From http://www.filmdispenser.com/wp-content/uploads /2016/03/the-forbidden-room-titles-2.jpg |
Directors: Guy Maddin and Evan
Johnson
Screenplay: Guy Maddin, Evan
Johnson, Robert Kotyk, John Ashbery and Kim Morgan
Cast: Roy Dupuis (as Cesare); Clara
Furey (as Margot); Louis Negin (as Marv/Smithy/Mars/Organizer/Mr.
Lanyon); Udo Kier (as Count Yugh/The Butler/The Dead Father/Guard /Pharmacist); Gregory Hlady (as Jarvis/Dr. Deane/A Husband); Mathieu Amalric (as Thadeusz M___/Ostler); Noel
Burton (as Wolf/Pilot/The Captain)
Synopsis: Based on Guy
Maddin's Séance project, live
and filmed performance pieces where lost films are "conjured" like
spirits in acted out séances, The
Forbidden Room is a series of stories within stories within stories. From a
monologue about taking a bath from actor Louis
Negin, the bathwater leads to men trapped in a submarine at the bottom of
the sea with explosive jelly and rapidly depleting oxygen trying to find their
captain. A lumberjack inexplicably appears leading to dreams and reflections
that lead to dreams and reflections of those in the first ones. Of the
lumberjack trying to rescue a woman Margot (Furey)
from thieves, of aswang vampire bananas, poison absorbing leotards, Mathieu Amalric as a man living in an
elevator killing his butler to cover up using his possessions as his wife's
birthday gift, Udo Kier's ghost
giving his son his moustache so he can pretend to be him for his blind mother (Maria de Medeiros), Kier also as a man obsessed with derrieres as sang by legendary duo
Sparks and various forms of madness
beyond that.
From the above synopsis, The Forbidden Room can claim to be
out-there even for Guy Maddin, the
Canadian hauntologist of films existing in alternative worlds like Careful (1992) to Dracula: Pages From A
Virgin's Diary (2002). Co-director with Evan
Johnson, this is amongst Maddin's
most surreal films, an obsessive tribute to cinema that has sadly perished to
the spectre of time or never got made. The film's from the Séance project, recreated here to, including works from legendary
directors like Jean Vigo to Erich von Stroheim; for example, the
tale of the son wearing his late father's moustache to comfort his mother is
based on a lost Mikio Naruse work
called The Strength of a Moustache
(1931). Doing this Maddin and Johnson decided to take a page out of
the film adaptation of The Saragossa
Manuscript (1965) of relishing storytelling for its own sake, the stories
segmenting into each other as character within them tell their own stories. The
film in terms of ingesting it over two hours is a massive work, but significantly
the result is a series of star studded and elaborate short stories which
intercut between each other, all with beginnings that lead to ends but not
necessarily all ending as you'd expect them to.
From http://www.slantmagazine.com/assets/film/24952/forbiddenroom.jpg |
The stories vary between the melodramatic
- an escaped prisoner (Jacques Nolot)
becoming the servant of a man (Slimane
Dazi) even if he has to hide his chains - to the exceptionally phantasmagoric
and bizarre, such as another man developing an evil side to him called Lug Lug
because of his obsession with a Janus statue, only for his narrative to end
with his doppelganger appearing at an auction. Like a stream-of-consciousness
the resulting structural style, intercutting the stories in-between each other
depending on the mood of the moment of the whole film, allows for Maddin's feverish imagination to become
even more absurd for the sake of it - that vampiric bananas is merely a small
anecdote in a much larger work explains what one should expect.
From http://67.media.tumblr.com/89bf2e3b17a7714d756c0e7 d721480c3/tumblr_nzag3sZkbB1qzoziho7_1280.jpg |
Technical Detail:
The Forbidden Room is the first Maddin
film to fully embrace extensive computer effects which will stand out
aesthetically for many. In general the look and tone of the film however is
like various different aging film reels being attached together, just as
important to what the film is doing as the content is. Like a constantly
distorting and decaying image, actors are introduced by their name and their
character's in on-screen text, existing behind the veil of faded film stock of
various colour tints and digitally added film scratches. Far from the worst of
this type of technique, this feels like the creation of people who've watched a
lot of older cinema and have learnt the style of these type of films even in
their inter-title text fonts to make this effect actually work, giving this
film the look of living celluloid as a result. Able to go from bold three-strip
colour to monochrome, the result is entirely seamless.
From http://www.bfi.org.uk/sites/bfi.org.uk/files/styles/full/public/image/forbidden-room- the-2015-012-suited-man-looking-back-to-doorways-ORIGINAL.jpg?itok=xy8VtyHP |
Abstract Rating (High/Medium/Low/None): High
Is this the peak of Maddin's style? Not necessarily. Other
films before this are just as abstract from his filmography in different ways,
such as with Cowards Bend The Knees: The
Blue Hands (2003) and its original peek-a-boo machine art installation context
and its content. With The Forbidden Room
the difference is found in how emphasised and constant the barrage of content
is, the collage of narratives a barrage that literally crashes into each other
as a character finds a book of climaxes which the viewer witnesses the examples
of, including two blindfolded lovers crashing personal hot air blimps into each
other. Instead of explaining the blatantly obvious, that this gets the High
mark on the rating system, it's better to list some of the more memorable
moments in a list since there are so many of them to choose from.
From http://cbsnews1.cbsistatic.com/hub/i/r/2015/09/27/a088ec7d- 5fce-4165-be39-39e523b8aba1/thumbnail/ 620x350/d119232d2604c34dcc38cf1546de43cc/the-forbidden-room-montage-620.jpg |
The fairytale quest of the
lumberjack to rescue the damsel, which goes as far as picking up allies with
special abilities, only for it to deflate in an anti-climatic ending with
feminist leanings. Sparks cameoing,
but with singer Russell Mael's face
obscured by damage in the celluloid, and composing 'The Final Derrière', about
the love and bottoms and scrapping brain matter out of someone's head to cure
this fixation. Udo Kier appearing
continuously, like many actors, in multiple roles as part of the film's
dreamlike tone, actors playing characters in one story and then in another
dreamt by a character in their original narrative. Charlotte Rampling in one single story, as Mathieu Amalric's ailing and bed ridden mother, but with her face
appearing continually in the flashes of the film's memory. The continuous
references to amnesia - from children fighting a trench warfare being told
they'll suffer from an ailment where their relatives will forget them to a
psychologist literally bringing a woman's inner child back to her on a train -
which can be argued to be a key theme of the entire film and its resurrection
of lost films. The gleeful perversion that's Maddin trademark, from nudity to eroticism, that manages to get
away with being suitable for twelve year olds here in the UK in this particular
film and how it presents it. The aswang narrative, of vampires whose footsteps
hear from a distance actually mean they're close and could harm you. The simple
fact that the film exists even in the context of Maddin's already unique career and has so much left un-discussed in
this paragraph awaiting any viewer of The
Forbidden Room.
Abstract Spectrum: Fantastique; Mindbender; Surreal; Weird
Abstract Tropes: Too many to write down
From https://reencuadres.files.wordpress.com /2015/03/the-forbidden-room_still1.png |
Personal Opinion:
An absolute, delirious delight. My
only regret is having missed the chance of seeing it on the cinema screen
which, on Boxing Day 2015 when it was possible to, would've made a memorable
Christmas memory. It's immensely rewarding as well due to how dense it is, apt
for multiple rewatches and, in context of Maddin's
career especially as the Séance project will be released as its own entity, it
offers an exciting new page for his career. Especially as with Keyhole (2011) he switched to digital cameras,
this film with his co-director Evan
Johnson offers a paradoxical but fascinating tangent of his obsession with
cinema's history becoming even more central to his cinema.
No comments:
Post a Comment