Fando and Lis

The film itself barely has any narrative and many of the film's mysteries will not be revealed until the viewer watches the commentary by the director (referring to the DVD version). Nevertheless, the film is an excellent example of the abstract art cinema. Everything in the film is a symbol, the film plays itself out in symbols and imagery, it is an example of a pure attempt to tell a story without holding the audiences hand in any way. This is international art cinema at it's best, and of course I understand that not everyone will enjoy this film, fortunately this genre does not require the audience to follow along. If you put your heart into watching the film and later watch the commentary to wash away the confusion, I promise, you'll be happy you did so.

I think Fando and Lis is a masterpiece, and one of the least pretentious films I've seen. As it's 2 am and I've just watched it, I am not in a position to be articulate, but I'll sum up my reasons in the following, then come back in a few days and further the commentary.

1. I was never once bored. 2. How the hell did the director get this made, and have all the actors and extras participate in what to them must have seemed embarrassing and weird sacrilege? 3. It was epic poetic fantasy, using creative theatrical games, fresh play of props and brilliant mise en scene - tapping into all kinds of primal emotions, fears and desires. 4. He makes good the limits of the medium. Even the high contrast black-and- white served its purpose; when Fando tries to convince Lis there are flowers, the surrounding many stones and bric-a-brac suggest flowers to the viewer. Where faded acoustics must have reigned given the budget and desert landscape, he fills the soundtrack with compelling auditory images. 5. It's a combination of Fellini's 81/2 (the bewildered director as lover) and La Strada, but even more personal; with more guts; rawer, fresher. 6. Who could deny the plaintively lovely Lis? The forlorn fawning seductress? And wasn't Fando a charming and silly chap, full of fondness for living when he wasn't cast in the role of the brute? And wasn't their chemistry palpable?

Above all, I was moved. I recognized it both as a simple love story toting the truism that love has no road map, and a cry from the wilderness. It was authentic scream of a soul to FEEL the experience of living, good and bad. Watch this film when you're lost - when your heart aches with unfulfilled desires - you want your dead parents back or the lover you mistreated. Watch it then. You'll know what the hell it's about.

Jodorowsky's first film has recently been released on DVD with director's commentary and documentary, and it is looking beautiful for a 'lost' low-budget film. A frequently disjointed film, although to be honest not as much as El Topo, Jodorowsky's adaption of a bizarre stage production (filmed from memory with a one-page outline script) creates some of his most affecting images despite the low-budget. The narrative, which may seem annoying for those unaccustomed to Jodorowsky's work, actually develops in quite a mature and artistic manner; Jodorowsky shows a great understanding of his art despite the fact this was his first feature. But, as Jodorowsky himself says about this film, it is a pure work of art - i.e. a film created without any thought going into what the audience will think about it, he was filming from the heart. So it does drag in places and the pacing prevents any but the most arty of us to be excited by it. But if you liked El Topo (etc.), give it a go.

I may be rewarded by his later films — his later work is highly recommended — but this one has no merit for me. I suppose everyone who comments on this should give some registration. For me Bunuel and Barney aren't worth it (except for a few brilliant sequences) while Greenaway and Madden are anchors for imaginative possibilities.

This was his first film after an intensive career in alternative theater. He was in the self- described surreal and anarchy theatrical movements. They had a sort of power because the performers were physically there. If they smeared feces, the audience was involved in ways completely unreproducible in film. That sort of theater can be built on confrontation, negation, disorder alone.

I believe there is an analogue in film. Jack Smith perhaps. But at this point in his career, Jodorowsky didn't understand the difference and so far as he was concerned, commitment was enough.

Well, it ain't. Not for this viewer.

There's a porn film based on some of the more effective scenes here: "Through the Looking- glass." Its a superior film.

Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.

"Fando & Lis" is Alejandro Jodorowsky's first full length feature film. Like the 1930 film "L Age D Or", the 1967 premier at the Acapulco film festival in Mexico led to riots. The images shocked many viewers and Jodorowsky had to flee for his life. The film's story concerns Fando and his crippled girlfriend Lis. Fando is very cruel, but sometimes sympathetic. He pushes Lis around in a cart through many strange and surreal scenarios. We also witness flashbacks of Lis as a child loosing her innocents to the corruption of adults. Fando has flashbacks of his father and the soldiers which took his dad away from him. For the two main characters, it's a bizarre world gone mad. Fando & Lis are on a journey to the miraculous city of Tar. Lis is convinced she'll be healed of her physical disorder and able to walk again. This film is based on a short play by Fernado Arrabal. and at time feels like a follow up to the later filmed "Viva la Muerte". Although shot in B&W viewers are treated to many bizarre images including; a burning piano, body painting, drag queens, mud people and other assorted strangeness. "Fando & Lis" holds its place in the hall of fame of weird films. You must see it to believe it.