Taking Tiger Mountain

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Another week, another obscure black-and-white science fiction film. I hadn’t heard of this one at all until it was announced in 2012 that co-director Tom Huckabee would be attending a rare screening in New York. The film is an oddity with a complicated history that I’m too lazy to try and condense so here’s the borrowed detail:

IMDB: In a dystopian future, Europe is unified under a totalitarian patriarchy, where each town is assigned a single economic purpose. In Brendovery, Wales the occupation is prostitution. Arriving by train from London is Billy Hampton, a young American expatriate and draft evader (Bill Paxton in his first lead role), ostensibly there to enjoy a sex-filled holiday. Unknown to him he is a time bomb assassin, programmed by a feminist terrorist cell to assassinate the local minister of prostitution.

Wikipedia: Taking Tiger Mountain is a 1983 American science fiction film directed by Tom Huckabee and Kent Smith, and starring Bill Paxton in one of his earliest on-screen acting roles. Originally conceived as an experimental art film inspired by a novel by Albert Camus’s 1942 novel The Stranger and a poem by Smith, the film was initially directed by Smith and shot in Wales. Aside from Paxton, the film’s cast is made up of townspeople from the areas in which shooting took place. It was filmed without sound, with the intention of adding dialogue in post-production. During post-production, Huckabee took over as the film’s director, abandoning Smith’s original concept and instead loosely basing the film on the 1979 novella Blade Runner (a movie) by William S. Burroughs. The film premiered on March 24, 1983. Over three decades later, Huckabee re-edited the film and released it as an alternate cut titled Taking Tiger Mountain Revisited.

Tom Huckabee: The story went through four distinct periods of creation:
1. Kent Smith’s original script, entitled Taking Tiger Mountain, written in 1974, based loosely on the John Paul Getty III’s kidnapping of 1973 and Albert Camus’ The Stranger. It was set in the casbah of Tangier, Morocco.
2. After Bill and Kent got ejected from Morocco before shooting even a foot of film, they drove to Wales, adapting the script significantly to the new location and the people and opportunities that presented themselves; but they ran out of film and money after shooting about half of their script.
3. After I acquired the footage in 1979, I knew I couldn’t go back to Wales, so after editing their footage to about 55 minutes, I wrote a new story with a lot of help from collaborators, like Paul Cullum, Lorrie O’Shatz, and Ray Layton. I incorporated the Burroughs material and dropped the 55 minutes from Kent and Bill’s script into it. We wrote the ten-minute introductory section with the women and shot it on a sound stage in Austin, incorporating footage from another unfinished film by Kent and Bill called D’Artangan. I also built ten minutes of scenes from outtakes. In 1980, Paxton came to Austin for a few days to “loop” all of his dialogue, as no sound had been recorded in Wales. He improvised a lot of his voice-over narration, while under hypnosis. This film, called Taking Tiger Mountain, was released on 35mm in 1983 and toured the Landmark Theater chain of art cinemas.
4.  In 2016 I got a small advance from Etiquette Pictures for digital distribution and decided to do a major upgrade. I cut out ten minutes and added five, including the new ending, which comes after the end credits, significantly changing the message of the film. I reworked the narrative, making it easier to follow.

In addition to the complications of the production it’s necessary to note that the title has nothing to do with either Brian Eno’s Taking Tiger Mountain (By Strategy), or the Chinese opera the Eno album is named after, although we do get to hear about a tiger mountain. This reflects the equally tangled history of the “Blade Runner” title, which Taking Tiger Mountain does have some connection with via William Burroughs’ Blade Runner: A Movie. This was Burroughs’ cinematic reworking of a science fiction novel by Alan E. Nourse, The Bladerunner (1974), a piece of futurism about the very American dystopia of a nightmare healthcare system. Blade Runner: A Movie followed Burroughs’ earlier screenplay/novella, The Last Words of Dutch Schultz, although the Nourse adaptation was a much more ambitious scenario with little chance of ever being filmed. No studio in the 1970s (or today, for that matter…) would have put up the money for something that’s like a wilder version of Escape from New York with added gay sex and time travel, however attractive this may sound. As is well known by now, the treatment’s title was later purloined by another film that has little else in common with anything discussed here.

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All of which means that Taking Tiger Mountain is exactly the kind of thing guaranteed to stoke my curiosity: a Burroughs-derived science-fiction film made on the cheap by Americans in south Wales, of all places. Why Wales? Because Bill Paxton had been there as a foreign exchange student. I’m not sure I would have been as interested without the disjunctive frisson of gloomy, rain-swept Wales in the mid-1970s colliding with William Burroughs. That said, the blu-ray release from Vinegar Syndrome has two things immediately in its favour: for a micro-budget production the film has excellent photography (the black-and-white stock was provided by leftovers from Bob Fosse’s Lenny); and there’s a surprising amount of unsimulated sex, something that isn’t such a big deal today but certainly was in 1974. The youthful Bill Paxton is gorgeous and exceptionally photogenic, so the film is a pleasure to watch even when little of substance is happening.

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Continue reading “Taking Tiger Mountain”

Decoder, a film by Jürgen Muschalek

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The Burroughs Centenary approaches, and this month sees the 30th anniversary of this Burroughs-related item. Decoder is a low-budget feature film from 1984 written by Klaus Maeck, and directed by Jürgen Muschalek (aka Muscha). Despite the constraints of budget and casting—many of the actors are amateurs—Decoder is truer to the techno-anarchist strand of Burroughs’ fiction than anything attempted before or since, and it’s arguably truer to the spirit of his works as a whole than David Cronenberg’s Naked Lunch.

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Decoder was shot in Berlin during its grim post-punk years when the city was still an isolated Cold War outpost riven by riots, some of which are seen here. The narrative concerns attempts by FM (played by FM Einheit from Einstürzende Neubauten) to combat the insidious effects of muzak in shops and restaurants using home-made electronics. William Burroughs makes a couple of brief appearances as the “Old Man” with a shop full of electronic components. Among the rest of the cast there’s Christiane Felscherinow in a room filled with frogs, and Genesis P-Orridge (in Psychic TV gear) as the head of an underground pirate cult. Original music is provided by Dave Ball (from Soft Cell) and FM Einheit. The complete score is very good, featuring additional tracks by Soft Cell, Einstürzende Neubauten and Matt Johnson. Watched today, the narrative seems very much a product of its time, and somewhat outmoded. In 1984 home computing was increasingly prevalent, and cheap sound-sampling was just around the corner; Decoder is the last hurrah of an analogue struggle against the agents of the Control Virus.

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It’s a shame Jürgen Muschalek didn’t get to make anything else when he was obviously trying for some kind of cross between Burroughs’s The Electronic Revolution (1970) and Godard’s Alphaville (1965). Low-budget films often suffer visually but this one makes impressive use of vivid lighting and plenty of shadow which helps alleviate some of the weaknesses elsewhere. David Cronenberg has often acknowledged the influence of avant-garde types such as Burroughs and Warhol but his own films tend to be very conservative in their presentation. Muschalek at least tries to parallel some of Burroughs’ fragmented narrative techniques with an abrupt and disjunctive editing style. The film as a whole is much more in tune with the early Industrial Culture ethos than Peter Care’s noir pastiche, Johnny YesNo, but suffered from being more read about than seen in the 1980s. A few copies can be found online. In 2010 it finally appeared on DVD with extra material and a soundtrack disc.

Previously on { feuilleton }
The Burroughs Century
Interzone: A William Burroughs Mix
Sine Fiction
The Ticket That Exploded: An Ongoing Opera
Burroughs: The Movie revisited
Zimbu Xolotl Time
Ah Pook Is Here
Jarek Piotrowski’s Soft Machine
Looking for the Wild Boys
Wroblewski covers Burroughs
Mugwump jism
Brion Gysin’s walk, 1966
Burroughs in Paris
William Burroughs interviews
Soft machines
Burroughs: The Movie
William S Burroughs: A Man Within
The Final Academy
William Burroughs book covers
Towers Open Fire

Weekend links 114

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David Bowie’s cigaretted fingers and bulging silver crotch point the way to the future. This summer sees the fortieth anniversary of the Ziggy Stardust album’s release. The Melody Maker ad above can be found with a wealth of other Ziggy-related material at the very thorough Ziggy Stardust Companion site. For me the definitive artefact isn’t the album itself but DA Pennebaker’s film of the final concert from the 1973 tour; the songs really come alive and Bowie’s performance is overwhelmingly electric. Related: Cracked Actor, the BBC documentary from 1975 about Bowie’s post-Ziggy life on and off the stage.

• The week in books: Amanda Katz described the remarkable history of a single copy of The War of the Worlds by HG Wells then asked “Will Your Children Inherit Your E-Books?” | Bosnian novelist Aleksandar Hemon in The Browser’s FiveBooks interview put Blood Meridian on his list. | “Call me the greatest American novel”: Christopher Buckley on Moby-Dick. | The Brit Lit Map.

• For another anniversary, the Alan Turing centenary, there’s The Strange Life and Death of Dr Turing (part two here) and Breaking the Code (1996), Derek Jacobi playing the tragic genius in a biographical drama.

Commissioner of Sewers (1991) a William Burroughs documentary by Klaus Maeck in which the author reads some of his work and endures a Q&A session with surprising equanimity.

• Music, flesh and fantasy: When Mati Klarwein’s hyperactive paintings stole the psychedelic show.

• Move Over Casio: Teenage Engineering’s OP-1 Portable Synth Looks Cool, Does Everything.

• A retrospective of art by Madge Gill (1882–1961) at The Nunnery, London.

• “Art is unavoidably work”: Terre Thaemlitz interviewed.

• A trailer for Document: Keiji Haino.

WB Yeats, Magus

Pathétique 1 (1994) by Fushitsusha | Pathétique 2 (1994) by Fushitsusha.