Toxic Avenger Part II

(1989) Directed by Michael Herz and Lloyd Kaufman; Written by: Gay Partington Terry and Lloyd Kaufman; Starring: Ron Fazio, John Altamura, Phoebe Legere and Rick Collins; Available on DVD and Netflix Streaming.

Rating: ***

“At first I found it hard to believe that my father was Japanese, and that I was part-Japanese. But that would explain why I've always had these strange, non-American urges to work very hard, save money, and live without credit cards.” – The Toxic Avenger

This review is part of the month-long celebration of Troma Pictures, the Troma Challenge, hosted by The Vern’s Video Vortex, and presided over by the great and powerful Vern.  After I requested to participate, and an undisclosed sum of money was exchanged,* he agreed to let me contribute to this ode to all things Troma.  After flip-flopping about which movie I wanted to cover, I decided to focus on one of Troma’s underground icons. 

* Okay, I lied about the money part.

One thing Troma movies aren’t especially known for is quality.  They’re done quickly and on the cheap, and while not good by any stretch of the imagination, they’re strangely enticing.  Lloyd Kaufman and Troma Pictures built an entire empire on this niche market of purposely schlocky, but entertaining flicks.  It’s no wonder that the eponymous star of the Toxic Avenger movies eventually became Troma’s mascot, embodying Kaufman’s pro-independent, anti-big industry, anti-establishment message.

Shot back to back with the third film in the series, The Toxic Avenger Part II was co-directed by Lloyd Kaufman and Michael Herz.  Kaufman concentrated on the technical shots, while Herz handled action scenes.  The original finished results were six (!) hours long, but were eventually cut down to a more manageable length of two roughly 90-minute movies.  In order to receive an ‘R’ rating from the MPAA, Lloyd agreed to omit several scenes laden with sex and gore, much to the consternation of fans of the original.  The unrated director’s cut (available on later DVD pressings) remedied many of these gripes.

The story concerns the evil head of New York-based Apocalypse Inc. (Rick Collins) as he schemes to take over the peaceful New Jersey town of Tromaville, home of the Toxic Avenger* (or “Toxie”), mutant champion of underdogs everywhere.  After the home for the blind where Toxie and his sight/fashion-challenged girlfriend Claire (Phoebe Legere) work is destroyed by the malevolent CEO’s henchmen, Toxie goes on an evil-stomping rampage.  Of course, this is merely an excuse to showcase random bits of gore-infused mayhem, not that there’s anything wrong with that.  It becomes apparent to Apocalypse Inc.’s chairman that the only way to have Tromaville in his clutches is to get rid of its defender.  He seizes the opportunity when Toxie is tricked into embarking on a red herring trip to Japan to find his long-lost father.

* Fun fact: Toxie himself was played by three individuals: Ron Fazio, John Altamura and Pericles Lewnes (for the stunts). 

While Toxie’s whole experience in Japan is a dubious plot point, it’s also what makes Part II a unique entry in the series.  Kaufman and Herz relied on a Japanese crew to shoot the footage* in Japan.   Expect a parade of requisite karate-inspired gags (replete with fish nunchucks and starfish shuriken), a spoof of kaiju movies, public baths** (since this is a Troma film, after all, you can guess where this is going), and weird street food.  In one amusing gag, Toxie chases a bad guy to a taiyaki stand, where his nose is molded into a fish shape. 

* Fun fact: According to Kaufman, The Toxic Avenger Part II was known in Japan as Akuma Doku Doku Monster, or Crazy Devil Monster.

** Fun fact #2:  Kaufman points out in his DVD commentary how he and the crew created a minor international incident when they filmed in the bathhouse.  The owners were not impressed when food was dumped into one of the tubs, and their normally immaculate place of business was made filthy.

The Toxic Avenger Part II is not highly regarded by Troma fans, but let’s face it, the first film wasn’t exactly Criterion material either.  Both movies are stupid, sophomoric, misogynistic, and perpetuate offensive stereotypes, which is simply de rigueur for Troma.  Watching The Toxic Avenger Part II won’t be a life-transforming event, nor will it transform the world, but it’s full of unexpected little nuggets, if you care to let it in.  Amidst the gross-out gags and middle school humor, there are some bits of sly social commentary along the way.  While it’s not the sequel many were expecting, it’s a worthy successor to The Toxic Avenger.

MirrorMask

(2005) Directed by Dave McKean; Written by Neil Gaiman; Story by Neil Gaiman and Dave McKean; Starring: Stephanie Leonidas, Gina McKee, Jason Barry and Rob Brydon;

Available on Blu-ray and DVD

Rating: *** ½

“We often confuse what we wish for with what is.” – Valentine (Jason Barry)

MirrorMask is a rarity in the realm of so-called “family” films, engaging the brain as well as the eyes.  While the films of Pixar typically do a good job of doing both of these things, most of their films occupy a comparatively safe middle ground – things might get a bit dark, but the filmmakers are always quick to return the story to the light.  Jim Henson Productions’ movie dwells within the shadowy recesses of the imagination, confronting the less savory (or marketable) aspects of growing up.  Recalling Labyrinth,* the works of Roald Dahl, ** and The Wizard of Oz, MirrorMask reminds us to be careful about what we wish for.

* Fun fact: David Bowie was among the list of actors considered for the part of the Prime Minster, which was eventually played by Rob Brydon.

** Fun fact number two: Rusty Goffe, who plays the Yellow Gnome, also appeared as one of the Oompa Loompas from Willy Wonka and the Chocolate Factory.

Helena (Stephanie Leonidas) is a typical teenager in an atypical situation.  She resents working in a circus run by her parents, preferring a normal life instead.  She retreats into her drawings to escape from her present state of affairs.  In response to Helena shirking her responsibilities, her mother says, “You’ll be the death of me,” to which Helena replies, “I wish I was.”  Helena soon lives to regret her poor choice of words, however, when her mother becomes deathly ill, and is hospitalized.

Helena becomes immersed in an alternate world comprised of her drawings.  Everyone except her wears a mask to show (or hide) their emotions.  A dark force is taking over the land, and the benevolent Light Queen has fallen into a deep sleep from which she can’t awake, spurring Helena to embark on a quest to retrieve the fabled MirrorMask and revive the queen.  Accompanied by one of the land’s residents, (Jason Barry as the enigmatic Valentine), and assisted by her Really Useful Book, she must find the mask before it’s too late.  Gina McKee plays the three most pivotal roles in Helena’s life, as her ailing mother, the Dark Queen and the Light Queen. The Dark and Light Queens reflect Helena’s ambivalence toward her mother, and Leonidas’ turn as her mirror-self Anti-Helena reinforces her conflicted frame of mind.

Director Dave McKean* renders Gaiman’s richly imagined fantasy world on an impossibly small budget (approximately $4 million).  The surrealist computer-animated landscapes and absurd creatures that inhabit the fantasy world were realized for less than most big-budget productions spend on actors.  The film’s look owed much to necessity, based on limitations of time, money and technology.  McKean relied heavily on improvisation from his relatively small crew, stating that many of the effects and designs were “made up on the fly.”  While the end results aren’t exactly cutting edge, many of the images are delightfully trippy.  A favorite sequence involves Helena being clothed by a group of animated dolls, singing the creepiest rendition of the Carpenters’ “Close to You” that you’re ever likely to hear.

* If Gaiman’s Sandman graphic novels are ever realized in movie or miniseries form, McKean should be on his short list of possible directors.

Some reviewers will likely opine that MirrorMask is too dark or scary for kids, but as a parent I tend to think that’s selling our kids short.  We want to keep children protected from the evils of the world, so we bubble wrap them in sanitized movies populated with cute characters that spout rapid-fire, but hollow, quips.  Many of today’s kids movies have become well-oiled machines that push all the right buttons but never really challenge the viewer’s imagination or intellect.  MirrorMask’s protagonist deals with issues that most of us would rather sweep under the rug.  Helena must cope with her guilt about wishing things that she didn’t really mean.  In the midst of her inner and outer quest, she has to confront her darker side, another self that isn’t particularly nice or considerate, but still a part of the whole.  By keeping its audience a little on edge throughout, MirrorMask respects kids’ intelligence and resilience to embrace a character grappling with her ambivalence.  It’s a formula that might seem a bit off-putting to some, but will likely entrance many others.  While it’s a bit rough around the edges, MirrorMask ultimately soars thanks to witty dialogue and a wealth of imagination.

The 36th Chamber of Shaolin

(1978) Directed by Chia-Liang Liu; Written by: Kuang Ni; Starring: Chia Hui Liu, Lieh Lo, Chia Yung Liu, Wilson Tong, Tung-kua Ai; Available on Blu-ray and DVD.

Rating: **** ½

“It’s a pity Shaolin martial arts is confined solely to the temple.  It should be taught widely to all.” – San Te (Chia Hui Liu)

Any discussion of The 36^th Chamber of Shaolin requires a mild spoiler from the get-go, so if you haven’t watched the film and want to remain completely spoiler free, you might want to read the rest later.  Don’t worry, I’ll wait… Okay, now we can move on.  Despite the title, there are really 35 chambers that the movie’s protagonist must endure on his way to becoming a Shaolin Kung Fu master.  The 36^th is his proposed creation. 

Loosely based on historical events, the film doesn’t let dry facts get in the way of telling an engaging story.  Director Chia-Liang Liu and writer Kuang Ni never get mired too deeply in political intrigue, and while they understand that it’s nice to have some historical perspective, we’re really here to watch the bad guys receive their comeuppance.  The opening scenes establish the ruthless General Tien Ta (Lieh Lo) and his henchmen as they take over a city and crush opposition in their wake.  Lowly student San Te (Chia Hui “Gordon” Liu) becomes embroiled in the struggle when his father’s seafood shop is raided.  San Te abruptly becomes a fugitive, and is forced to flee the city from the despots who killed his father.  He vows to return for vengeance, but first he must find a legendary temple where Shaolin Kung Fu is practiced.

Chia Hui Liu is mesmerizing as the resolute San Te.  We experience his tenacity and drive through the sheer intensity of his eyes.  His personal quest anchors the film, as we witness his progression from a brash and impulsive young man to a martial arts master.  He almost perishes before reaching the temple, but uses his last vestige of strength to sneak onto a cart carrying food for the monks.  The leaders of the monastery are not impressed with his brazen attempt to learn their secrets, but the head abbot (Tung-kua Ai) identifies with San Te’s perseverance (which seems to mirror the Buddha’s), and allows him to stay.  What follows is San Te’s journey of self-discovery, fraught with a series of 35 trials.  He foolishly decides to start at the top, with the 35^th chamber, but in the first of many lessons, learns that he must start at the beginning and work his way up.

On the road to personal enlightenment, San Te realizes Shaolin Kung Fu is not merely about body movement, the mind, or philosophy, but the successful integration of these elements.  We never actually get to see all 35 chambers, but the ones we witness are ingenious in their simplicity.  The first chamber adds an extra level of difficulty to the mundane task of going to dinner.  Something as basic as heading to a dining hall becomes an insurmountable obstacle as San Te must traverse bundles of floating logs and stay dry in the process.  Seemingly menial tasks, such as carrying buckets of water or ringing a huge bell become monumental tests of endurance.  Each successive chamber becomes a new opportunity to learn, demanding different adaptation skills.  Brute strength and willpower can only take one so far.  In order to master the higher-level chambers, San Te must rely on a combination of ingenuity, mind-body awareness and embracing the Shaolin way of life.

The 36^th Chamber of Shaolin stands apart from many other martial arts films, because it takes pains to incorporate the underlying principles into the story.  In an early training scene, one of San Te’s mentors comments, “Power takes you forward, firmness balances the body. Uniformity of mind focuses power.” San Te gains wisdom about the Shaolin philosophy and learns to kick butt.  The film isn’t just about elaborately choreographed fight scenes* (and this one has it in spades), but the training the protagonist must endure.  Everything is a potential learning opportunity.  When he’s eventually mastered the top level, he wants to share the skills he’s acquired with the outside world, but he meets opposition with the monks, who assert, “we don’t involve in worldly affairs,” preferring to keep the Shaolin martial arts within the walls of the monastery…”  In this instance, San Te reveals their limitations under the guise of their unwavering attitude.  What good are kung fu skills if they can’t be taught to others for self-protection?

* Many of the actors and filmmakers (including Chia-Liang Liu, who also served as fight choreographer) were accomplished martial artists, lending veracity to the action.  As a result, camerawork/editing trickery is kept to a minimum.

On a side note, the DVD commentary track by film critic Andy Klein and hip hop artist The RZA is definitely worth a listen. Although I’m not much of a fan of hip hop, The RZA clearly knows his kung fu movies.  I was entranced by his portion of the commentary, which revealed his deep affection and profound respect for the martial arts genre and the discipline of kung fu. 

Aside from the Shaolin philosophy, The 36^th Chamber of Shaolin is simply a wonderful film to look at.  The beautifully shot compositions are masterfully framed, and the inventive set pieces and brisk action sequences (albeit with a decidedly cerebral spin) keep the eyes engaged.  I suspect this movie, which has earned its well-deserved reputation as a true modern classic, will only get better with repeated viewings.