Sep 21, 2014
Posted by Soiled Sinema at 3:53 AM
Sep 19, 2014
Although a generalization, it seems to be the common consensus that most homos either have mothers they love a little too dearly or that they love to hate, with the common theme here being that gay boys have unhealthy relationships with their mommies that may have contributed to them developing into gynophobic sexual introverts. Indeed, from Alfred Hitchcock’s Psycho (1960) to more recent works like Tom Kalin’s Savage Grace (2007) and Xavier Dolan’s I Killed My Mother (2009) aka J'ai tué ma mère, hysterical female hormones seem to be a major source of homo cognitive dissonance and sexual perversion in general in the cinematic realm. Unquestionably, one of the most innately bizarre, pathologically hermetic, unflatteringly vulnerable, and decidedly discombobulating, if not strangely aesthetically delectable, works of anti-Oedipal homo hysteria is the American experimental avant-garde work Twice a Man (1964) directed by rather reclusive Greek-American auteur Gregory J. Markopoulos (Psyche, The Illiac Passion), who, with the help of his disturbingly possessive boy toy Robert Beavers—a filmmaker with a similar, albeit strikingly inferior, 'transcendent' vision—made his entire oeuvre completely unattainable after moving to Greece in the late-1960s. Indeed, one of the most inventive and singular experimental filmmakers associated with the New American Cinema movement who also contributed his original film theories to Film Culture magazine and taught film at Art Institute of Chicago, Markopoulos—a strange and rather introverted fellow who, like many gay men, suffered a terribly debilitating form of paranoia—and his majorly megalomaniacal blowboy Beavers left America in 1967 for permanent relocation in Europa and shortly after that the filmmaker took all of his films out of circulation, refused to talk to the media, and even went so far as insisting that avant-garde film historian P. Adams Sitney remove a chapter on him from the second edition of the classic text Visionary Film. By the early 1970s, Markopoulos fell further and further into a fantasy world of his own making as demonstrated by the increasingly metaphysical nature of his writings and the fact that he would only screen his films in a ritualistic fashion at a special ceremonial theater in Lyssaraia, Greece (the homeland of his parents) in the hope of obtaining his ideal of ‘Temenos.’ Luckily, I managed to find a copy of Twice a Man because it was once screened on German television by the Cologne-based channel WDR (Westdeutscher Rundfunk Köln) and some gracious kraut had the keen foresight to tape it. A 49-minute work shot on 16mm color film stock by the director with a borrowed camera and with the help of a mere two assistants in and around New York City, Markopoulos’ singular masterpiece is a darkly romantic, terribly haunting, and malignantly melancholy homoerotic reworking of the Phaedra/Hippolytos/Aesclepius myth that centers around an ‘artist/physician’ (supposedly, a stand-in for the director himself) who reminisces over attempting to save a suicidal young man who become his lover from his incestuous homo-hating mother.
Posted by Soiled Sinema at 2:21 AM
Sep 18, 2014
If you're tired of seeing countless hokey holocaust films and period pieces where Jews are depicted as morally righteous god-like beings who were persecuted by Europeans simply because they are Jewish, checkout Jodorowsky's film and learns that many Jews of the 1930s were not commies simply because they cared for the poor stupid goyim, but because they resent strong gentile leaders and opulent Aryans and want to rule over white gentile cattle. Ironically, it is only when antihero Jaime lives like Christ that he is able to get over his Hebraic megalomania, thus make The Dance of Reality pure heresy to Zionist supremacist types. Speaking of megalomania, Jodorowsky recently met with revolting negro rapper Kanye West, who apparently considers the filmmaker one of his greatest influences and even modeled the aesthetic of his ‘Yeezus Tour’ after the filmmaker's counter-culture classic The Holy Mountain. If Jodorowsky receives the gracious respect of a uniquely untalented yet stinking rich neo-minstrel entertainer like West, one would hope that someone will give him the money to make his long-awaited El Topo sequel, Abel Cain aka Sons of El Topo, as The Dance of Reality may be a worthwhile effort for an old artist reminiscing over his life, but he still has yet to create his last great masterpiece. Aside from being one of the greatest, if not the greatest, films of 2013, Jodorowsky's coming-of-age is a visceral attack against Hollywood and its soulless and materialistic weltanschauung of deracinating globalist anti-cultural and philo-Semtic hegemony. Notably, the director publicly stated that he hoped the film would lose money and intentionally made the film through donations without the backing of studios. While it might seem like some sort of sick joke that the Jewish director is featured at the beginning of the film taking about money while gold shekels falling from the sky and into his hands, Jodorowsky makes it quite clear what he thinks of monetary matters when he remarks: “Money is like blood, it gives life if it flows. Money is like Christ, it blesses you if you share it. Money is like Buddha, if you don’t work, you don’t get it. Money enlightens those who use it to open the flower of the world, and damns those who glorify it, confounding riches with the soul...There is no difference between money and conscience. There is no difference between conscience and death...There is no difference between death and wealth.” Indeed, like Christ, Jodorowsky understands the moneychangers all too well, which, as depicted in the film, is something he learned at an early age via his abusive father, thus making the film a sort of metaphysical cinematic expression of what transformed the auteur into the uncompromising artist that he is today.
While it would be easy to describe Jodorowsky as a ‘self-loathing Jew’ after watching a film like The Dance of Reality where the boy protagonist is literally exorcised of his Jewishness by his mother, I like to think that the cinematic shaman transcended his Judaic roots as an anti-materialistic/anti-Marxist Hebrew that seems to have recognized that his ‘Ātman’ (one's ‘inner-self’ or ‘true self’) is identical with his ‘Brahman’ (‘transcendent self’). Of course, the director's father failed to obtain this level of spirituality maturity, hence the great misery he suffered as depicted in the film. Indeed, The Dance of Reality makes the perfect comparison piece to French-Polish Jew Jean-Pierre Mocky's similarly surreal and darkly humorous ‘folk horror’ flick Litan (1982), which depicts religion, especially Catholicism, as the most malignant and deadly of diseases. As the films demonstrate, while Jodorowsky got over his spiritual sickness as a mere child and grew to become a deeply devout practitioner of the perennial philosophy, Mocky seems plagued with spiritual retardation for eternity. Indeed, while it may sound absurd, it seems that Jodorowsky's rather unconventional childhood as a Jewish boy who suffered regular cruelty from mestizos who mocked his circumcised cock was, in the long run, one of the best things that ever happened to him.
Posted by Soiled Sinema at 2:28 AM
Sep 17, 2014
Posted by Soiled Sinema at 2:09 AM
Sep 16, 2014
Posted by Soiled Sinema at 2:52 AM