Videodrome

David Cronenberg's films are technically very well made and while his films are very disturbing a good deal of his films also have either a dark or subtle wit, poignant emotion or even both. He is for me one of the most interesting and unlike any other out there directors, despite being known for body horror and originating it his films are much more than that. All these are the reasons for my admiration and appreciation for him.

Will be honest in saying that 'Videodrome' is not quite one of my favourites of his, do much prefer the likes of 'Dead Ringers' and 'The Fly' and find that they are more accessible as films. It is still a very intriguing film that hits hard on the disturbance factor. Something of a transition film, with all the distinctive Cronenberg touches and themes but now exploring more ambitious concepts, on top of being one of his most disturbing 'Videodrome' is also one of his most personal and most complex.

'Videodrome's' weak links really are the story and pace in the latter stages. The story starts off very interesting and much of the film is unsettling in atmosphere, but in the latter stages it does start to unravel and the more it does the less sense it makes and more muddled it gets until the viewer is completely lost.

As the story unravels, the pace does too, meandering until it becomes exhausting when things get on the over-the-top side.

However, as always with Cronenberg, 'Videodrome' is a very accomplished looking film. It boasts some of the most startling imagery of any Cronenberg film (in a way that is both disturbing and also oddly beautiful), Cronenberg again showing his visual mastery even if the techniques became even more refined in his later work, as can be seen with 'The Fly' and 'Dead Ringers'. Howard Shore's, a Cronenberg regular, score is deeply haunting while also with a degree of emotion, not just going for full on horror but also the emotional core.

Script may not have as much dark wit or poignancy as other Cronenberg films, but it probes the mind at least and flows well. Much of the film is truly unnerving and makes one think twice about the future of media, the tension there frequently. Cronenberg directs with a typically adept touch. The characters carry 'Videodrome', Max is a sleazeball and is a meaty one at that. The acting is very good, with the driving force being James Woods giving a lead performance of true ferocity.

Overall, good if not one of my favourites of Cronenberg. 7/10

Wow! My favorite actor and my favorite singer in the same movie! Deborah Harry (of Blondie fame) gives a great non-blonde performance as an "emotionally energized" radio show host, and James Woods is a scummy business-minded owner of a seedy TV station.

Like "Brazil" or "Twelve Monkeys" this movie will make you think, and even though there isn't really much violence or horror, your mind will fill in the parts that aren't there. The ability of a movie to do this makes it a must-see alone. You constantly ask yourself "is this real?" just as the main character is asking the same thing.

One thing about this movie is that they never really answer a lot of things. As we watch the main character go in and out of reality, the audience is never quite sure what is really happening either. They never tell us. They never truly explain who is behind Videodrome, or even what happens to James Woods. If you didn't like the ending of Network or Twelve Monkeys, then you won't like the lack of explanation here either.

Lots of underlying messages here too, involving television, pornography, and technology - all of which are more significant today than in 1983. Note common themes such as the head in a box. Excellently made film, the only thing that would have made it better is more story.

The president of the Civic TV - channel 83, Max Renn (James Wood), is always looking for new cheap and erotic movies for his cable television. When his employee Harlan (Peter Dvorsky) decodes a pirate video broadcast showing torture, murder and mutilation called Videodrome, Max becomes obsessed to get these movies for his channel. He contacts his supplier Masha (Lynne Gorman) and asks her to find the responsible for the transmission. A couple of days later, Masha tells that Videodrome is real, actually snuff movies. Max's sadomasochist girlfriend Nicki Brand (Deborah Harry) decides to travel to Pittsburgh to have an audition to the show. Max investigates further, and through a video of the expert Professor Brian O'Blivion (Jack Creley), he learns that that TV screen would be the retina of the mind's eye, being part of the brain, and Videodrome transmission creates a brain tumor in the viewer, changing the reality in video hallucination.

"Videodrome", in my point of view, is a prophetic movie of David Cronenberg. The first time I saw this movie was in 1985 or 1986, when video-clubs where novelty in Brazil, and the local price of a videocassette was more than US$ 650.00. In that occasion, I recall that I was visually impressed with this gore, weird and bizarre movie. Twenty-three years later, I have just seen it on DVD and I realize the vision of this great director. He was able to foresee the importance of television for mankind, influencing people with sublimated messages, manipulating audiences and becoming very powerful, and how violence on screen can generate violence. I particularly like the following quotes: "The television screen is the retina of the mind's eye" and "Television is reality, and reality is less than television." Last but not the least, Brazil is not located in Central America, but in South America. My vote is seven.

Title (Brazil): "Videodrome – A Síndrome do Vídeo" ("Videodrome – The Syndrome of the Video")

Max Renn's found a brand new channel to explore, where it comes from, whose transmission, he's not too sure, broadcasts torture, hurt and pain, you might be curious but refrain, it's got him hooked and things are getting quite obscure. His hallucinations feel very real, a gaping mouth inside his belly's a big deal, consumes a gun and video, controls his actions, where he goes, there must be awful indigestion that he feels.

It wouldn't be so bad in the digital age fortunately, I'm sure a small USB slot opening up in your midriff wouldn't be anything like as bad as one the size of a VHS cassette - more like keyhole video.

Videodrome is truly a surreal experience. I do not want to include too much information as that would spoil the film for "virgin" viewers. If you are familiar with Cronenberg's work, you may have an inkling of what you're in for. Videodrome can drive one to the brink of madness, and then tell you you've been there for an hour and a half. From scene to scene you can't tell what's real and what is in James Wood's imagination. It's utter insanity, but it's great at the same time. This film is a good companion piece with Cronenberg's Existenze. When you can wrap the audience up in your movie, you have accomplished something few have. And David Cronenberg seems to do that time and again. Cronenberg is not for the faint of heart, definitely.