Posts Tagged ‘drafthouse

14
Apr
15

Why Don’t You Play in Hell? (2013) Blood Sacrifice for The Movie God

WDYPIH_OneSheet_72dpi_DIGITAL_FINAL

a Primal Root written review

It takes a certain breed to be a cinema buff.  I became a believer in the beauty, the appeal and the power of the movies in a near religious manner. Friday nights as a child were spent at the local movie theater (Oak Lakes 6, Miracle 5 or Capital Cinema here in Tallahssee FL, Rest in Peace, my friends) or at one of multiple video rental stores. I learned more about morality, courage, compassion, love and humanity from what I watched on the silver screen and through my VCR than I ever did by going to church and all I’ve ever wanted to do with my life is make that one perfect film I have in my head. My masterpiece. My chance to project a story upon that screen and make people laugh, scream, cry and think. In this sense I completely understand where someone like the character of Director Hirata (Hiroki Hasegawa) is coming from in the 2013 Japanese gangster, action, comedy, gore epic Why Don’t You Play in Hell?

why-dont-you-play-in-hell-6

Teenage Director Hirata, along with his closest filmmaking comrades known as The Fuck Bombers,  discover a young Sasaki taking part in a back alley brawl. Hirata instantly dubs Sasaki “The New Bruce Lee,” and gives him Lee’s iconic yellow and black track suit and a pair of nunchaku. The group of dreamers spend their formative years at the local community center watching movies and the rest of their free time shooting backyard movies and incidents they come across on the street.

Meanwhile, young Michiko is the singing and dancing star of a toothpaste commercial and has become an overnight sensation. That is, until her Mother, the wife of Michiko’s Yakuai gang leader Father Taizo, is sent to jail after brutally slaughtering a half dozen enemies who invaded her home while she was slicing up carrots.  Michiko’s Mama is thrown in jail for ten years and the powers that be have Michiko’s ridiculously popular toothpaste ad removed from the air. I’m trying to refrain from spoilers as much as possible here, but Michiko comes home to the aftermath of her Mother’s bloody encounter, ends up lsipping sliding through some blood and comes face to face with the man who was sent to kill her family. It’s both incredibly cute, funny, graphic and sets the rest of the film’s story line in motion. A series of mind boggling coincidence, or is it fate (?), that leads to one of the greatest gangster epics ever filmed.

See, Taizo has sworn to Michiko’s Mother that Michiko is starring in an incredible action film, one that will make her proud of her daughter. But when Taizo realizes it’s all fake, that there is no heart behind the camera, no passion and no vision, he enlists the assistance of the now grown up, but still insanely passionate Hirata and The Fuck Bombers to film the epic battle to the death between these two rival gangs with the young and vicious Michiko as the film’s star. See, The Fuck Bombers never realized their dream of making the ultimate Yakuza action film. They made it as far as a mock trailer for the film they lways dreamed of making, but the dream has gone unfulfilled and the group is beginning to fall apart because of it. But this opportunity to film what promises to be the bloodiest gang battles in history. They have prayed to “The Film Gods” their entire lives, and it now seems that their prayers are answered. Director Hirata and his team tackle the project with a manic kind of glee as they rush about the battle with their eyes glued to their camera as blood, limbs, and heads fly the through the air and splash upon their smiling faces.

WDYPIH

I can honestly say it’s the most heartwarming and joyful bloodbaths I’ve ever witnessed in a movie. Everyone is willing to die for this project. Both gang bosses, their henchmen, Michiko, The Fuck Bombers, just to make this piece of cinema as true and spectacular as they feel it should be. And everything is amazing, that is until the fucking police show up (MPAA Ratings Board/Censorship?) and fuck it all up.

Why Don’t You Play in Hell is ludicrous, completely batshit crazy, brutally, cartoonishly violent and a jubilant celebration for the art of filmmaking. Filmmaker Sion Sono has captured perfectly the exhilaration and exasperation of going after any creative endeavor. There is love here for those who dare to dream and are waiting patiently for their moment to come. for their chance to speak through the cinematic medium. It’s impossible to not feel the excitement as hardened Yakuza gangsters become passionate and exacting about sound recording, as Hirata runs through thick puddles of blood, demanding reshoots as the people he’s making these requests to are actually being sliced to ribbons and as the cameramen redefine the art of “Shooting a Movie.”

There’s plenty of carnage candy in this blood encrusted cinematic odyssey, but there is an unmistakable depth of heart present throughout the proceedings. We genuinely care about life long friend, The Fuck Bombers, and their ambitions of making their movie dreams come true.  We find ourselves fully believing that Michiko’s toothpaste jingle could beguile generations of TV watchers including the rival gang’s leader who has been infatuated with her ever since.  It’s the fact that Why Don’t You Play in Hell and it’s wet, nasty, over the top action is grounded in believable, likeable, three dimensional characters that makes the ride of watching it so goddamn exhilirating. You’ll be cheering all the way to the final frame and even shocked to the point of tears by the fate of many of these characters. At least they all died battling for their art, their honor and their dreams. And this mixture of naive optimism and midnight movie bedlam leaves the viewer not only endeared to such shenanigans, but leaves you thirsty for more.

3

For fans of not only Trash Cinema but the art of cinema itself,  Why Don’t You Play In Hell? is a flick you MUST SEE ON THE BIG SCREEN. It will knock you flat on your ass, hose you down with blood, then french kiss you with a mouth full of glass, and when it’s all over, you’ll wipe away the blood and beg to go through it again.  Trust me, it’s THAT fucking good.

I award Why Don’t You Play In Hell? FIVE out of FIVE Dumpster Nuggets.

Stay Trashy!

-Root

26
Jan
14

Ms. 45 (1981): Vengeance be a Lady or Bullets Over Ballsack

ms_45_theatrical_onesheet__large

 

a Primal Root written review

In the late 70’s and early 80’s horror and exploitation cinema saw a rise in the popularity of the “rape/revenge” sub-genre. In a film of this nature, a woman or man is raped and violated followed by the person violated, or someone close to them, going on a roaring rampage of blood soaked revenge against those who have so violently attacked them or those they love.  Movies like “I Spit on your Grave”,  “Deliverance”, “Last House on the Left”, “Straw Dogs” and countless others were all part of this trend towards vigilante revenge fantasy films, where innocence is raped and the victim must seek their vengeance.  My own idea why this sort of sub-genre sprung up and became so popular were the crime statistics of the time and the general unease in society that the system, and those sworn to protect us, weren’t up to the task and that the only way for us to survive was to take matters into our own hands. The rape/revenge film taps into that deep, dark, fantasy where the victim gets the last laugh against the low lives who savaged them.  In most cases there is a clear line between good and evil and the vengeance is always righteous and well justified in the viewers eye. This evil redneck sodomized this young woman for an hour, so she cuts his dick off and lets him bleed to death in her lovely Airbnb log cabin rentals art deco bathroom. You get to cheer on these folks as they fight fire with fire and watch with glee as the wicked are punished.  It’s a very base, primal formula and story.

Enter Abel Ferrara’s 1981 “Ms. 45″ (aka: Angel of Vengeance”), the story of Thana, a young, mute seamstress working for an up and coming fashion designer and living in New York City where there just so happens to be a constant single file line of sleazeballs and scum bags garnishing the streets, ogling women, and serenading them with wolf whistles and cat calls as they walk by. We get to experience this uncomfortable, sexist deluge through the female POV came of those unlucky ladies having to ignore and endure this harassment and MAN is it effective.  As Thana makes her way home from work she is accosted and raped at gun point in broad daylight down an alleyway by a man in a Halloween mask. Before departing, the man threatens that he’ll be back before booking it off into the sunset and surely haunting Thana’s every waking moment for the rest of her life. And in one terrifying moment, actually does appear as a nightmarish phantom hallucination to Thana as she tries to undress and take a shower after the attack.

Zoe-Tamerlis-in-Ms-45-remembering-zoe-tamerlis-lund-12109019-800-534

Thana, in shock, makes her way back to her apartment only to find a burglar has broken in and is waiting for her. Again, she is raped at gunpoint…but this time she strikes back and bashes her assailant’s skull in with an iron. As she begins disposing of attackers dead body, which she has sawed into several pieces and begun depositing all over New York City wrapped in shopping bags, she’s chased on foot by a young man that has mistaken one of these bags as something she accidentally dropped and is trying to give back to her. For his trouble, Thana shoots this poor sucker in the face.

Before you know it, Thana is a woman on a mission. As she gains confidence and a thirst for vengeance she transforms from a mousy young woman to a deadly black widow. Dressing more provocatively, wearing makeup and pulling her hair back, Thana takes to the night time streets of New York to murder as many abusive, rapey, evil men as she can find. She ends up blowing away a pimp seen beating a hooker, a gang of would be rapists and a man in a limousine who tries to offer her cash for sex. It’s a blast watching Thana take out these sleazy, violent cocksmiths. One can clearly see how Thana perceives these men as threats  and you cannot help but cheer as she delivers hot, blood spattering, genital mutilating vengeance from the barrel of her gun. I must admit a certain feeling of satisfaction witnessing this carnage.

primary_Ms45-1981-1

But “Ms. 45”  is a more complex film than your typical black and white, Good vs. Evil rape/revenge film.  “Ms.45” exists in a more realistic world painted in varying shades of grey.  Thana pursues the advances of a creepy, aggressive photographer. The man comes on to her in a restaurant, follows her down the sidewalk yapping her ear off until she agrees to go to his studio. Once there, she guns this guy down in cold blood. The man was obviously a creeper, treated Thana as subhuman, another conquest to stick his teeny weenie in, but did the slimy bastard deserve to die? He never actually succeeded in harming Thana or actually proved he had any intention to.  He was gross, nasty and aggressive…but he never actually hurt anyone during his time on screen.  As a viewer, I sure as shit didn’t want to spend any time with this guy, but did he earn the bullet riddled dose of death he received?

For Thana, it steadily grows from a quest for vengeance to a gender specific killing spree as she begins targeting anyone with the offending genitals. she stalks down a young, Asian man who she eyed making out with his girlfriend. The man was just kissing the woman he is attracted to and it’s completely mutual! No force, no rape, but Thana no longer seems capable of  discerning what is right or wrong, healthy or unhealthy, and in her bloody quest for revenge has found herself becoming a monster herself.

“Ms. 45” reaches it’s climax at her fashion designer bosses’ Halloween party. Thana dresses up as a nun, attends the party as her bosses’ date, and packs some heat below her garter. In a chilling, horrifying, slow motion finale Thana opens fire on every man at the Halloween party. The crowd screams, begins panicking and trying to escape the barrage of gun fire.  This woman we were once rooting for has blurred the line so completely between good and evil that she is willing to kill any man at all because she sees every man as a threat. It isn’t until a friend of Thana’s,  one of her female co-workers, grabs a butcher knife, sneaks up behind Thana holding the blade at crotch level, making the phallic symbolism unmistakable, and then plunges it into Thana’s back, that the killing finally stops. Thana turns, her eyes widen in shock as she realizes it was a fellow woman who has killed her, sliding the phallic knife into her. The mute Thana then whispers her one and only line, her dying word, “sister” and falls to the ground dead.

Ms45

Abel Farrara created one of the most unique, disturbing and thought provoking films in this sub-genre of horror, and incidentally, one of the more interesting of the 1980’s. The film seeks to bring the idea of blind vengeance into the discussion of rape and revenge. When does  revenge simply start becoming mindless killing? Is it ever justified? When does the hero become the villain? These are questions few films within this sub-genre take the time to ask . In “Ms. 45” we are given plenty of time and opportunity to meditate on just what has happened to Thana, where Thana finds herself at the end of the movie, and the mechanics of our own reaction to the steps in her journey from victim, to vigilante to victimizer.  This very well might be why “Ms. 45” is so effective, so chilling and so infinitely open for debate and discussion.

Thana is a voiceless woman in a city overrun with outspoken, sexually aggressive men. Once irrevocably turned into a victim she finds an artificial voice in violence, in the firing of her gun and the killing of others. She cannot scream for anyone to stop, but her gun has the power to scream and stop her tormentors.  It isn’t until the end, when she is stabbed to death by another woman, that she finds her true voice, and in my opinion, opens her eyes to the horror of what she has begun. She is no longer an angel of vengeance but a demon of destruction. By the evil of others, she herself, has become an evil doer.

Of course, this is just The Primal Root’s take on the movie. I would love for you to check it out sometime and share your thoughts on the “Ms. 45” and just what you took away from this flick.

Ms45-1981-4

Also, let me just say Zoë Tamerlis Lund, who played Thana, is remarkable. with only one line of dialogue in the course of the film, Zoë manages to make Thana into a fully fleshed out,  believable, human character.  Zoë was one remarkable, creative talent and a natural beauty with screen presence to spare. She even went on to co-write Abel Ferrara’s notorious “Bad Lieutenant” starring Harvey Keitel.   Sadly, Zoë was a long time heroin addict and died of drug related heart failure in 1999. she was 37 years old.  For more on Zoë I highly recommend http://www.zoelund.com/ which is run by Robert Lund.

I forgot to mention, there is also a subplot featuring Thana’s obnoxious landlady and her yapping mutt. At one point Thana takes her land ladies’ dog for a walk intent on killing it. She ties the dog to a pole, and draws her gun ofn the cornered mutt. We never see Thana kill the pooch but it’s assumed that she did only to have the poor little guy return home right before the credits roll. It’s an interesting note to end the movie on, that Thana so easily can kill a man, ANY man, before she could kill a dog.

Certainly not a feel good movie, and surely as shit, it ain’t for everyone, “Ms. 45” is an excellent piece of exploitation, horror, Trash Cinema. It’s well worth checking out and deserving of it’s Cult Classic status.  I’m giving “Ms. 45” FIVE out of FIVE Dumpster Nuggets.

Stay Trashy!

-Root




Dumpster Diving

Categories