Oct 22, 2014
Posted by Soiled Sinema at 3:52 PM
Oct 20, 2014
Although it would probably not surprise anyone that knows me, I have to admit that I absolutely loathe virtually all romance flicks, be they retarded rom-coms featuring some radically repulsive Hebrew turd like Ben Stiller lusting over some lecherous blonde Aryan Shiksa; phony James Cameron's blockbuster celluloid barf Titanic (1997), would-be-quirky frog mucus like Jean-Pierre Jeunet's Amélie (2001), hipster hemorrhoids like Spike Jonze's Her (2013), or classic screwball swill like It Happened One Night (1934). In short, I tend to stay completely clear of any romance-themed film unless I receive a special recommendation from a friend whose taste in cinema I respect and/or if I do enough research about a film beforehand that leads me to believe that I would appreciate such a work. As far as I am concerned, German Expressionist auteur F.W. Murnau's Hollywood era debut Sunrise: A Song of Two Humans (1927) is unequivocally the most poetically romantic film ever made. While not exactly a film in league with Murnau's masterwork, the truly unsung cult item Buster and Billie (1974) aka Buster & Billie—a sort of post-Rebel Without a Cause teen rebel flick with hixploitation elements set in late-1940s Georgia about a teenage alpha-male high school senior who falls in love with the local town whore and who takes violent revenge against his comrades after they defile his beloved—is another one of those oh-so rare romance themed flicks that somehow got my blood moving. Co-directed by quasi-hack Daniel Petrie (A Raisin in the Sun, Sybil) and screenwriter/sometimes director Sidney Sheldon (The Buster Keaton Story, Dream Wife), this darkly romantic revenge flick is notable for being, among other things, one of the first mainstream movies to feature full-nudity (e.g. cocks and bushes) as well as Robert ‘Freddy Krueger’ Englund in a pre-A Nightmare on Elm Street (1984) role and a pre-Airwolf Jan-Michael Vincent as the lethally lovelorn ‘lone ranger’ lead. Unquestionably the sort of film one should watch with knowing as little as possible beforehand, Buster and Billie is a hardcore country fried heartbreaker that reminds one not to take their beloved for granted. Like the Deliverance of tearjerkers, albeit featuring hetero hick rape as opposed to hillbilly homo forced bum-buggery, the film truly brings new meaning to the age old phrase ‘love conquers all.’ A borderline southern Gothic work somewhat in the spirit of Ode to Billy Joe (1976), albeit slightly more disturbing, Buster and Billie does the seemingly impossible by being a work that is certainly exploitative in parts, yet somehow manages to be genuinely emotionally penetrating in a classic love story fashion. Never released on DVD and fetching a fair amount of money in its out-of-print VHS form, Buster and Billie is unfortunately a work that is destined to remain in obscurity.
Posted by Soiled Sinema at 9:29 PM
Posted by Soiled Sinema at 1:17 AM
Oct 18, 2014
Posted by Soiled Sinema at 3:16 PM
Oct 17, 2014
Posted by Soiled Sinema at 4:36 AM
Oct 16, 2014
While all three films feature a certain apocalyptic nihilism where neo-paganism reigns and music has more or less replaced religion as the opiate of the masses, only An American Hippie in Israel goes as far as primarily focusing on the counter-culture movement and its failure to make any real difference in the world, albeit in a slightly esoteric and allegorical sort of way. In that sense, Israel—the virtual epicenter for racial, religious, and cultural hatred and warfare in the world—is probably the best setting for a (anti)hippie cinematic parable about the failing of humanity and the naivety of those that believe there can be peace on earth and everlasting good will among men. In its unflattering depiction of Americans as unworldly morons who think that they have the god given right to go to foreign lands and change them however they see fit, as well as its darkly humorous portrayal of the hippie way life as an oftentimes deadly road to nowhere, Sefer's film also makes for the perfect double feature with the somewhat superior and surely underrated Spanish surrealist quasi-giallo Bloodbath (1979) aka Las flores del vicio aka The Sky Is Falling directed by Italian-Canadian auteur Silvio Narizzano, which depicts the bizarre demise of a middle-aged American hippie (played by Dennis Hopper) and a couple American expatriates who arrogantly defile a Spanish island with their spiritual and sexual degeneracy. Sefer's hallucinatory hippiexploitation nightmare is also notable for being a work that will appeal to both would-be-hippies and hippie-haters alike, as a glaringly flawed yet undeniably unforgettable filmic fever dream set in a figurative hippie Hades where ‘The Man’ takes on ghostly, robotic, and even anthropomorphic forms. Indeed, if you enjoy truly idiosyncratic exploitation flicks and/or seeing hippies having an apocalyptic ‘bummer’ during an existential pilgrimage, An American Hippie in Israel is certainly worth your time.
Posted by Soiled Sinema at 2:56 AM