If you'd wondered casually where Guy Maddin's been all these weeks, months, years, then you haven't read the snootier cineaste tabloids that remind us he's traveled the world and the eighteen seas shooting weird shorts on weird soundstages with his cool (and/or literally cold) friends. Now he's slung all those shorts together in order to re-witness the allegorical birth of cinema, from its slow crawl out of the silent fallopian Méliès ocular orifice, gaining momentum like an uncooked bullet monocle crosscutting through Intolerance valleys to come home and find Jolson belting out "Mammy" as the heavy silence of his meshugginah papa offers barbed wire reproach against this strange speeding cokey locomotive... I mean, it's jazz papa! Vitaphone 4ever... and then... what? The tracks run out at a cliff overlooking Cinemascope and Technicolor. Maddin shuns everything except the old 2-Strip. We walk from here, down into the gully to pick up undeveloped scraps tossed by wasteful cinematographers.
Then, wondering what kind of Brakhage-based nonlinearity cinema might have grown tall on had the silent-to-sound conversion gone differently, Maddin sets to wandering the land between true expressionism and hipster retro-narrative. Tip-toeing through the sprockets and into the tulip bed unconscious, he tallies the dreams of everyone who ever fell asleep on a speeding train (ala Lars Von Trier's Europa), and finds a new form of cinematic vision, one overtly moored to the speed of rotating locomotive reels, 24 frames a second, like speed bumps in the track. The landscape scrolling oast outside the window suddenly skips! It's jamming! The passing scenery freezes and starts burning up under the blazing light of the projector, until it's all bright white light, and then the house lights come on, the audience groans like groggy nappers, refuses to leave. Maddin uses the melted copper nitrate for booster shots from doctors Mabuse and Caligari. He pays a visit his old Boards of Canada childhood's tawdry pock-marked classroom instructional videos; he has a dream that John Berryman was right.... there, in the water like fluoride, crossing the racing lines and looking both ways before learning how to take a bath. The bath. Here come mothers or actresses paid to wear motherly clothes, scrubbing us so thoroughly we can feel Liv Ullman's breathing on the screen of our thin skin. But in our shame we then notice he horrified rubes peeping through the sideshow curtains at our Oedipal naked soapy infant bodies! A mere dissolve later and we're an old man doomed to die in an abyss of black tail leader. Infancy = Amnesia!
A good dreamer doesn't know he's dreaming (for he'd wake) nor a character that he's fiction (for we'd wake, groaning, hand reaching for the remote). But in Maddin's world, consciousness extends beyond both waking and dreaming to a new third thing. Characters are aware of the importance of keeping from the audience their full awareness of the mise-en-scene frame boundaries. They don't need a silver nitrate fireball held right against their mother's temple to keep them from squawking. They don't want us to stir from our slumber because to them we are like the titans in Cabin in the Woods. One disgruntled click of a button and they cease to exist.
But still these characters still set about seeing you get that purty bath, scrubbed by that purty maid - the viewer at the roadshow remembers that picture - you don't remember him at all. Future generations will see you in your bath but now the colors will have all turned to rust. If you're in a Guy Maddin movie, that rust has happened ahead of time, two or three feet ahead, just enough for your nightmare third-eye fevered brain to hallucinate patterns upon the bubbling Ektachrome shower curtain into which your silhouette dissolves. It's just enough to distract you so the skeleton insurance defrauders can lull you into a gentle trance. Your worthless squirming signature on a piece of paper is all they need, and they'll stop pestering you! Sign here. Initial there and sleeep on, and on into the ever chugging night as the track culls you like a ticking clock, scrubbing blackness from the pink skin of the sky by force of habit. What else does the world turn for, if not lack of other options? Has anyone convinced it to stop twirling like a mad idiot around the sun, stopped winding it? Instead, we're 'orbiting' like a moth desperate to burn back up in the mother light of an empty projector, to drink from the sun like a mammary fountain and be reborn as an angel.
Every moth who made it past that shade has never told us they regretted it. Even if they're swept up with the dropped popcorn at the end of the night, they had that moment... and they're still here. We can smell their burnt impression when the lamp's left on. They're gone now but the show goes on, repeating every two hours, until the late show lets you out into a parking lot that's as still as a tomb. The road home is waiting for you to finally fall.. asleep... so the orgy.. can begin, right under your sleeping nose.
|Margot (Clara Furey) of the Ridden Red Wolves|
|Baffled Woodsman (Roy Dupuis)|
|Skeleton Insurance Defrauders (themselves)|
And like his best work and that of only a handful of other filmmakers--Lynch, Bunuel, Antonioni, Martel--Maddin's style defies easy description or analysis, and so falls into the collective amnesia of the 20th century, coming at us the closest thing yet to the baroque yet strangely cheap look of our own dreams. The only one who can tell us what it all means is a Freudian analyst, smoking in his train compartment (Forbidden Room includes a 'train psychiatrist' - like a ship's doctor, on the 'Berlin-Columbia' Express) while trying to seduce a young zombified girl through hypnosis, to cure her of
Amnesia is, I explain to my students (when I have them), the key to understanding not just this film but all art films. This is not the search for small meanings here, or even big ones, but medium size ones. If film itself--the physical, ever-decaying reels of it, most of which are deteriorating in dark hidden chambers deep under long closed cinemas and Nazi bombing rubble--was to go into analysis, under the care of an licensed emulsion scratch that grew and shrank (fee-wise) according to the size of the epiphanies realized, then this film would be that breakthrough session. Film has a message for us! It says, hey, 'sorry for misleading you, who choose the cinema in favor of some full dumb life playing sports or pursuing fame, money, power, altruism. sorry for leading you astray.' Cinema realizes now too late it had no right to dominate us so completely. It took advantage of our vulnerability to the dark and images, and it made certain deals with our unconscious we didn't even know about. Cinema is sorry, and so here in Maddin-land, cinema self-flagellates with rust and emulsion scratches and cigarette burns. But even those burns are beautiful, hypnotic. They can't help but console and cajole and cosign our trust, which they will then defraud!! Drop that pen! Rust! Rust while you can! The emulsion scratch shrink, now widened into a flickering blue-green band down the right side middle, smiles as the client image dissolves.
Playing around with speed and reversals, decomposing blobs around a lighted figure in a dark room seem to be breathing in and out of dissolving bubbling lava-like abstraction and almost like free association BOOM there's a volcano. And while each of the interlocked stories and subroutines feels familiar, there's no time or inclination to really identify or understand: a woodsman comes into the forbidden cave to rescue his lady love from a wolf pack in an inverted Red Riding Hood myth, he thinks. But they're all dead and she's shaking as if possessed, and then, what? Rather than speak on the crime of squid theft, the volcano lectures the gathered tribe on the impossibility of gaseous emissions speaking coherently.
No speech is so incoherent it can't express its incoherence coherently.
I'm an American but I still love most Maddin films, at least the first half, but it's helped me to have seen each one with a different girlfriend, and I've loved only the ones I saw with girls from Europe or Buenos Aires. The last film of Maddin's I saw was with Branded on the Brain, with live orchestral accompaniment (with Cripsin Glover narrating in person) and it was okay, the (American) girl I was with was 'meh' about it. I enjoyed more the Saddest Music in the World at the Landmark in company of my Swiss French mistress who was suitably impressed that I could even explain it. Before that I saw Tales of the Gimli Hospital at a midnight screening in Seattle circa 1990 with my girl from Carmel, NY. This was back before anyone knew anything about Maddin other than his film was a Canadian surrealist black and white homage ala Eraserhead. I liked the framing device with the radiator but I had a roaring headache and my girl was all pissed because I brought a flask and reeked of booze. But Careful was a masterpiece of psychosexual Freudian nonsense I saw with my Argentine ex-wife, and we swooned as one. Is there a connection?
Maybe this: Americans, even me, can become bored by alienation and Lost in Translation style dissonance when there's nothing to grab onto. Americans are not used to having our desires toyed with. Our craving for some kind of narrative thread, some kind of familiar signifier, to orient ourselves by and lose our is not something we admit is an addiction. We think movies should bring us out of our heads, not bury the escape routes in avalanche ice. When a European art movie toys with this desire it eventually drive us half-mad and into boredom when not in the right mood or company. It speaks not so much to our diminished attention span as much as our addiction to reproduced images and sound. Our loss of contact with the real has become awkward, like that friend you should have called last week when they got out of the hospital, but waited too long so now just thinking about calling them makes us break out in a cold sweat. We've alienated the real to the point we resent anyone who uses our beloved imaginary-symbolic realm as a tool to bring us back to it. As a result, we're burdened by the constant need to have the TV on, or the radio, or ear buds, or (for me) a white noise machine. Silence and emptiness are too tomb-like to endure. The existential lonesome nipping at our heels barks so quiet the blood flowing through our ears is deafening; we latch onto any promise of escape. Up north they don't seem to need that. Maybe loneliness couldn't find them in all that forest and had given up. Or the wind howls constant like a lullaby.
Maddin's best moments, for me, always occur when he dares to go deep into the psychosexual, as in the mother-son/ father-daughter incest bonds amidst the isolated Reifenstahl-ish Alpine hamlet of Careful. Existential frozen misery sagas like Gimli Hospital are too much fat guys eating or starving and so forth (as I recall, from 25 odd years ago, drunk in Seattle at midnight). When narrative expectations are thwarted, there needs to be someone or some place pretty to look at, something that won't demoralize our senses. For example, in Red Desert there is the beauty of Monica Vitti; Catherine Deneuve beautifies the madness in Repulsion; Anna Karina has a giant head in My Life to Live. In Maddin's best work there is always a good center to hold, ala Saddest Music in the World's Isabella Rossellini and her beer stein glass legs launching the switch to color, and there was the sad music competition, a familiar narrative we can become involved to the point we can rest our European 'art' eyes and flip over to our American 'entertainment' eyes. If we have to be weaned along the line, well we can at least see our mom as she was then, gorgeous and more than five times our height, towering above us like an Easter Island moai crossed with a fairy princess, a giant breast ever at the ready. The darkness coming up when she leaves, we terrified, alone, and helpless, pissing ourselves and having to wait for the all-absolving warm pink dawn of a half-asleep parent waking up to change our diaper or dispel our nightmare, so we'll sleep again and so will they.
Now we've learned to hold it in, like good little boys and girls who paid attention during that instructional film on potty training. And the figure we so venerated in our cribs was getting smaller every year of our growth, like Alice on a slow-slow-slowly kicking in mushroom.
That said, Forbidden Room zipped by way too fast in parts. Maddin rushes to cram all the shorts in and give every actor he used a shot or two. My favorite critic Kim Morgan has only a split second appearance with a wolf skin (that I saw) but there she is. I imagine it would be quite worthwhile to get this Blu-ray if it includes all the other short films from which this be culled and more. Because my favorite is still that short, Heart of the World, which my BA girl and I saw on the big screen at Angelika before.... what the hell was the main feature? I forgot again, and that I already mentioned it. My Buenos Aires girl and I were so thrilled I don't think we even paid attention. I wish I could remember what it was... but I can't even remember who I am except I said this before. Except I know I'm an American. Because even now I'm hearing the siren call of TCM behind me... Joan Crawford bitching about losing some part, some romantic leading man cringing on his side of the Cinemascope screen...even that... even that terrifying Woman's Face of hers... hair coiled around her head, tight and butch, like a face hugger alien reaching out to the warmth of applause like plant tendrils to the sunlight, then retracting in curlers when it dies. Without the adulation her mask becomes a harsh severe horror, that flat dark pink lipstick and trowel grey foundation, a gargoyle moai that turns my blood colder than my Coke Zero herbal tea highballs.
Also spracht der filmdose!
The Film Cannister tells of his rich childhood: Udo Kier played his ghost dad and like all ghost dads also plays ghost dad as ghost dads are always erupting like burns in the emuslion, ja? Udo is no different. He keeps making final farewells to his son, leaving him a can of fake mustaches with which to fool his blind wife in any Oedipal domestic clinches that might result after sufficient time has elapsed.Trouble is: Udo, with ghost beer and a friend he met in the afterlife, comes back again and again. Dad, thirty feet high, passing us a can of mustaches to call our own, with Udo's soulful eyes to swim in. Are we not men, we who wake up from drunken black-outs? As children in the night? Wearing canned mustaches?
Every new viewing of any DVD comes with an FBI/Interpol warning -a sign you've slipped again, passed out, must begin anew. The trick: don't admit you don't remember. Just feel your way along, acting like you know every detail of last nights drunken boorishness. If people seem to know you, from Chicago, when you were in some sadomasochistic cabaret act, just sleep with them and let your razor speak on your behalf. God knows what else they saw you do, and in what aspect ratio. Jess Franco knows, for you. And you alone, in the dark, with a squid in your mouth, still struggling like that Korean Elektra complex en verso Oldboy. That's psychosexual mustache fraud, Charlotte Rampling, and the best present any man can give a woman is a sculpture of Janos, the god of doorways. Janos, the guiding spirit of The Forbidden Room! Janos: for there are many doorways to this Room and many beginnings and always the rewinding to the FBI warning and mustache-dabbed memory, and the black paint dripping in the dark corridor where memory was supposed to be -- it must have fallen off. Thinking about this movie is so close to watching the actual movie itself that both seem to dissolve in the light, the rusted emulsion and dissolving nitrates breathing and pulsing like lava, like Ingrid Bergman gazing into the volcano...in STROMBOLI.