WR: Mysteries of the Organism (1971)

The American Dream is Dead.

Philosophical film. Each scene, side by side, brings upon new sensations, new bold images, political messages, honest truths about our culture all with the underlining sexual messages that make "WR: Mysteries of the Organism" more than just your average documentary. Released in 1972 overseas and deeply rooted within art-house cinemas, "WR" is not a film for mass audiences, though; one could argue that it carries more honest truths today than it did when originally conceived. Watching it today, in 2008, nearly thirty-six years later, it is difficult to watch. Not that there is anything wrong with this cult masterpiece, it is a film that is not as "modern" with its voice as it is with its message. As I do believe that this is an important film to watch, it may not initially show itself to you right away. Like myself, it took nearly two viewings to fully understand the scope of "WR: Mysteries of the Organism" - nearly the same viewings that it took when originally watching "8 ½" or even "Obscure Object of Desire" - it isn't a film for just afternoon viewing - prepare yourself for cinematic intelligence on a grand scale. This film forces you to think, look within the images, to break outside of your mold, and forces yourself out comfort zone. This is "WR: Mysteries of the Organism", who would want anything else.
How deep does psychology have to go? As the film asks this question, it feverously jumps from an American visual to a Yugoslavia political. We go from our Reich-ian feminist who is in love with the ice-skater, to the simple stroll of our Warhol performer in New York, than haphazardly back to the demonstration in Yugoslavia. As our sexual moments continue throughout, Makavejev uses them wisely (and symbolically) to make political and individual statements. It is this juxtaposition that makes this film bold and expressive; growing into more than just your average "I am Curious" moment. As any of our scenes nearly climax (literally and figuratively), Makavejev takes the moment to pull us back into the "why" of the scene. It isn't American cinema, in which skin is used to fill theater seats, there is a point to the sex, and just as we think there is no rhyme to the reason, we are pulled back into Makavejev's flamboyant mind. In essence, he is answering the age old question, "do sex and politics really mesh"? Then, seemingly out of nowhere, he pulls away the carpet giving us more than the original tantalizing scenes, but replacing them with horror and grotesque ... again - with a point. To stress again why "Mysteries of the Organism" demands more than one viewing (nearly right after the initial viewing) is because it isn't just your average entertainment only film, Makavejev has put himself within the feature - giving us a short glimpse of personal ideals, sexual exploits, and the power of politics ... all within only about 85 minutes. It is enough to give anyone a headache, but also excitement for what was missed.



Orgon Therapy? Madness or Sane formulations? "WR" questions Reich's ideals through faux-cinema and a sense of documentary styles. While some of the history is shown through factual images, i.e. Stalin as a symbol of sex, it is the directed images that really add the value to "Mysteries of the Organism". The drama of the characters that are represented demonstrate real life - the choices made and the consequences that follow. It is more than just a handful of powerful scenes ... it is the option for viewers to discuss, have opinions, and agree/disagree. As I throw out these random thoughts of this film, it only seems to fit that of our director. This is not a linear film, but consistent imagery posted with symbolism. Listening to the audio commentary, it seems to add the glue to these random tangents. Criterion's addition of Richard Durgnat's words (read by Daniel Stewart), help the free-associated viewer deal with the deeper changes and movements within the film. Overall, Criterion's addition of this film to its collection continues to show their excitement towards groundbreaking cinema, nearly forgotten through the modern CGI-explosive cinema bombarded today, "WR: Mysteries of the Organism" is difficult to watch, nearly too smart for my initial view - it is challenging because of the bold words, the wild symbolism, and that wild scene that uses the song "Kill for Peace". Whew, perhaps this paragraph was random thoughts, but it seems to work with this feature.


Overall, in hopes not to bore the average reader, "WR: Mysteries of the Organism" is part black comedy, documentary, political collage, philosophical essay, and a bit of science fiction. While these words hardly scratch the surface of what "WR" has to offer, this film is bizarre in a phenomenal way. This isn't your average art-house picture, but instead a film that demands debate and pulls you within the film - pushing your mind, focusing your eyes, and challenging your intelligence. Using political scenes that are dated, Criterion's release gives you the opportunity to explore from different angles, so that you can see the universal language that "WR" uses. This is a challenging film. It seems to be pulling from every genre, in a way that is difficult to explain. The final scene of this film still remains in my mind, the stern Stalin image that leads us into a darker world. I still don't think I fully understand what Makavejev was trying to say, but what astonished me about this film is that I didn't want to just put it aside. "WR" pulls you, it yanks at your heartstrings, it opens your eyes, and one viewing is never enough for such a subtle (or is it?) engrossing film. While it would not be for everyone, it still remains relevant today, and I am excited that Criterion has chosen to add it to their collection. "Mysteries of the Organism" is an excellent film for those angered by the idiosyncratic destinies of Hollywood.

This is an old review, and no changes have been made upon watching it again. Green mark with blue stars - this is one of those films that if I showed for FILM CLUB, well, I don't think I would have many left sitting when it was done. Yet, I thought it was powerful and challenging, just what every good film should be.