By Dennis Hartley
(Originally posted on Digby’s Hullabaloo on October 29, 2010)
Tonight, I thought I’d paw through the “midnight movie” section of my library and assemble my Top 10 picks for your All Hallows Eve holiday “cheer”. As I have around 150 titles in this genre, it wasn’t easy narrowing it down; since my tastes tend to run toward the offbeat in general, this was akin to asking someone to choose their favorite child (the hell I go through for you people). Keep in mind-when it comes to picking favorite “cult” films, the axiom “One person’s trash is another person’s treasure” comes into play. As per usual, presented in alphabetical order:
Eating Raoul– The late great Paul Bartel (Death Race 2000, Lust in the Dust, Scenes from the Class Struggle in Beverly Hills) directed and co-wrote this twisted and hilarious social satire. Bartel and his frequent screen partner Mary Waronov play Paul and Mary Bland, a prudish, buttoned-down couple who are horrified to discover that their apartment complex is home to an enclave of “swingers”.
Paul is even more shocked when he comes home from his wine store job one day and discovers Mary struggling to escape the clutches of a swinger’s party guest who has mistakenly strayed into the Bland’s apartment. Paul beans him with a frying pan, inadvertently killing Mary’s overeager groper. When the couple discovers a sizable wad of money on the body, a light bulb goes off-and the Blands come up with a unique plan for financing the restaurant that they have always dreamed of opening (and helping rid the world of those icky swingers!). Things get complicated, however when a burglar (Robert Beltran) ingratiates himself into their scheme. Yes, it’s sick…but in a good way. Wait ‘til you meet Doris the Dominatrix!
Eraserhead-If there’s one thing I’ve learned in my fifty-odd years on the planet, it’s that when it comes to the films of David Lynch, there is no middle ground. You either love ‘em, or you hate ‘em. You buy a ticket to a Lynch film, my friend, you’d best be willing to take the ride-and he will take you for a ride. And do you want to know the really weird thing about his films? They get funnier with each viewing. Yes, “funny”, as in “ha-ha” . I think the secret to his enigmatic approach to telling a story is that Lynch is in reality having the time of his life being impenetrably enigmatic-he’s sitting back and chuckling at all the futile attempts to dissect and make “sense” of his narratives. For example, have you noticed how I’ve managed to dodge and weave and avoid giving you any kind of plot summary? I suspect that David Lynch would find that fucking hysterical.
Forbidden Zone- Picture if you will: an artistic marriage between John Waters, Guy Maddin, Busby Berkeley and the Quay Brothers. Now, imagine the wedding night (I’ll give you a sec). As for the “plot”, well, it’s about this indescribably twisted family who discovers a portal to a sort of pan-dimensional…aw, fuck it. Suffice it to say, any film with Herve Villchaize as the King of the Sixth Dimension, Susan Tyrell as his Queen and a scene featuring Danny Elfman channeling Cab Calloway in a devil costume is a dream for film geeks; and a nightmare for others. Directed by Danny’s brother, Richard.
Harold and Maude-Harold loves Maude. And Maude loves Harold. It’s a match made in heaven-if only “society” would agree. Because Harold (Bud Cort) is a teenager, and Maude (Ruth Gordon) is about to turn 80. Falling in love with a woman old enough to be his great-grandmother is the least of Harold’s quirks. He’s a chronically depressed trustafarian who amuses himself by staging fake suicides to freak out his patrician mother (wonderfully droll Vivian Pickles). He also “enjoys” attending funerals-which is where they Meet Cute.
The effervescent Maude is Harold’s opposite; while he wallows in morbid speculation how any day could be your last, she seizes each day as if it actually were. Obviously, she has something to teach him. Despite dark undertones, this is one “midnight movie” that somehow manages to be life-affirming. The late Hal Ashby directed, and Colin Higgins wrote the screenplay. The memorable soundtrack is by Cat Stevens.
Liquid Sky – A diminutive, parasitic alien (who seems to have a particular delectation for NYC club kids, models and performance artists) lands on an East Village rooftop and starts mainlining off the limbic systems of junkies and sex addicts…right at the moment that they, you know…reach the maximum peak of pleasure center stimulation (I suppose that makes the alien a dopamine junkie?). Just don’t think about the science too hard.
The main attraction here is the inventive photography and the fascinatingly bizarre performance (or non-performance) by (co-screen writer) Anne Carlisle, who tackles two roles-a female fashion model who becomes the alien’s primary host, and a male model. Writer-director Slava Zsukerman also co-wrote the electronic music score for his 1982 curio. Deeply weird, yet eminently watchable (I’ve seen it more times than I’m willing to confess in mixed company).
The Loved One-When it was originally released back in 1965, this film had a pretty unusual tag line for the era: “The motion picture with something to offend everyone.” Even by today’s standards, this one is pretty unusual.
The perennially gap-toothed Robert Morse (who can be currently seen on AMC’s hit series Mad Men, playing senior partner Bertram Cooper) plays a befuddled Englishman, making a valiant effort to fully process the cultural madness of southern California, where he has come for an extended visit at the invitation of his uncle (Sir John Gielgud) who works for a Hollywood movie studio.
Along the way, he falls in love with a beautiful but mentally unstable cosmetician (Anjanette Comer) who prepares “loved ones” for open casket funerals, gets a job at a pet cemetery, and basically just reacts to the bevy of wack-jobs he encounters. In fact, he is the only character in the film that doesn’t seem completely out of his goddamn mind.
The unbelievable cast includes Jonathan Winters (playing several roles with his usual aplomb), Robert Morley, Roddy McDowell, Milton Berle, James Coburn, Paul Williams, Liberace…and nothing, I mean nothing could ever prepare the uninitiated for Rod Steiger as Mr. Joyboy, an embalmer who has a very interesting relationship with his mother (who may have been the model for Edith Massey’s baby crib-bound grotesque in Pink Flamingos). Tony Richardson directed, and the screenplay was adapted by Terry Southern (Dr. Strangelove) and Christopher Isherwood from Evelyn Waugh’s novel.
Meet the Feebles-Long before he was concerning himself with bringing CGI-enhanced orcs and hobbits to life, director Peter Jackson was working with considerably lower production budgets (as in: next to nothing), and letting has overactive imagination make up the difference in off-beat indie projects like this one from 1990. It’s a sordid backstage tale about a neurotic diva who heads the cast of a popular TV variety show.
So what makes it a midnight movie? Well, there’s lots of graphic sex, gory violence, and drug use. OK (you may rebut) but that’s the kind of thing one can see on premium cable any day of the week. Yes-but how often do you see puppets engaging in those activities? Adorable, fuzzy-wuzzy anthropomorphic animal puppets, committing all 7 deadly sins (and a few extra ones you may have never thought of before). You really have to see it, to believe it.
Pink Flamingos-“Oh Babs! I’m starving to death. Hasn’t that egg man come yet?” If Baltimore filmmaker/true crime buff/self-styled czar of bad taste John Waters had completely ceased making films after this jaw-dropping 1972 entry, his place in the cult movie pantheon would still be assured. Waters’ favorite leading lady (and sometimes leading man), Divine, was born to play Babs Johnson, who fights to retain her title of The Filthiest Person Alive against arch-nemesis Connie Marble (Mink Stole) and her scuzzy hubby.
It’s a white trash smack down of the lowest order; shocking, sleazy, utterly depraved-and funny as hell. Animal lovers be warned-a chicken was definitely harmed during the making of the film (Waters insists that it was completely unintended, if that’s any consolation). If you are only familiar with Waters’ more recent work, and want to explore his “roots” I’d recommend watching this one first. If you can make it all the way through without losing your lunch, consider yourself prepped for the rest of the oeuvre.
Repo Man-As off-the-wall as it is, this punk-rock/sci-fi black comedy version of Rebel without a Cause is actually one of the more coherent efforts from mercurial U.K. filmmaker Alex Cox. Emilio Estevez is suitably sullen as disenfranchised L.A. punk Otto, who stumbles into a gig as a “repo man” after losing his job, getting dumped by his girlfriend and deciding to disown his parents. As he is indoctrinated into the samurai-like “code” of the repo man by a sage veteran named Bud (Harry Dean Stanton, in another masterful deadpan performance) Otto feels he may have found his true calling.
A subplot involving a mentally fried government scientist driving around with a mysterious, glowing “whatsit” in the trunk is an obvious homage to Robert Aldrich’s 1955 noir, Kiss Me Deadly. Cox also tosses a UFO conspiracy into the mix. Great use of L.A. locations. The fabulous punk rock soundtrack includes Iggy Pop, Black Flag, and The Circle Jerks.
The Rocky Horror Picture Show-Arguably the ultimate midnight movie. 35 years have not diminished the cult status of Jim Sharman’s film adaptation of Richard O’Brien’s original stage musical about a hapless young couple (Barry Bostwick and Susan Sarandon) who have the misfortune of stumbling into the lair of one Dr. Frank-N-Furter (Tim Curry) one dark and stormy night. O’Brien co-stars as the mad doctor’s hunchbacked assistant, Riff-Raff.
Much singing, dancing, cross-dressing, axe-murdering, cannibalism and hot sex ensues-with broad theatrical nods to everything from Metropolis, King Kong and Frankenstein to cheesy 1950s sci-fi, Bob Fosse musicals, 70s glam-rock and everything in between. Runs out of steam a bit in the third act, but a killer lineup of knockout musical numbers in the first hour or so makes it worth repeated viewings. And at the risk of losing my “street cred” with some readers, I will now publicly admit that I have never attended one of the “audience participation” midnight showings. I now fully anticipate being zapped with squirt guns and pelted with handfuls of uncooked rice…