Pink Flamingos (1972)

There is no doubt in my mind that Pink Flamingos is a cult film. It doesn't surprise me that audiences flock to midnight screenings of this film to laugh, get grossed out, and partake in whatever zaniness comes with having a film of this nature. In fact, I am happy that John Waters found his fame with this film, it reminded me of an early Harmony Korine story without the subtle symbolism about culture. Yet - I didn't like this movie. I didn't find any party humorous. I wasn't that grossed out by the originality of the filthiness of our characters or their actions. I just couldn't comfortably sit behind this film and say, "I was blown away".


Jaded. Probably. Prudish. Nope. Desensitized. You betcha. Perhaps I have heard too much about this film from others. I had heard the gross nature of what made this film such a "brilliant" moment in American cinema. I had already prepped myself for the unbarreled shock of Divine. So, as I sit here and type this - listening to Waters' audio commentary of this film. I wish I could stand behind this film. I want to like this film. I wanted to finish this film and say to others that I had done it, I had watched the filthiest movie ever created. But, I can't. I just can't.


Why? I didn't mind the shock. I didn't mind watching Divine eat dog poop - perhaps the most iconic moment in pop culture cinema - but I didn't like our characters. I didn't like Divine, I didn't like Cotton, I hated Edie. With no major players, even the raw force of who Divine is, I just couldn't attach myself to anyone. There weren't any major conflicts, any major plot devises worth watching. Pink Flamingos has alot of potential, and perhaps for 1972 it was exactly what American cinema needed - that jolt of part Warhol part New Wave.

Watching this film, I just can't think of one frame I liked. There wasn't one moment I laughed, or one moment that I thought - well, this is some witty criticism on our culture - it was just shock. Not a bad use of film, but it works better when there is a point to it all. Sure, it isn't bad when you want to just debunk film - be a terrorist of cinema - but Waters has grown with future films. Pink Flamingos isn't a bad foundation, it just wasn't a film I could stand behind.


My final film found in the "Village Voice" book, I am eager to see what is next. What part of the world will I travel to next? I am considering selling my copy of Pink Flamingos. Sure, it is a cult film - important moment in American cinema - but I just didn't like it. I could not watch it again - not because of the subject matter - just because I am bored with this. In my books, it is getting a yellow and black mark. Never to be watched again. Sorry Mr. Waters.

Oh, but do you know what irks me further - this is a Criterion Laserdisc - spine #341 - so I am going to go ahead and purchase to keep in the collection. Agh, guess you can't enjoy everything.

Pickpocket (1959)

A bottle of dry wine. A pipe. A darkened theater. The quintessential black and white striped shirt tight on your torso. All of these are needed when watching Robert Bresson's Pickpocket, at least in my first viewing impression. Similar to Persona being my first introduction to Bergman, Pickpocket was my first avenue into Bresson - and I must admit, it didn't leave me with the greatest of impressions. Sure, others will argue that this is a staple in French cinema, but for me this entry was slow, focusless, and devoid of interest. Our main character, Michel, is watchable, but weak as a leading man. Perhaps it is the direction, but outside of the grossly entertaining pickpocketing scenes, I was bored.

Perhaps that is too strong of a word, but from an entertainment standpoint, it just fell flat. Coming off a high with Godard's Pierrot Le Fou, I was interested in continuing with what French cinema was pre-New Wave moment. This was minimalistic, a bit spiritual, and yet it still it felt like a hodge-podge of disaster. It began strong with a disasterous pickpocket at the races, yet we were able to see the smooth nature of Michel's life. The language coming from Michel's life, especially those dull moments in his one room apartment, is again minimalist, but lacking that emotion needed to build a climax.

Watching this with my FILM CLUB, we ranged from 1.5 to 8 with those finding this film so dull that they couldn't stay awake, to the most unlikely person loving this. My grade was a 6 due to the fact that I could not watch it again within a weeks time. I think I would like to revisit this film later in my life, perhaps when more groundwork is built, but at this time - it is like my impression of Breathless, it just didn't fit within my cannon of groundbreaking work. Bresson is a staple in French cinema, but I just don't think he had enough material. There was one line where Michel claims that a conversation is "boring him to tears", and for me, it best describes my initial impression of this film.

My favorite scene were the pickpocket moments. Bresson directs these with ease and excitement, but it seems to juxtapose the remainder of the film. The transfer wasn't bad, and the little sound that was present kept me guessing that more would eventually happen - but it didn't. Found in the "Village Voice" film book still, I am giving this film a pink mark in the book - meaning that it was good to watch, but wasn't great - an average film.

I will read articles on Bresson's work as I continue with his other films. This film hasn't jaded my impression, it just wasn't as exciting as I was hoping.

Also, the edition of this watched was Criterion - Spine #314.

Pierrot le fou (1965)

There is something about this film that just pulls at your heartstrings. It is a difficult film to watch, not just via the subject matter (couple on the lam, stealing from everyone, bored relationship), but also the non-linear storytelling that Jean-Luc Godard uses. Yet it is this difficulty that makes Pierrot le fou more than just your average French New Wave film. There are vibrant colors, pop culture references (one of my favorite moments - the Laurel and Hardy bit perfectly placed at the gas station), philosophy, revenge, betrayal, and everything that you would want from a feature film put, should I say, artistically on the screen - and beautifully transferred by the infamous Criterion collection.

This probably isn't a film for everyone, and even I was hesitant when one of my voracious Criterion watchers said that they couldn't get through it. So I was suspicious, but Godard's work pulled me in, kept me seated, and pushed the limits for what I thought were cinematically possible. The individual scenes that he set up were brilliant. One that stands out especially is the burning of the first get-away car. The one strand of what could be a bridge with another car looking as if it just fell off that missing road. Amazing. I had to rewind just to watch that moment again. Wow.

I also loved the way that Godard uses the infamous film 4th plane. This is where he takes us away from the world that he is creating and has our characters speak directly to the camera. It keeps us focused and familiar with our actors. His use of this as well as our other senses, like sight (beautiful cinematography) and sound - we loose the radio when the car turns off - used poignantly for dramatic effect. The picture used to help me remind myself of this film speaks all on its own. Foreshadowing, 4th plane, intensity. It is all there.

Not much can be said for the acting, it was great - but it was the other elements pulled together that made Pierrot le fou work. Obtained via the "Village Voice" book, this is a Criterion film - spine #421.

This film will get a green mark with blue stars in my books. It receives a vote of 9.1 in my eyes. Stronger than Persona on a different level - perhaps more watchable? I will watch this again - suggest it to friends and family - and open the door to further discussions. This film impressed, it seems as if I have been on a very lucky streak lately. Let's see if it keeps up. Just two more "p" films from the "Village Voice" and I am onto another resource. Wish me luck, Pierrot!

Persona (1966)

It begins again. The triumphant attempt to continue to watch everything. Let's see where this takes us. Continuing with the suggestions from "The Village Voice", I jumped headfirst (literally and quite punny) into Persona. This is sadly, and rather ironically my premiere Bergman film. Shocked as it sounds, I am glad my journey started here - on such a high note without the pressures of watching a cliche-Bergman.


It was, it will be, it will always continue to be Persona, unknown as to the true meaning of what Bergman's message truly was about these two women struggling with each other to truly understand their own moral dilemmas, but it worked. It worked in 1966 when he made this film, and it works today in 2009. As an early film within the year, it is an honor to be a part of a select few to have seen this. It bended my mind, in such a way that required another viewing, and another viewing, and another viewing.

It was shown at FILM CLUB #50 as my attempt to bring the unknown to the table, and our group of nine devoured it. Our conversations ranged from where this film began, the idea of the child, the religious undertones, the idea of femininity, and sin. I am sure there was more, but couldn't spend all night - could we? Our scores ranged from 6 to somewhere in the high 8s. It challenged our minds, but also opened our hearts to a brave new world of cinema. Just another day at FILM CLUB.

Persona gets a green mark with blue stars because its ability to keep my attention through the end. Its ability to make me feel uncomfortable, to make me chuckle a bit, and to question the true sanity of our characters. Its cinematography couldn't be recreated in today's technology even if we tried, and the sudden Lynch-ian moments just heightened my cinematic senses. This was "a motion picture" to quote my friend Doug, and it should be watched again and again to fully comprehend the scope that Bergman was reaching for.

My score for this film is an 8 and growing. I will be watching this film again as I approach it in further books. I will be suggesting this to friends, family, or film snobs that just can't get enough carnal knowledge.

Peking Opera Blues (1986)

I had a website. It got dull.
I had a system to review films. It fell to the wayside.
I wanted to continue to review without the parameters of what the big box sites said - so I started this.

Simple, I write down where I found the film, which format I watched it on, my gut feelings, and anything that stood out. This isn't a review, but an opportunity for me to remember. Who knows what tomorrow brings, and I should be ready so I don't have to rewatch horrible cinema.

Our first film begins with a film film stretch coming from the book, "The Village Voice Film Guide: 50 Years of Movies from Classics to Cult Hits". It is aptly titled, Peking Opera Blues.

Peking Opera Blues was watched on January 15th, 2009. It received a 6 out of 10 rating due to a heightened excitement at the end, but lacking a strong introduction. There was something exciting about this film within the final thirty minutes, but this film had to be watched during the day. Evening viewings made me sleepy, thus forcing me to rewatch the beginning four times. This was a challenging film, with intense action and sexual innuendo, it was groundbreaking for the late 80s, but it just didn't speak to me. I don't think I could watch this film again. It was exciting, just not excitable. Remember - there was a cross-dressing woman randomly placed, jackets can block a barrage of bullets, and jewels do not a plot make.

Favorite scenes: Tough. I enjoyed the scene where our characters use the dead General as a trick to fool the guards. Sounds pathetic, but it was fun at the time. Outside of that, nothing stood out as important.

Sound & Picture quality were decent - almost as if I were watching a VHS.

DVD was found on eBay. Was put back in the film room to rent - no takers yet, but the year is young. I can suggest, but could not watch again.

Received a pink mark in the "Village Voice" book giving this film a score of a six. If stumbled upon again, it will not be rewatched.