Cleansing the doors of cinematic perception since 2006, or earlater

Thursday, July 23, 2009

Great Acid Movies: The TRIP

Boy meets boy meets pill meets Death!

The first boy in the above bizarre and inaccurate tag line is a disillusioned TV commercial director (Peter Fonda) in the midst of a divorce from a hot girl in a pink coat (Susan Strasberg). The boy he meets, the "guide" played by Bruce Dern in full narc-creepy mode, arranges the meeting with pill, for Fonda's first lysergic play date, bringing him to dealer Dennis Hopper's hippie pad to score ("Let's make it upstairs, man") and then up to Dern's place high in the Hollywood hills, which has been 'proofed' and bedecked with odd gimcracks, and a book ofAllen Ginsberg poetry, so Fonda can drop and safely frolic. But Dern ends up hovering over him, creeping him the fuck out. As Michael Weldon wrote "Would you trust Bruce Dern as a guide?" He turns down Salli Sachse as a partner, preferring to go home with Dern, which is super creepy... and who says "250 micrograms apiece" as if he's an expert and not a narc? No one, man. Not ever. On the other hand, he for some reason has Thorazine lying around in case Fonda has a bad trip and gets all creepy with trust issues and touching and micro-managing like it's baby's first steps and all he can really offer are words cautiously rearranged from "Tomorrow Never Knows." Creeepy. I don't care how long Fonda's maybe known him, Dern smells like a narc super duper --you know he's never used any of these phrases before and he can only thinly mask a kind of conservative contempt (why he was so perfect perhaps in Coming Home), and when he's all trying to get Fonda to put the black mask on I can't help but think of his creepy deepy character coming on to the Barker boy in Bloody Mama.

Fonda then hallucinates a couple making love under a blanket of patterned light, 'dies' symbolically in a Big Sur cave stocked with leftover props from Corman's Poe films (and a costumed dwarf, of course), trips out on an orange ("The energy is dripping all over my hand, man!") while Dern tries to touch fingers with him, and make sure he doesn't jump or drown. Dig man, these early acid eaters were a really square bunch! We never tripped with a guide. Though when I was (briefly) dealing I'd occasionally get called over to somebody who took too much having a super bad time. We didn't have THORAZINE lying around, man. We had to hang in there. I was expert at talking them down WITHOUT resorting to Dern creepiness or tired cliche, which is why I became known as "the doctor."

"Never saw this before... Never saw this before," says Fonda, early on. "Never never saw that before!" Jack Nicholson did the script, and ain't no doubt he did his research! Fonda and Hopper too of course. Only Dern man, only Dern....

Fonda eventually escapes Dern's creepy clutches and the film picks up the pace; his nocturnal wanderings as he makes his way onto the Sunset Strip include breaking into a neighbor's house to watch TV and chill with a young child and freaking out a Barbara Mouris at the laundromat; all while (he imagines?) the cops are after him. Finally he makes it back to Hopper's pad and Salli Sachse (who came onto him earlier at Dern's) rescues him, takes him back to her pad, and he says goodbye to his marriage, in his mind, as tripping often accelerates these things.

Peter Fonda's bug-eyed, spot-on performance as the tripper has some great moments. My pal Lucy's dad, Michael Blodgett (Lance in BEYOND THE VALLEY OF THE DOLLS) appears during one of Fonda's guilty/jealous hallucinations, in bed with Susan Strasberg. Fonda watches them, horrified but ambivalent at the same time.

In his big LSD peak moment, Fonda hallucinates his way into a plastic fantastic merry-go-round set filled with the carnival props leftover from Corman's films CARNIVAL ROCK and X-THE MAN WITH X-RAY EYES (reviewed here); Hopper and the dwarf preside over things and they all watch clips from Fonda's advertising reel so he can realize he's guilty... guilty...of poisoning the well of myth with his bland imagery. "Guilty... guilty," Fonda keeps saying. "Yeah, but don't wallow in it," Hopper chides, "because it's weak and pathetic!"

Susan Strasberg is only around in little bits here and there as the wife Fonda's about to divorce, but she's a maze of kittenish yearning and aching feminine sincerity and she makes you feel guilty and sad that you prefer LSD and painted go-go dancers to her simple charms. Anyone who ever broke a heart will feel Fonda's pangs. LSD really does amp up that feeling of you can't go home again, and you want to reach out to her --you can feel the sexual yearning and pink vibrations of nurturing maternal warmth emanating in waves that turn your leg muscles to jelly.

And then there's all those hot, zonked-out love-vibing chicks, especially Salli Sachse as Glenn, a free-love far-out kitten who loves being around the energy of acid first-timers. She finds Fonda at a topless painted lady go-go bar and when he mentions the police are looking for him she dismisses it, "I don't believe in police!" Hey far out.

 So it's free love central, but it's not free love in some grimy Ratzo Rizzo / Herschell Gordon Lewis way, man. It's free love in a cool pretty Fonda hipster next-stop EASY RIDER way, with serious acting, every one young and gorgeous and a real sense of drugged interconnectivity (except with Dern). If you were tall, young, successful, good-looking and not a scrounging dirtbag, or skeevy guide like Dern is here, then you got laid on the Strip, is the moral. With her iron-blonde hair and groovy white convertible whisking Fonda away to her swanky pad to cap off a perfect evening with some fading light-show sex, Sachse is beyond what most of us dare hope for. As Hopper says of a girl he knows who takes Roybal (STP?) all the time, "can you imagine where that chick's head is at?"

Alas, who wants to begin to crash while forced to endure stock recording kazoo-driven dixieland. Coming from the oddly named "American Music Band," some tracks sound like Corman fished them out of the trash at a high school pep rally, the sort of thing Otto Preminger might put in SKIDOO, the kind of stuff Kevin Spacey might play to torture prisoners in THE MEN WHO STARE AT GOATS. I love Dixieland jazz, don't get me wrong, but not when it's so generic and bouncy-free. My guess is Corman grabbed it from a royalty-free sound library where it was used as the score for Harold Loyd silents that used to be on TV with 'BOinggg!'-style sound effects added.

There's also some  stretches of wordless SEVENTH SEAL-ish footage which Dennis Hopper apparently shot on weekends out at Big Sur. Lots of Fonda walking a girl with a painted face on a horse along the coastline, leading to his ceremonial viking funeral and some wandering through old Poe sets, taking some potion from the ubiquitous Angelo Rossitto, all leading to a panic moment realizing he doesn't want to die, man (the big karmic rebirth/baptism of accepting your own inevitable death, etc.) which would work if the music was interesting, like Pink Floyd or "Dark Star" or something... but the stuff being played... I mean it's 'psychedelic' but there's a thick, wavy line between a band that takes the ingredients and makes something truly awesome like Country Joe and the Fish's "Section 43" and dated garage primitivism like American Music Band's 'trippy' SF sound (i.e. their tepid guitar and organ rendition of "Que sera sera" which sounds like someone left a Ventures album on the wrong speed under water, not in a good way, and/or the schmaltzy calliope library cues at the merry-go-round.

Of course 1967 was a strange year for music, it went in with kazoos and post-electric Dylan country blues progressions, and went out with Sgt. Pepper and Hendrix. My guess, Hendrix wasn't around yet, or THE TRIP soundtrack might be really different. (Just compare the music used in EASY RIDER the following year, man oh man music makes a lot of difference in these things.)

But the peak moment for me, in ALL FILM, is when the spooked Fonda hides in an all-night automated laundry and starts opening all the washing machines, as if he feels they need to breathe. Barbara Mouris, in curlers, the only one there on this weekend night, is reading a magazine and waiting for her load to finish. She's wary and alarmed at his odd behavior towards the machine, especially when, once he notices her watching him he starts nonchalantly closing the lids in fear, like he's trying to hide the secrets inside from her prying eyes. Brilliant! They start talking ("Let's, you know," he says, "really try and connect") but then Fonda sees a prettier girl trapped in her dryer and tries to free her, pulling out all tho clothes. It's a lame ending--no one hallucinates spinning centerfolds, they just see what's already there, amplified into paranoia. God knows how great it could be with CGI... the whirling motion of her whites conjuring a trapped, screaming ghost woman... Instead it's just cheeky and the scene ends in shame, on the run again! Still the damage has been done and a classic trip moment for all time is born. It's the kind of stuff only the truly tripped would know.

It's telling that Bruce Dern never actually took acid before or after this film, and in the talking head interviews that accompany THE TRIP on DVD he alone, of the entire cast and Corman, seems really out of it, kind of unfocused and cranky, as he badmouths psychedelics. One day, not far from now, cooler heads in medicine will discover just how important a good acid trip or twenty is for preventing Alzheimers and countless other maladies and problems but back then it was considered a big risk and Dern bowed out because he was marathon runner. Hah! Like it's going to weaken him! But considering the futility of living for longevity as opposed to the brief sprint to the flaming finish line of lysergic glory, especially in the show business, I would say he should have gone for it. Those who did are still going strong--coherence wise--all the other talking heads are still sharp as tacks and he's, quite frankly, a mess (at least in the documentary).

See, what the anti-drug ads don't tell you is that contempt prior to investigation is easy (with eyes closed). It takes guts to say yes and open up to the unknown, despite all your friends and relatives urging you not to. In the end no artist should abandon the pursuit of knowledge, the discovery of the depths of self, the furthering of craft, in favor of mere longevity and health. Anything is worth any risk. And if you believe that old lie about it mutating your genes, then you probably will die from chemo malnutrition because you're afraid to smoke weed, and also you're reading the wrong blog. Straight Edge dullards be that-a-way-baby. Those folk get the real Peter's head freeze frame fake lens crack!! Us? Let's make it upstairs, man. Just don't bring creepy 'worst guide ever' super creepy Dern (even if he does have a groovy indoor/outdoor balcony pool), and don't call me later if the walls bleed on you again. In the words of Fonda, "my body's gone, man." Wait until Dern's getting the apple juice, then split. Sachse awaits! Sachse away....

See also my 2003 Popmatters review of the double feature with Psych-Out


  1. The Music for this movie is fucking awesome, it fits with the groove of the story perfectly. "Lame" like WTF !!!!!!!!!!!!

    1. Anonymous10 May, 2014

      I agree with you about the music! The soundtrack has been one of my fav recordings for 30 years now! It is a concept album with a lot of mood and color. It plays differently when you listen to the soundtrack with out the film! - JT Milhorat - May 10, 2014

  2. Anonymous29 July, 2010

    I enjoyed some of the music, but I agree Floyd or the Dead during some of the love scenes and especially at the end instead of that awful jazz crap.

  3. Like this Wonderful Psychedelic Atmosphere and this Time.

  4. Actually, I can see how some of the music is cheesy but maybe half of it is pretty good, particularly "Synaesthesia" and "Fine Jung Thing." The American Music Band was actually the Electric Flag with Mike Bloomfield, Al Kooper and Nick Gravenites..none of it was library or stock music, it was all stuff the band thought would fit the scene. Which just goes to show that junkie blues-rock bands aren't the best soundtrack scorers. By the way, does anyone know what "roybal" is or if Dennis Hopper just made it up?? I've been curious for a long time.

  5. Anon - I think it's STP, or some variant from the Berkeley labs. I took it once, called DOM, and another time a different version called Ethyl (Ethel?) - it's pretty intense - a 24-36 hour nonstop trip peak. You need to really know how to psychedelic-surf... we ended up listening to Electric Ladyland over and over for like twelve hours... all other bands or music was too plain or shrill. THat's one reason I'm put off by the American Music Band, even with Kooper, et al. Some of the tracks are, as you say, good. But that cheesy Dixie-lite jug band -- jeezis! A person on royball would kill themselves to escape that noise. Hendrix, man, get you through Royball, and this chick takes it all the time, man. Can you believe where her head's at?

    1. When STP hit the streets in the Haight, lots of folks bummed hard and wound up in emergency rooms. Unfortunately they were administered thorazine, which unknown to all, potentiates STP.
      STP had been developed by the army as an incapacitant. Owsley claimed he got the formula from a library book...

  6. Anonymous21 June, 2014

    Does anyone know where the scene locations were > like the hippie drug house on the
    hill and the house where Fonda does his acid trip? and other street names and locations? Thanks.
    I saw this when it first came out in 67' and it inspired me to take acid!

    1. The house on the hill was located on Kirkwood Drive in Laurel Canyon. Arthur Lee from the band Love lived there for a while.

  7. Isnt it more of an exploitation movie than a counterculture movie? Particularly as in the cinematograhy, which is non existent. Why not black n white, or with natural lighting...and how about doing more than one or two takes b4 cut!


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