Montana Sacra - Der heilige Berg

A few months ago, I finally got to see El Topo, Jodorowsky's legendary western-on-acid. Quite simply, it blew me away. It was just so strange, so weird, so utterly crazy...I don't know, seeing El Topo on one viewing doesn't mean you'll be able to comprehend it well enough to describe it properly. I'll give it a second view some other time.

Anyway....why I mentioned El Topo was because it raised the bar for what I could expect from The Holy Mountain, which promised to be even more of a mind-bending surrealist work than El Topo. For this is how, on the basis of a single viewing, I was prepared to judge The Holy Mountain - on just how bizarre it would get.

This may sound a little shallow, but The Holy Mountain is one of those films that requires several viewings to properly comprehend pretty much everything that goes on. On one viewing, all you can do is try and keep your eyes on screen and try to take in as much of the film as possible. Even if you don't fully understand what's going on, take in the experience. That's what I did when I watched The Holy Mountain.

The Holy Mountain begins by following a man who's best described as Christlike as he engages in his own journey from dying in the desert to a tall tower, where he meets a mysterious figure known as the Alchemist. The Alchemist recruits the man for his own plan, which involves bringing together several "thieves" from around the world so that they can embark on a quest for immortality atop the eponymous mountain.

All this is a loose framework for Jodorowsky's trademark elaborate set-pieces - they're big and they're utterly loony. I don't think I'll bother spoiling any of them, but take any scene from the movie and it'll likely have a large, weird-looking set and at least one or two freaky-looking people drawing your attention. One thing that kept preying on my mind the whole time was just how unbelievable the whole idea of The Holy Mountain was. Like El Topo, it was an epic without a wider appeal, and that jarred me for some reason. It just keeps getting stranger and stranger until the end, which I will have to say was utterly unpredictable.

The Holy Mountain is truly one-of-a-kind. It'd be pretty easy to say this film isn't for everyone, but it isn't. If you're into movies that don't make sense on the first time (or even the 10th time), I'd recommend this. Or if you're just looking for one intense filmic experience, it doesn't get much more intense than the imagery of The Holy Mountain.

I'll end this review now - I've run out of synonyms for crazy.

8/10 - this is after one viewing, it'll probably go up after about 7.

I don't think this film can be "reviewed" in the normal sense of the word, only experienced as one would a painting or a piece of music. Having only seen it two nights ago, I'm not even sure I've fully processed it. In any case...

To begin, the images, the images. The first 20 minutes contain some of the most astonishing images I've seen, combining Christian iconography, Latin American history, futurism, mysticism, and political commentary. As if Fellini had a sinister twin working with his leftover film and props. As the film progresses I thought the set pieces became a little dated and, frankly, I experienced sensory overload.

I'm sure a lot of viewers would reject this film as pointless or indulgent. Yeah...so? I can't say I understood exactly what Jodoworsky was getting at (if anything), or if it would even make an impact on my view of the world. But if film is to be defined as image over everything else, then Jodoworsky is certainly some sort of master filmmaker. I'd rather watch something like this, filled with ideas (however pretentious), than a plot-driven movie with nothing more on its mind than wrapping up loose ends for the audience.

Now, off to rent Santa Sangre.

Yep, this is the first movie that I genuinely don't know wtf I watched to even rate it a score!

And then people say A Clockwork Orange is weird lmao

(not saying it's bad, not saying it's good, just don't what it was to even rate it)

Astonishingly beautiful, bloody and strange surrealist film. Roughly, about a spiritual quest for enlightenment, truth and immortality; but that doesn't begin to describe Jodorowsky's Fellini-like flood of imagery and symbolism. Jodorowsky himself plays "The Master", an occult adept who assembles a group of people representing the planets of our solar system (a Christ figure for Earth) to ascend the Holy Mountain and gain the secret of eternal life. The qualities of the individual planetary cultures are both based on, and distorted from, their classic meanings in astrology and alchemy - you really need to have some basic reading in occultism to follow this movie - and the stunning ending shot takes the theme of illusion vs. truth to a completely different plane.

... with a crazy cast and some intriguing and indecipherable messages - you're unlikely to watch anything as off the wall as this, with images conjured from a unique mind you're glad is not your own.