Strange Adventures: a film list

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This is science fiction.

Presenting the list I mentioned earlier in which I highlight a number of worthwhile science-fiction films (also some TV productions) that aren’t the usual Hollywood fare. I’ve spent the past few years watching many of these while searching for more. This isn’t a definitive collection, and it isn’t filled with favourites; I’ve deliberately omitted a number of popular films that would count as such. It’s more a map of my generic tastes, and an answer to a question that isn’t always spoken aloud in discussions I’ve had about SF films but which remains implicit: “Okay, if you dislike all this stuff then what do you like?” I tend to like marginal things, hybrids, edge cases, the tangential, the unusual and the experimental. And for the past two decades I’ve increasingly come to value anything that isn’t a Hollywood product. There are two Hollywood productions on this list but neither of them were very successful. Not everything here has been overlooked or neglected but many of the entries have, either because they made a poor showing at the box office or because they have the effrontery to be filmed in languages other than English. Not everything is in the first rank, either, but they’re all worth seeing if you can find them.

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Liquid Sky.

The starting point is around 1960 because prior to this date any marginal or unusual examples of SF cinema are harder to find. A genre has to be somewhat set in its ways before radically different artistic approaches emerge, and pre-1960 there wasn’t much testing of the SF boundaries in the film world. Science-fiction cinema has also tended to lag behind the written word, so even though the literature was growing more sophisticated during the 1950s, films from the same period are mostly filled with monsters, spaceships and mad scientists. By the 1960s enough written science fiction was playing with (or ignoring) genre stereotypes for a “New Wave” to be identified. Some of the films detailed here might be regarded as cinematic equivalents of SF’s New Wave but I’ll leave it to others to argue the finer points of definition. A few of the choices are a result of directors going in unexpected directions, with several selections being one-off genre excursions by people better known for other things. I’ve omitted many films and/or directors that receive persistent attention, so there’s no David Cronenberg, Nicolas Roeg, Andrei Tarkovsky or John Carpenter; and no Mad Max 2, Akira, Ghost in the Shell or The Prisoner. A couple of edge cases are so slight I couldn’t really justify their inclusion so you’ll have to look elsewhere for appraisals of The Unknown Man of Shandigor (a spy satire with Alphaville influences) and Trouble in Mind (more of a neo-noir fantasy). 2010 is the cut-off point. I’ve never been someone who watches all the latest things so it often takes me years to catch up with recent releases.

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Avalon.

I can imagine there might be questions about the availability of some of these films. All I can say is search around. I’ve managed to accumulate half the things on this list on either DVD or blu-ray so they’re not all impossible to find. I did consider posting links but the whole issue of region coding complicates matters. Most of the short films circulate on YouTube, as do a number of the features although these don’t always include subtitles. Have I missed something good? (Don’t say Zardoz….) The comments are open.



Invention for Destruction (Czechoslovakia, 1958)

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An evil millionaire named Artigas plans to use a super-explosive device to conquer the world from his headquarters inside an enormous volcano.

(Previously.) It seems fitting to start with a film that adapts a novel by one of the founders of the genre, Jules Verne. Karel Zeman’s third feature extended his technical effects to combine live-action with animation, creating a film in which the engraved illustrations of Verne’s novels are brought to life. With music by Zdenek Liska.


La Jetée (France, 1962)

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The story of a man forced to explore his memories in the wake of World War III’s devastation, told through still images.

Chris Marker’s haunting short is one of the great time-travel stories, a 25-minute film that JG Ballard often listed as a favourite. Memory was a recurrent theme in Marker’s work, and memories here provide a physical route into the past, with the predicament of the unnamed protagonist concentrated on a single memory from his childhood. Marker’s interests ranged widely but he haunts the margins of science-fiction cinema in France, assisting Walerian Borowczyk with an early animation, Les Astronauts (1959), as well as the Pierre Kast entry below.


Alphaville: A Strange Adventure of Lemmy Caution (France, 1965)

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A secret agent is sent to the distant space city of Alphaville where he must find a missing person and free the city from its tyrannical ruler.

Another Ballard favourite, and not a neglected film by any means but the first in our collection of one-off SF excursions by directors better-known for other things. Alphaville is also important for being the first film to present itself as science fiction without any of the obvious or expected trappings of the genre. Paris in 1965 is Alphaville because Godard says it is. In part this is the director doing his usual thing of self-consciously adopting a genre; this is “science fiction” in the same way that Breathless is “crime”. But the conceptual leap was an important one for cinema, a step that freed film-makers from the need to build expensive sets and dress their cast in silver jump-suits. With Raoul Coutard’s high-contrast photography, Paul Misraki’s noirish score, Eddie Constantine’s bull-in-a-china-shop performance (he makes Ralph Meeker in Kiss Me Deadly seem soft-hearted), and the incomparable Anna Karina.


The Heat of a Thousand Suns (France, 1965)

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(Previously) A one-off animated short by Pierre Kast with assistance from Chris Marker, drawings by Eduardo Luiz, and an electronic score by Bernard Parmegiani. A young man with his own spaceship solves the problem of faster-than-light travel then heads into the cosmos with his pet cat.


Fahrenheit 451 (UK, 1966)

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In an oppressive future, a fireman whose duty is to destroy all books begins to question his task.

Francois Truffaut’s first colour feature has always seemed a little dull despite its incendiary subject matter and the Hitchcockian urgency of Bernard Herrmann’s score. It might have been improved with an actor other than Oskar Werner in the central role but there’s still a lot I like about this one: the music, the shots of the SAFEGE monorail, Nicolas Roeg’s striking photography, and Julie Christie in a double role. There’s also some amusement for Brits in seeing a Frenchman presenting ticky-tacky English suburbia as a soulless dystopia. With spoken titles, flat-screen TVs in every home (it’ll never happen…), and Genet novels condemned to the flames.


Je t’aime, Je t’aime (France, 1968)

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After attempting suicide, Claude is recruited for a time travel experiment, but, when the machine goes haywire, he may be trapped hurtling through his memories.

(Previously.) Much as I like toying with the idea that Last Year in Marienbad is science fiction there really isn’t anything in it that easily justifies the claim. Director Alain Resnais said that this one wasn’t SF either but it does at least feature a time machine. Resnais had collaborated with Chris Marker in the 1950s, and the pair remained friends, so it’s tempting to see this as a riff on La Jetée. (There’s even an echo of Marker’s film in the title…) Both films use a doomed romance as a focus for their examination of memory and time, and both feature choral scores, the music for this one being composed by Krzysztof Penderecki.


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Short films by Gérald Frydman

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Scarabus.

After writing about Gérald Frydman’s animated short Scarabus (1971) last year it’s taken me all this time to get round to watching the other films on his Vimeo channel, most of which are also animations. Scarabus was of interest for its deftly-crafted Surrealism, and there’s more of the same in some of these later films, especially Agulana. As with another Belgian director, Raoul Servais, Frydman directs all his films but doesn’t always animate them himself, hence the variety of art styles.

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Agulana (1976) is a kind of sequel to Scarabus with human figures being menaced and oppressed in a transforming environment. The Magritte quotient in films such as this raises the question of whether Magritte-ness (for want of a better term) is a quality unique to René Magritte or a component of the general Belgian character. Jonathan Meades insists on the latter in an excellent film of his own about Belgium.

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Alepha (1980) is more Surrealism, which in this case brings to mind the animated films of Piotr Kamler. Naked figures drift over landscapes filled with ambulatory spheres, vast spikes and other structures. Where Kamler favoured electronic soundtracks by Luc Ferrari and Bernard Parmegiani, Frydman has regular collaborator Alain Pierre provide a score of electronic drones.

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La Photographie (1983) is the first of two short films set in the 19th century. This one is little more than an anecdote, with a bored family forced to remain motionless while their photograph is taken, a process that lasts for the entire duration of the film. Outside the studio we see a Jules Verne wonderland of new inventions—dirigibles, rapid transport, electric light, typewriters and so on—where the frenetic activity contrasts with the inertia of the photographic process.

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Le Cheval de Fer (1984) is another photographic anecdote, this time concerning the wager prompted by an argument about whether a horse’s legs left the ground when it was galloping (and if so, at what point). The argument was famously settled by Eadweard Muybridge who invented a system to photographically record animal locomotion, thus paving the way for cinema, and for film animation.

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Les Effaceurs (1991) is Surrealism of a dark and disturbing kind with people urgently trying to scrub away their facial features.

Also on Frydman’s channel is La Sequence Silverstein (2000), a short science-fiction scenario which he wrote but didn’t direct. This one is live action and with dialogue in unsubtitled French. It not bad but I prefer the animations.

Previously on { feuilleton }
Raoul Servais: Courts-Métrages
Scarabus, a film by Gérald Frydman
L’Araignéléphant
Le labyrinthe and Coeur de secours
Chronopolis by Piotr Kamler

Jiri Barta: Labyrinth of Darkness

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A new purchase. It’s excessive and wasteful to order DVDs from South Korea but when this is the only available option you have no choice. Jiri Barta: Labyrinth of Darkness is a Korean clone of a deleted disc that was originally released in the US by Kino, and which I’d managed to miss when it was still easy to find. The collection gathers all of the Czech animator’s short films from 1978–89 plus his 53-minute masterwork, The Pied Piper (1986), a film whose Expressionist puppets and decor steal the familiar folk tale away from picture-book cuteness and return it to its darker roots. The subtitle “Labyrinth of Darkness” suggests that all the films tend towards horror which isn’t really the case, although anyone disturbed by animated shop mannequins may be unnerved by Club of the Discarded (1989). Barta’s films can be dark but they’re also wry or quirky: The Design (1981) is a wordless fable about the imposition of social uniformity by contemporary architecture, while The Extinct World of Gloves (1982) cleverly uses anthropomorphism to pastiche a range of cinematic genres. Barta is still active today but most of his recent films have been advertising commissions and a child-friendly feature, Toys in the Attic, the marketplace being resistant to animation that’s too strange or personal. I still hope we might one day see his feature-length film of The Golem but there’s been no news about this since a preview was released in 2002:

“Everyone is expecting a fairytale about that legend. Our interpretation is a little bit different, because we start from another point of view, which is Gustav Meyrink’s Golem…It is much more interesting, but I think that this is the reason why we have not moved forward, why the whole project has stopped, why some producers have disappeared, appeared and disappeared again.” (via)

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The unavailability of the Kino disc of Barta’s films is part of a worrying trend for those of us who like to own physical copies of scarce films. Many DVDs released ten or more years ago are now deleted and—in the case of my precious Piotr Kamler collection—impossible to find, while the films they contain are of such minority interest there’s little hope of seeing them on blu-ray any time soon. In the hierarchy of cinematic value, feature-length dramas always receive the most attention while documentaries, shorts, animations and experimental films are subject to the greatest neglect. Yes, “everything is now on YouTube” (except when it isn’t), but invariably compromised by low resolution, a lack of subtitles, or blighted by TV watermarks. And everything on YouTube is only there for as long as the uploader maintains their channel or until someone files a copyright complaint; previous posts here are filled with links to videos that are now deleted, so the Koreans are doing everyone a service by keeping Barta’s films in circulation. The same goes for the great René Laloux whose science-fiction features, Time Masters (1982) and Gandahar (1987), are currently available with English subs only from South Korea. The quality of this Jiri Barta disc leaves much to be desired but it’s still better than YouTube.

Previously on { feuilleton }
Jiri Barta’s Pied Piper
Gloves
More Golems
Barta’s Golem

The Heat of a Thousand Suns by Pierre Kast

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In an earlier post I mentioned how invaluable I’d found Philip Strick’s Science Fiction Movies, a large-format study published in 1976. Like Denis Gifford’s Pictorial History of Horror Movies (1973), the book was intended as a cheap introduction to a popular genre but Strick wasn’t content to limit himself to familiar titles, offering instead a remarkably eclectic list of films, many of which are barely science fictional at all: Last Year at Marienbad, The Saragossa Manuscript, The Hour of the Wolf, Teorema, The Discreet Charm of the Bourgeoisie, and so on. For my teenage self, and no doubt many other readers, this was my first encounter with these and other titles, and it was Strick’s descriptions that kept me on the lookout for them for many years (over 20 in the case of Saragossa). Strick’s equanimity treated cinema as a global medium, not one where Hollywood dominates the marketplace and all the conversation. Other films under discussion were definitely SF but unviewable to those of us who without access to an arts cinema, and little hope of ever seeing them on TV, European obscurities such as La Jetée, Fantastic Planet, Je t’aime, je t’aime and The End of August at the Hotel Ozone. Despite the book’s age, and the relative ease with which anyone can now see films such as these, a few scarcities remain, one of which I watched for the first time last week.

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The Heat of a Thousand Suns/La Brûlure de Mille Soleils (1965) is a 25-minute animated film written and directed by Pierre Kast that Strick not only describes but further tantalises the reader with a pair of stills, which may account for its title having lodged in my memory all this time. Strick discusses the film between two other animations that are now very familiar: The Green Planet, an early work by Piotr Kamler, and Les Jeux des Anges by Walerian Borowczyk. (If all this sounds like wilful obscurantism on Strick’s part, on the previous page he discusses a pair of classic Hollywood features, This Island Earth and Forbidden Planet.) Kamler’s film is a humorous one, while Borowczyk’s is strange and disturbing; Kast’s film is pitched somewhere between the two:

A young man in the far future becomes bored with the solar system he knows too well and goes for an unrepeatable trip to the stars, in the company of his robots and his cat. On a remote planet he encounters a tranquil civilization where something has only to be wished for, and it happens; he meets a girl, they fall in love, and their romance is frustrated by his complete inability to recognize the different standards of her society where sexual groups of eight comprise a family. Put together from paintings by a Spanish surrealist artist, Eduardo Luiz, whose suffused landscapes and delicate tapering figures provide the perfect balance to the gentle melancholy of the hero’s monologue, the film has the same touch of scorn at its centre as was evident in Kast’s other science-fiction works, Amour de Poche (1957) and Les Soleils de l’Ile de Pâques (1971), although its twinkling conclusion is more in keeping with his romantic comedy Vacances Portugaises (1961). It’s one of the most effective screen versions so far of science fiction’s crusade not so much for a better world as for better people on it.

Strick also mentions a detail about the production that I’d forgotten, namely the editing being the work of La Jetée director, Chris Marker. The latter’s credit makes the inclusion of a space-faring cat both funny and fitting although the animal is unconcerned by interstellar travel, and spends most of its time asleep. Another notable name is electronic composer Bernard Parmegiani who provided the score for this and other films by Kast; he also scored several shorts by Piotr Kamler and Borowczyk’s Jeux des Anges.

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Now that I’ve finally seen Kast’s film I wouldn’t say it was worth the wait but it was definitely worth watching. The animation is very minimal, with most of the shots being still images that the camera wanders over. The SF scenario is very conventional, as are the trappings: a pointed rocket, bleeping robots, aliens that look and behave like Earth people even if they do have eight sexes. The film distinguishes itself much more with its design, the Giacometti-like figures, and the interior of the spacecraft which pre-empts Barbarella with its lavish chambers filled with period decor and artwork. Despite Strick’s praise, Kast’s conventionality seems a missed opportunity when animation can do so much more than ape live-action cinema. Piotr Kamler’s films, in particular Labyrinth (1969) and Chronopolis (1983), offer science-fiction scenarios that are remote from our own lives and preoccupations; so too with Borowczyk’s Jeux des Anges, a film whose industrial nightmare is closer to David Lynch than Barbarella. Kast does have a late surprise, however, although this may only mean anything to those familiar with Chris Marker’s photography.

The Heat of a Thousand Suns is on YouTube but with no subtitles for its French narration. The copy I watched was from this page which includes a subtitle file. I suspect this may be a DVD rip, and therefore immoral, but the same probably applies to the YouTube version as well. The choice is yours.

Previously on { feuilleton }
A Pictorial History of Horror Movies by Denis Gifford
Saragossa Manuscript posters
Marienbad hauntings
Chronopolis by Piotr Kamler
Les Jeux des Anges by Walerian Borowczyk

Fracture by Paul and Gaëtan Brizzi

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Fracture (1977) is a short animated film from France by the Brizzi Brothers (Paul and Gaëtan), a duo better known for their work on feature-length animated films such as Asterix versus Caesar (1985), and a number of films for Disney. Fracture is their earliest work, and isn’t remotely Disney-like, delivering an SF/fantasy scenario of alien inexplicabilities that makes it an animated counterpart of the comic strips that were running in Métal Hurlant (and its US counterpart, Heavy Metal) in the late 1970s. (The Brizzi Brothers’ most recent works have been comic books so I’d be surprised if Fracture didn’t have comics influence.)

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Comics and animation have a considerable advantage over film and TV in being able to avoid the commercial imperatives that explain away mysteries and make the alien too familiar. Animation doesn’t exploit this advantage as often as it might so examples such as Fracture are all the more rare and valuable. The Brizzi Brothers’ film may not be as thoroughly strange and inexplicable as Piotr Kamler’s masterpiece, Chronopolis (1983), but it has its moments. As a bonus, the soundtrack is lifted from albums by Tangerine Dream and Edgar Froese which have been monopolising my waking hours for the past two weeks.

Previously on { feuilleton }
The Captive, a film by René Laloux
Continu-discontinu 2010, a film by Piotr Kamler
L’Araignéléphant
Le labyrinthe and Coeur de secours
Chronopolis by Piotr Kamler