Sunday, January 29, 2012


No new list here. Just a thanks to those of you who caught the following revivals with me over the past 12 months:

WINTER KILLS (this forgotten 1979 conspiracy thriller, starring Jeff Bridges and John Huston, gets a little too out there near the end, but highly recommended. This film only exists on digital, the film prints destroyed missing or too damaged to be saved. Sounds like restoration work needs to be done on most films from 1977-1990 ASAP, but I digress. See this before it's gone.),


THE SOFT SKIN (was a little disappointed in this Truffaut. Not by much, but just a small but noticeable sense of "Eh" in the last quarter or so of the film.),


THE MANCHURIAN CANDIDATE (wonderful Q and A with Angela Lansbury. It was great to re-introduce this classic to someone who hadn't seen it in a long time, and to introduce it to someone who never saw it. And grateful to TCM for sponsoring this free screening. Lousy picture included of Angela. Sorry, did my best.),

THE IDIOT (keeping up with my Kurosawa. Even a Cliff Notes adaptation of the Dostoyevsky novel is very good in the hands of Kurosawa-Mifune, among others.),

THE BIRDS (another wonderful Q and A/ free screening sponsored by TCM, this time with Tippi Hedren. Decent picture above; it's the TCM one that isn't with Lansbury.)

MAN ON THE FLYING TRAPEZE, IT'S A GIFT (2 fun W.C. Fields films, with nice intros/ Q and As from Fields' grandchildren- lousy picture of the grandson listed here somwhere.),

TOP GUN (I've seen this a bunch of times on VHS, but on the big screen, I was pleasantly stunned how much fun it was. Don't think about the script, it can't handle the scrutiny. Just have fun.),

THE MAKIOKA SISTERS (The score is terrible, but this Japanese film is good. In the Criterion Collection.),

ROLLERBALL (the original. Works better as social drama and and fits in the violence with consequences file. I wish more people know this. It's good believe it or not.),


DOGTOOTH (this is now in my top 10 of 2011. Put it at #9; behind Another Year, ahead of Kawasaki's Rose, and knocking Gasland out of the Top 10 all together.),


LE RAYON VERT- (I can take Eric Rohmer's work, but in small doses. This was a small, pleasant enough dose.),

PLANET OF THE APES (boy, was this a blast on the big screen.),

MONSIEUR VERDOUX (another film I wish more people knew. As long as both this and Modern Times are both on Charlie Chaplin's resume, I'll always put him above Keaton.),

SEVEN CHANCES, AIRPLANE! (that said, I enjoyed 7 Chances immensely. And it was so short, I had plenty of time to catch Airplane with the appreciative crowd at Bryant Park. All in all, a pleasant, funny summer night for me.),

THE DARK CRYSTAL, THE FOG OF WAR (a unique double feature. I admit, the ending for Dark Crystal doesn't make a lot of sense, but the journey is worth it. Interesting Q and A with Muppeteer Kathy Mullins. A Robert McNamara documentary is not an obvious double feature with Dark Crystal but hey, works for me.),


DIRTY HARRY (a quality end to the Bryant Park summer film series, paired with that Bugs Bunny cartoon where he faces off with a mad scientist and that "interesting monster". Was not appropriate for the 8-11 year olds who were watching it, felt seamier that Taxi Driver. Picture of the Bryant Park screens, 3 in total, are above.),


THE LION KING (works great in 3-D. Lean and mean filmmaking, no wasted scenes or sequences. The idea that there was no need to see this on the big screen because there's a musical version on stage still pisses me off. How elitist, no wonder the other 49 states hate New York.),


THE BRIDE WORE BLACK (2 disappointing Truffauts for me this year. Entertaining in its style with a good Bernard Herrmann score, but both could only carry the film so far.),

AUNTIE MAME (literally nothing more than a filmed play. An entertaining filmed play with some good to great performances, but good God do I understand why the director made so few films.),


THE ROOM (wow this film was awful. Wow was this film fun. The only disappointment was this college kid who thought she was funnier than everyone else. You should experience this train wreck. The only question is; whether you want to first experience it live where you can't hear half the dialogue and therefore miss getting some of the jokes going on around you, or on TV like say the Adult Swim screenings on April Fools Day, where you hear all the dialogue but may not have the social experience you desire. And you will desire it after watching it awhile.),

and MANHATTAN (maybe not Woody Allen's best, that would be for me, Annie Hall. But Manhattan's probably my favorite of his work. Sorry that the best Woody can feel about this is essentially, he got away with one. The borough has never been captured so beautifully on film.) .

42 in total, compared to last year's 33. Even with repeat revival screenings from previous years taken out of the 42 total, I still managed to make more first time screening over the past twelve months than in the twelve before that. Very nice indeed. Thank you all.

Tuesday, January 24, 2012

Revivals for the next few days

Hey, Mike here with a list of revivals for the second half of January and the first few days of February. Before I get to the list, I have a little story. I tried to catch a free screening last weekend of the pretty good Moneyball, at the Sony Wonder Technology Lab (or SWTL), on Madison and 56th St. They have a small screening room, they screen some of their newest HD discs, on a large HD screen. Talk about an exercise in futility. Their automated phone operation is confusing, long winded, and easy to make mistakes on. Go ahead, call their number: (212) 833-8100. It delivers a lot of information in a overly quick manner. Some of the information is for screenings they will NOT accept reservations for because it's too far ahead in the future. But they'll take up your time explaining it anyway. The SWTL website tells us to begin attempt to reserve on Monday morning. But the voicemail told us no with regards to Moneyball. Could be because Monday was a federal holiday and the lab is understaffed when it comes to screenings and reservations, but who knows. If you attempt to leave a reservation for an available screening, it's not official until SWTL calls you back with the number you leave them, which is fine. Unless you make mistake of not attempting to reserve between 9AM-2PM (again, NOT on the website), or if you leave the message on the "wrong" voicemail.

The later is what I did wrong. By the time I figured out that mistake, and figuring it out meant calling the automated service and spending 3-5 minutes hearing all the previous info I had to deal with last time, before I learned my exact mistake, and oh yeah, that there was no seats available for Moneyball. Now, the screening had a waiting list, but no info on how to get on it or when. If there was it wasn't clear. I, the caller, had to speak slowly and clearly when giving my info. The workers making the voicemail, are under no apparent obligation to reciprocate.

Now it seems like a fun place on the SWTL website. But I will not recommend this place to anyone under any circumstances until I check it out myself. With the screenigs they have, many kid related. That won't happen thru February. And based on the lack of quality of SWTL automated phone service, probably longer than that. We'll see. Now for films you can ACTUALLY GET INTO. Here we go:

BEAUTY AND THE BEAST in 3-D- Varying theaters nationwide, check your local listings, unknown end for the engagement- Reminder about this Disney classic from 1991. It's not doing the bang-up business that Lion King did a few months back. Merely doing the respectable business that the first 2 Toy Story films did. I figure you have at least until Thursday February 2nd to catch it, maybe Thursday February 9th. After that, you're on your own.

A MAN ESCAPED- Wed Jan 25 at 7:45 and 10- Film Forum- A new 35mm print of the only film in the Robert Bresson retrospective that I have both time and interest in. A member of the French Resistance is imprisoned by the Nazis, and the prisoner spends the rest of the film trying to escape before he's executed. Will he succeed? And what will he do with his cellmate? Will he bring his cell mate with him, or could he be a Gestapo spy and therefore must be silenced? Bresson won for Best Director at the Cannes Film Festival, the film itself was nominated for the Palme d'Or.

MANHATTAN- Fri Jan 27 at 7- Museum of the Moving Image in Astoria- The film that starts off the new edition of the Museum's See It Big series. Films that should be seen and can only be truly embraced on the big screen. Arguably Woody Allen's best film. On the short list with Allen's Annie Hall, Hannah and her Sisters, and Crimes and Misdemeanors, though NOT the only above-average Midnight of Paris. He wanted to make a film where he wanted to captured what he thought of as life in Manhattan, late 1970s. Put into the filter of one of his favorite films, Jean Renoir's The Rules of The Game. Allegedly, at some point after post production was completed, Allen was so unhappy with the final product, he offered to make a new film for free if United Artists either shelved or destroyed Manhattan. UA execs, happy with what they received, politely declined. Despite the praise and acclaim, Allen felt/feels he got away with one in this case. It may not be a life in New York circa late 1970s, but worth catching.

Hell of a cast. Diane Keaton, Micheal Murphy, Meryl Streep and Allen were the better known actors; Mark-Linn Baker, Karen Allen and Six Feet Under's Frances Conroy in smaller roles. 2 Oscar nominations for the Screenplay (written by Allen and Marshall Brickman), and Mariel Hemingway for Supporting Actress. I hope as the relationship between Allen's and Hemingway's characters develops, all cries of "Soon-Yi" are held to a dull roar.

What it wasn't nominated for, which still stuns me, is Gordon Willis's stunning black and white Cinematography. Hard to say who should have been dropped from the category, considering the excellent work done in Apocayplse Now (the winner), All That Jazz, 1941 and The Black Hole. Wait, I know, drop NĂ©stor Almendros for his work in Kramer vs. Kramer. But wait, he worked on Terrence Malick's Days of Heaven. DAMNIT!!! Anyway, a must see on the big screen:

If you can get there sometime between 3-4:30, you'll be able to check out the Jim Henson exhibit, and then perhaps grab a quick coffee, before the screening begins. You can also catch it on
Saturday the 28th, as part of potentially much longer day/night of screenings . . .

THE MUPPET SHOW with Loretta Lynn and Johnny Cash, with either SHIVERS (preceded by shorts Transfer and The Drain) or RABID and MANHATTAN- Sat Jan 28 at 1 (Muppet), 2:30 (Shivers), 5 (Rabid), and 7 (Manhattan) - Museum of the Moving Image in Astoria- Lots of possibilities for one admission. First, the Museum continues their Jim Henson retrospective with a pair of Muppet Show episodes. This isn't the first time the Museum has done Muppet Show screenings, this is the first pair I may have time for. Now consider this as a country music edition. First, a season 3 episode with Loretta Lynn, where the gang is forced to perform at a railroad station, with all those annoying trains going by. Followed by one of the last episodes of the series, with guest Johnny Cash.

Not sure if there are any music rights issues that plague this episode like others that have been either released edited on DVD, or have yet to be released on DVD. But this and all other Muppet Show episodes will be screened as they originally aired only at museums like this one, thanks to the Jim Henson Legacy. A combined 50 minutes in length.

Next, part of the David Cronenberg retrospective, two similar films from the early part of his career. Both similar in terms of using the horror genre to tell the story of an epidemic spreading or about to spread through a major city. First, Shivers or They Came From Within, released in the U.S. in 1976. Set an almost sterile, luxury apartment complex in Montreal. A man made parasite spreads through mostly sexual contact. Regardless of age, the body's defenses are lowered, and the infected will seek out the uninfected sexually. And if the uninfected, the number of which drops vastly over the course of the film, refuses to submit to such open sexual contact, then there will be bloody violence.

A film that's not exactly complimentary to the sexual revolution or to casual sexual relations, while kinda predicting the AIDS epidemic, with its epidemic sometimes spreading sexually while breaking down the body's immune system and infecting the blood. Not exactly smooth film-making, but surprisingly subtle at times, and a good sign of what indie film-making can do. No hint of something like A History of Violence in this, Cronenberg's feature length film debut, but a good indicator of what kind of career was to come.

Preceding the screening of Shivers, are Cronenberg's first 2 shorts. First, Transfer, about (to quote the Moving Image website) " . . . a surreal exchange between a psychiatrist and his obsessive former patient, who claims he invented stories to gain the psychiatrist’s attention." , followed by From The Drain (quoting the website again) "This futuristic short features two clothed men in a bathtub discussing chemical warfare. . . until something emerges from the drain.".

Following Shivers is Cronenberg's next film, Rabid. Like Shivers, this also has similar issues regarding what happens when unprotected, consequences-be-damned sex leads to a potential epidemic to the population at large. Unlike Shivers, which is a variation of Invasion of the Body Snatchers, Rabid is a mixture of 2 kinds of horror films. Marilyn Chambers, in a rare non-porn role, stars as a horribly burned model, whose beauty is restored by experimental plastic surgery. But the side effects are devastating, as she's turned into a kind of vampire, who must suck blood out of others in order to survive. And where the blood-sucking things are on her body and what they look like are not typical in a vampire film, but they're typical Cronenberg.

But her victims aren't turned into vampires, they turn into zombie-like creatures. They begin to decay almost immediately, and just as immediate is their need to eat the flesh of others to survive. Chambers' character is immune to the zombie-aspects of the virus, but her boyfriend is not and she has to find him. But she also has to fear . . . Yeah, this can't end well. Shivers is the better film, but Rabid has plenty of moments for horror fans.

Also for one admission, at 7pm, is Woody Allen's Manhattan. Long day I know, but doable. But all of this is for one admission. Personally, I can't do all 4, that's way too much. But I would like to do the 2 Muppet Show episodes, followed by one of the Cronenberg films, and then Manhattan. Use the remaining time to take a coffee/snack break, maybe take another gander at the Jim Henson retrospective. Do dinner after the Allen film, with a nice 5 Napkin Burger across the street. The family types will definitely skip everything after the Muppet Show episodes and the Henson exhibit, but otherwise, it's a very good day/night for all:

WHATEVER HAPPENED TO BABY JANE? for 7 dollars- Thurs Feb 2 at 7 (with Hedda Lettuce) and 9:30 (without Hedda)- Chelsea Clearview Cinema- A cheap screening of A-list Campfest incarnate. The plot is simple enough that I'll just copy it from imdb: "In a decaying Hollywood mansion, Jane Hudson, a former child star, and her sister Blanche, a movie queen forced into retirement after a crippling accident, live in virtual isolation." Shot in terrific black and white, it deserves attention just from the teaming of Bette Davis and Joan Crawford. I don't know if the simmering rivalry that exploded into a full-fledged feud is obvious in Crawford's performance, but the rage certainly fuels Davis performance as the former child star/ alcoholic/ tormentor. An Oscar for Costume Design. 4 other nominations, including Black and White Cinematography, and Davis for Best Actress. The story of what happened with that category, as well as the whole making of the picture itself is too damn long to go over here. Just see the film if you haven't. Your choice of seeing it with an intro (and possible commentary) from Hedda Lettuce at 7, or without Hedda at 9:30:

WOODSTOCK for free (subject to ticket availability)- Fri Feb 3 at 6- MOMA- A rare screening of the Oscar winning documentary. One of the best films of 1970 and if it's not placed among the best docs ever made, it's probably because it's not just a job, it's an adventure for current audiences who are probably intimidated by its running time and own ideas and interpretations as to what Woodstock the concert was. According to MOMA's website, we'll be seeing the 3 hr theatrical release not the director's cut that's 43 minutes longer. Warner Bros. had no faith in this. The executive who apparently thought they could always take the prints from this probable flop and use the strips for bookmarks, was probably stunned at its success. This film gave rise to the idea of 2 and 3 panels at varying times, showing different angles or different scenes simultaneously. It was conceived by the filmmakers, including co-cameraman/co-editor Martin Scorsese, after the original directors, the Maysles brothers, quit at the last minute. Woodstock is practically a clinic in film editing. And, oh yeah, a clinic in the music of the day. Hendrix, Joplin, The Who, Jefferson Airplane, Joan Baez, Richie Havens, Joe Cocker, CSN, Santana, among others. And the screening will be free, subject to ticket availability:

THE MUPPET SHOW with Elton John and Paul Simon and either THE FLY (1986) or CRASH (1996)- Sat Feb 4 at 1 (Muppets), 3(Fly), and 6 (Crash)- Museum of the Moving Image- More Muppet Show episodes and more David Cronenberg films. I'm mixed about doing all three, but 2 out of 3 of these pieces, definitely. We'll see, there's time to plan.

First, two more episodes of The Muppet Show, part of the Jim Henson retrospective. Both episodes featuring singer-songwriter. First, a season 2 episode with Elton John. He performs several of his hits, including Crocodile Rock with Muppet crocodiles, and Don't Go Breaking My Heart with Miss Piggy. After that, a season 5 episode with Paul Simon, including a Veterinarian Hospital skit that aired in the U.K. but NOT in the U.S.

Next, The Fly, Cronenberg's only big career hit, the surprise hit of the summer of 86, and one of the best films of that year. At that time, despite the praise, saying something like that was considered surprising, daring, or greeted with a "oh, please". History says differently, if you can get by the Oscar winning, and at times disgusting, makeup effects.

But underneath the horror film aesthetic, is a well done tragic love story, where the love suffers terminal problems, when one of them suffers a crippling disease or addiction. This kind of story, as Cronenberg knows well, has universal appeal. Instead of say, AIDS or drug addiction, or the ravages of aging as Cronenberg has stated in more than one interview, you have Jeff Goldblum transforming into a man-sized insect. His physical deterioration and changing behavior does mimic disease, aging and addiction, despite the disintegrating fly vomit. With Geena Davis, at her most beautiful, turning in her best performance.

For the same admission, you can also catch Crash. No, not the Oscar winner that is going to age real bad. But the NC-17 rated film directed by Cronenberg. Very chilly film. A man (James Spader) who hasn't emotionally or sexually recovered from his traumatic car accident, tries to use a fetish sub-culture of people who get off in car wrecks, watching car wrecks, or having sex while getting into an actual car wreck. Good cast includes Holly Hunter and Rosanna Arquette, in a film not for the emotionally squeamish. I've already received feedback of extreme discomfort from this film. You realize this film doesn't make people have sex in car wrecks, right? It's not exactly promoting this as an enjoyable lifestyle, ok? You do realize this is a film? Does the subject matter make you queasy, or the idea of what Cronenberg could make you think? Decide for yourself:

Let me know if there's interest. Later all.

Wednesday, January 04, 2012

Jan revivals: first half

Hey all, Happy 2012. Mike here with a revival list for the first half of January. A little smaller than planned. In part because there are newer films to catch up with that might be Oscar nominated and/or might be a "best of 2011" candidate. In part because I don't feel like going out into the biter cold to see Frank Capra's Lost Horizon, for a minimum $7.00 bar tab, at the Rubin Museum of Art. I was interested in that earlier, but now it feels like exertion. And I've learned that if feels like a hassle to go to a revival, then there's no point in going out. You can go to the Rubin and catch it if you like, but no thanks for me. Here we go:

THE ROAD WARRIOR- Fri Jan 6 and (a maybe for me) Sat Jan 7 at 12:10AM- IFC Center- And with everything I wrote in the first paragraph, what's the first thing I do? Post a Midnight screening. In fact my first two postings are Midnight screenings. But if it feels like work, don't bother doing the screening. And this is fun.

Part of IFC's series of Car Chase movies at Midnight series. The first successful Mad Max film in the U.S. I mentioned a few months back how much of a mega hit the first Mad Max was in every country except this one. And Warner Bros must have figured this out when they changed the film's title from Mad Max 2 to this. This wasn't breaking box office records like E.T. was doing that same summer, but it found a big enough audience in theaters (and blew up big time on home video), that a third Mad Max film was eventually made.

Not only the best Mad Max film, but for me, one of the best action films ever made. Mel Gibson is in full anti-hero, as Max is in no mood to help one group that's low on brute strength, but high in both brain power and precious gas reserves. But another brutal group, full of men in masks and punk looks, is looking to pillage and do far worse, forcing Max to help. Some good action scenes, but the greatness comes in the final car chase lasting quite a while. Swarms of unrelenting evil, attacking Max in his tanker, at speeds that seemed at least 80mph. A car chase so good, they can even throw in character moments that enhance and further develop the story, without interfering with the fun.

A triumph of editing, cinematography and script writing. No, seriously. The stakes are raised by the time we get to this car chase, with an ending that we were not expecting. Yeah, you say that 25 yrs later, but when you first experience the scene? I don't think so. Have never seen this on the big screen and would really like to.

RAIDERS OF THE LOST ARK- Fri Jan 6 and (a maybe for me) Sat Jan 7 at 12:20AM- IFC Center- A 4k digital restoration of Raiders of the Lost Ark has apparently been so popular for IFC Center for the last 3 weekends of 2011, is back for this weekend. What can I say, I a sucker for one of my all time favorites:

Now for these films, I've posted the date Saturday, January 7th as a maybe. Because they can both serve as backups for a Midnight possibility I'd prefer to do on the 7th . . .

THE ROOM- Sat Jan 7 at Midnight- Landmark Sunshine Cinema- One of the best bad films of recent times, Tommy Wiseau's The Room continues playing at Landmark Sunshine Cinema at Midnight on the first Saturday of every month. This "Citizen Kane of bad movies" has to be seen to be believed. After reading Kate Ward's article for Entertainment Weekly, I'm expecting a Rocky Horror experience. At previous screenings elsewhere, you might expect Wiseau and at least 1 actor to come, say hi to as many fans as possible, and do an interesting Q and A, but who knows. I'm definitely expecting a Rocky Horror type atmosphere, with talking back to the screen, tossing of footballs, etc. I also expect this to sell out like it did at the Ziegfeld, like it did at the Village East Cinema where this used to screen. I expect people to line up early, but I'm not sure what to expect at this location.

As for The Room itself, the best I can say is, there is nothing quite like it. That's the best you're getting out of me. What? I didn't go into what it's about? Does it truly matter? Won't make it any better. Decide fast if you want to, because tickets will go fast:

BEAUTY AND THE BEAST (1991) in 3-D- Starts Fri Jan 13 for 2 or 3 weeks (maybe more but don't plan for that)- Theaters and times TBA- Based on the success of the re-release of the first two Toy Story films, and on the heels of the bigger success of The Lion King re-release, Disney's Beauty and The Beast, from 1991, gets a re-release for at least 2-3 weeks, maybe more. And like the aforementioned animated films, Beauty and the Beast is also getting the 3-D treatment. Not sure how much 3-D will enhance the film beyond the memorable ballroom dance scene. But a film this good getting a re-release deserves attention. I'm happy to post this, as opposed to the upcoming 3-D re-releases of Star Wars Episode One and Titanic. Excuse me, or not, if I ignore those two.

Getting a little personal for the moment. At the time of Beauty and the Beast's original release, I had no interest in catching animated films in general. The releases of Oliver and Company, The Little Mermaid and The Rescuers Down Under did nothing for me, Who Framed Roger Rabbit was a live action-animated hybrid, and my going to the re-releases of Fantasia and 101 Dalmatians were more a case of convenient re-embracing of childhood memories. So yeah, I was more hyped up for The Addams Family and Star Trek VI than for Beauty and the Beast. Yeah, the Disney flick had some surprisingly great reviews, but I still wasn't going. Then, Beauty and the Beast gets 6 Oscar nominations. Notably, a Best Picture nomination, the first ever for an animated film. I figure "Aw hell, now I'll have to go". Then life interfered, and the chances to see films on the big screen dropped dramatically. And as Beauty when on to win 2 Oscars, for Score and for the title song, life didn't let up. Never got to see it on the big screen, I had to wait for its VHS release. And of course after seeing it, I think both "Yeah, that was pretty good." and "I missed it on the big screen, DOH!".

Still haven't seen it on the big screen, but my chance is coming now, and unless you saw it sometime between November 1991 to May 1992, or saw its IMAX re-release in early 2002, this will be your chance to. Theaters haven't been announced as of this writing except for a few AMC theaters throughout the country, but since this is getting a nationwide release, finding a theater to watch it shouldn't be a problem.

ALI: FEAR EATS THE SOUL- Fri Jan 13 at 6:15- Walter Reade at Lincoln Center- Part of Lincoln Center's series of films that made a big impact in the New York Film Festival. A Rainer Werner Fassbinder film that looks like "What if Fassbender made a Douglas Sirk-esque film, but shot at times almost like a faux-documentary?". From 1974, 2 lonely people meet by chance, and quickly get married. Perhaps too quickly, and in other films, that in itself would be the whole story. But since the couple in question is a 60 year old West German woman and a much younger Moroccan immigrant, we'll dealing with racism, ageism, hatred of immigrants and general feelings of betrayal from family, friends and co-workers, yeah, things won't go so well for the couple. The film is more complex than I'm making it sound. But since explaining it more requires me to go into spoilers, and most of the people who'll ever look at this list has seen maybe one Fassbender film (if that many), I'd prefer you go. Multiple Cannes Film Festival award winner for Fassbender, the first awards for Rainer outside West Germany. This may not be the best gateway intro to Rainer's work; for me, it would be either Marriage of Maria Braun or Lola. But it's still very good:

THE UNKNOWN- Mon Jan 16 at 8- Film Forum- Part of the MGM Silent Film series. Haven't seen it, but the description of it got me interested. Lon Chaney is an armless trick shot performer in a circus. Actually, he isn't armless, but he preforms his tricks that way. Not everyone knows he's armless, including the woman he loves, fellow circus performer Joan Crawford. She would only love a man who didn't have arms. Once Chaney's character hears this, what's a guy to do but . . . I won't spoil it for you, but believe it or not, the film gets much weirder from there. From director Tod Browning, of Dracula and Freaks fame. Absolutely curious, and willing to try this weird film:

Let me know if there's interest. Later all.