Feb 4, 2014
When the iconoclastically iconic Pre-Code horror flick Freaks (1932) was released, the eponymous real-life misbegotten humans featured in the film offended the sensibilities of the average filmgoer so much that the film ultimately ruined the careers of its popular director Tod Browning, who only the year before had gained great success with Dracula (1931) starring Bela Lugosi. Additionally, when Bavarian wild man auteur Werner Herzog released his second feature film Auch Zwerge haben klein angefangen (1970) aka Even Dwarfs Started Small, the film was so universally controversial that both neo-Nazis (who apparently sent death threats to the filmmaker) and the far-left denounced the film and the work was ultimately banned for a period of time shortly after its premiere. Undoubtedly, all of the freaks in both of these films combined pale in comparison to a certain underground disabled tranny superstar featured in the no-budget camcorder documentary The Goddess Bunny (1998) directed by subversive underground artist, documentarian, and legendary racist cartoonist Nick Bougas aka A. Wyatt Mann (Death Scenes, When the Applause Died). While Bougas had the distinguished honor of making a candid documentary about Church of Satan founder and High Priest Anton LaVey entitled Speak of the Devil (1995), the infamous filmmaker would have his greatest triumph in terms of documenting the culturally apocalyptic with his unfortunately rather unsung magnum opus The Goddess Bunny. A true cult ‘superstar’ that aesthetic nihilist auteur/archivist John Aes-Nihil (Manson Family Movies, The Ma Barker Story) describes at the beginning of the documentary as “the only truly glamorous star left in Hollywood,” The Goddess Bunny (aka Sandy Crisp aka Johnnie Baima) had the grand misfortune of being born 2 ½ months premature to a mother with infectious polio in her uterus and would thus grow up horribly disfigured and with an 18 inch steel pole in her spine, not to mention the fact s/he spent a good portion of her childhood in hellish foster homes where s/he was routinely sexually molested from age 9 to 13. Getting his big break in film after punk filmmaker Penelope Spheeris (Suburbia, Wayne’s World) spotted him walking down the streets of L.A. and decided to cast him in her gritty exploitation flick Hollywood Vice Squad (1986), the Goddess Bunny would ultimately become the main and most revered star of auteur John Aes-Nihil as the leading lady in The Drift (1989), The Goddess Bunny Channels Shakespeare (1989), and The Ma Barker Story (1990) and would also have a small role in the filmmaker’s campy Tennessee Williams adaptation Suddenly Last Summer (2008) starring large and in charge chocolate drag queen Vaginal Davis. In terms of getting to the badly broken heart of the Goddess Bunny—a Jack(ie) of all trades who has worked as a hustler, tap dancer, drug addict, welfare queen, and avant-garde cabaret dancer—you will find no document more decidedly debasing and insanely intriguing than Bougas’ totally anti-bogus document of delightful depravity, The Goddess Bunny.
Introduced by sub-underground filmmaker John Aes-Nihil with the single sentence, “We are going to delve into the life of the only truly glamorous star left in Hollywood,” The Goddess Bunny wastes no time in candidly exposing the patently provocative personality that is the one, the only, the Goddess Bunny! Flung into a terribly tragic life plagued by emotional and physically brutality, the Goddess ultimately spit in the face of normality, morality, and classical beauty and decided to reach for nothing short of true godhood. Of course, being a great goddess is no simple task, thus the Bunny faced his fair share of pain as the victim of a gang rape committed by a Mexican and his degenerate gringo friend. Asked about the sexual pillaging by a rather intrusive East Asian woman as to why he thinks he was the victim of the rape, the Goddess replies rather narcissistically yet exceedingly eloquently by stating, “I guess because I look so real compared to all the six-foot-two drag queens out there,” while standing next to a picture of kosher commie killer Leon Trotsky. As a Goddess, the Bunny also has venomous archenemies, most notably a Latino with a beak of a hook-nose that goes by the out-of-this-world title, ‘The Cosmic Danielle.’ During a special event in tribute to the Goddess Bunny, the disabled diva fails to show up (apparently, he oftentimes gets lost on the way to events), the Cosmic Danielle uses it as an opportunity to steal the spotlight and bitterly besmirch her rival, stating, “that Bunny Goddess creature—she’s got more nerve than someone with a real normal body, I’ll tell you. I’ll tell you that’s not gossip, that’s real life.” Of course, the Bunny gets her just revenge and mentions how the Cosmic Danielle and his boyfriend savagely butt-raped some poor fellow and also mentions how it is a shock that the spick shemale does not have the clap. As a pre-op transman who proudly states, “one of my favorites is Joan Rivers,” the Goddess never backs down from an ugly fight, even amongst fellow trannies and has no problem admitting, “For those people that know me, living with a transsexual isn’t one of my normalcy’s because of the fact that a lot of them have emotional problems and they go through emotional swings to where the female and male hormones are fighting amongst themselves…” As for her dreams for the future, the Goddess Bunny states, “I hope in the future that handicaps can be used in film and television on a more frequent basis and that maybe tomorrow we will be the next Don Johnson or Meryl Streep and that we won’t have to depend on government financing.” Of course, not all dreams come true, even if cultural Marxist Hollywood has attempted to depict more trannies and cripples in a rather contrived manner for insincere political reasons.
Towards the end of The Goddess Bunny, the eponymous superstar states regarding her acting career, “So I figure it this way…if Hollywood won’t take me, I’ll deal with the underground. We’ve now got our own fan club going on. I’ve done a photo with Joel-Peter Witkin which happens to have sold for fourteen grand,” yet unfortunately he has not done much in terms of film acting since the release of Bougas’ documentary, though auteur Aes-Nihil sells a dozen or so extremely rare DVDs on his website featuring the leading lady-lad with charming titles like Lick My AIDS Sores, Mondo Bruce-s B-Day, Wedding of the Goddess Bunny to Rocky, and Goddess on the Love Channel. If nothing else, the Goddess Bunny is a superstar among superstars who makes the drug-addled dude-divas of Paul Morrissey’s anti-feminist satire Women in Revolt (1971) seem like superficially slutty Lindsay Lohan and Britney Spears look-alikes. While undoubtedly a depressing documentary about a forsaken individual who most filmgoers will find rather hard not to pity, The Goddess Bunny is also a sort of vice-ridden piece of venereal video art that makes one feel like they had just spent an entire night sleeping in a South American tuberculosis ward. Indeed, as someone who considers Jörg Buttgereit’s arthouse-splatter flick NEKRomantik (1987) a work of celluloid pulchritude and eagerly anticipate the latest film by Marian Dora (Cannibal, Melancholie der Engel aka The Angels' Melancholy), I must admit that The Goddess Bunny caused my stomach to churn in abject disgust on more than one occasion during my initial viewing of the film. Of course, in its portrayal of the Goddess Bunny as an ‘AIDS terrorist,’ lover of deformed Negro cocks, welfare system exploiter, drug addicted ex-hustler, and craven sex addict, The Goddess Bunny is bound to burn a hole in the paperbag-covered souls of do-gooder leftist lambs and loony LGBT true believer types. Indeed, while the Goddess goes so far as bemoaning the fact that Lassie the dog has been honored with the Hollywood Walk of Fame yet not a single horribly disabled person like himself has received this honor, the superstar clearly seeks no pity and would probably laugh if some politically correct poofter tried to blame the lack of cripples in cinema on an anti-cripple/anti-tranny conspiracy. In a degenerate weakness-worshiping and morally inverted age where every slave-morality-ridden emotional cripple (i.e. ghetto blacks, rich Jews, bourgeois sexual degenerates) attempts to wear their deluded 'victim status' as a badge of honor, the Goddess Bunny proves the will to power can go a long way, even if you're a paraplegic cock-and-crack-addicted tranny.
Posted by Soiled Sinema at 8:52 PM
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