Tras desarrollar una adicción a la sustancia que usa para matar insectos, un exterminador mata accidentalmente a su esposa y se ve involucrado en un complot gubernamental orquestado en secre... Leer todoTras desarrollar una adicción a la sustancia que usa para matar insectos, un exterminador mata accidentalmente a su esposa y se ve involucrado en un complot gubernamental orquestado en secreto por insectos gigantes en una ciudad portuaria del norte de África.Tras desarrollar una adicción a la sustancia que usa para matar insectos, un exterminador mata accidentalmente a su esposa y se ve involucrado en un complot gubernamental orquestado en secreto por insectos gigantes en una ciudad portuaria del norte de África.
- Dirección
- Guión
- Reparto principal
- Premios
- 13 premios y 17 nominaciones en total
- Kiki
- (as Joseph Scorsiani)
- Exterminator #3
- (as Justin Louis)
Reseñas destacadas
Themes: Substance addiction and how physically self-conscious it makes our protagonist feel, the creativity forced by imprisonment (a direct reference to real-life events between Burroughs, his wife, his subsequent incarceration and his heroin/acid issues), the sense of betrayal as more surprise than malice and of course the inevitable interface between Dave and Bill at the pelvic level.
The effects work is pre render-mation latex and sufficiently restrained to allow your imagination to back-fill the appropriate horror/fascination/titillation for the moment. Don't try to figure out which you =should= feel or to mentally sort it out, that'd rob you of the fun; it's the psychic and emotional disarray that makes it so compelling.
Peter Weller is suitably deadpan, allowing only a sparkle of the playful poet to shine through from time to time (the story about the Duke du Vantra's Espano-Suiza made me howl); he must have spent a few =fun= hours with Burroughs himself to get the role down.
If you liked Cronenburg's smarter stuff, such as Dead Ringers, you'll love this. If you've read Kerouac, Ginsberg or Burroughs in particular, I promise you'll love it. If you're not into exploratory literature, have issues with distasteful realities of poverty or have a personal affection for the quality works of Stallone, Willis and Schwarzenegger - you'll hate it.
It made a very strong impression on me; the day after I saw the opening night of Naked Lunch (long before the "internet"), I established and sysoped a BBS that was the primary alternative discussion forum for onliners in Edmonton, Alberta for several years. It's name? The Interzone.
The movie is fascinating, odd, reveals more on second viewing, and is faithful neither to Cronenburg nor Burroughs but an excellent mix of elements of both.
It has a great beat, easy to dance to... I give it an 89, Dick.
Either way, you won't look at a typewriter the same way ever again.
The bottom line is, if you enjoy, respect, or feel that you understand the work of William S. Burroughs, you should see this film. If you don't know what I am talking about, you should probably not see this film.
The following pedantic and potentially inflammatory review, like this film, pulls no punches and makes no apologies for itself. Read on if you dare.
_________
If any three of the following conditions apply see Naked Lunch:
YOU
1. ...know what the term "visual metaphor" means.
2. ...are a Burroughs, Kerouac or Ginsburg fan.
2a. ...are not a fan, but know and respect Burroughs, Kerouac or Ginsburg
3. ...can't see how the book Naked Lunch could make a good film.
4. ... believe that Peter Weller is an underrated actor.
5. ...thought any of the following films were 'lightweight': Lost Highway, Mulholland Drive, Twin Peaks: Fire Walk With Me, The Last Wave, Heavenly Creatures, Dead Ringers.
6. ...have lived in the New York area for 15 or more years.
7. ...know the relationship between improvisational jazz, poetry, and modern art.
8. ...think you understand what Andy Warhol was trying to do.
9. ... are curious about what the process of writing a novel is like.
10. ...spend a lot of time arguing with inanimate objects.
11. ...without knowing the content of this film, can see a potential relationship between sexual ambivalence, guilt, paranoia, addiction, typewriters and over-sized talking insects.
You should NOT see this film if any of the following apply:
YOU
1. ...consider homosexual love to be evil, wrong, and something you can not sympathize with or understand.
2. ...use the phrase "he's on drugs" to explain behavior and ideas that do not make sense to you.
3. ...do not like or respect Burroughs, Kerouac or Ginsburg, and you know who they are.
4. have a concept of challenging literature as the latest John Irving novel (no offense to Mr Irving intended - he's easily as great as Burroughs, just sort of mainstream and pop).
5. ..like films which you can walk away from easily.
6. ...don't want to see any film which requires a second viewing to feel as if you've really got any of it.
7. ...view films strictly as a form of entertainment.
8. ...without knowing the content of this film, you can not imagine a potential relationship between sexual ambivalence, guilt, paranoia, addiction, typewriters and over-sized talking insects.
9. ...don't care to understand most of the following review.
10. ...consider ambiguity and loose ends in a film to be "plot holes" and consider any film which has them to be 'flawed'.
_________________
William S. Burroughs is widely regarded as one of America's greatest writers of fiction. A friend and mentor to Jack Kerouac and Alan Ginsburg, Burroughs helped to create the genres of 'beat' - American literary high modernism, and/or post-modernism. He provides highly tactile ironic, seductively repulsive descriptions of the everyday which are at once accurate, fragmented and surreal - in other words - Burroughs recreates the feeling and mood of his time and his experience with hermeneutic precision.
Cronenberg's Naked Lunch is an amalgamation of Cronenberg's interpretation and experience of reading Burroughs, Burroughs own life, and Burrough's legendary novel, Naked Lunch. There are six or more plots operating in six or more interacting layers throughout the film, and the action centers exclusively on Burrough's alter-ego, Bill Lee, as he attempts to discover the relationships between all of these plots. The plots I identify (and an interested viewer will generally be able to identify many more that this) are Burrough's relationship with Joan, Lee's relationship with Joan, Lee's drug addiction, Burrough's drug addiction, Lee's investigations into the secret society of drug trafficking at the edge of the world in Interzone, Burrough's struggle to create/discover himself. However, the theme of the film is more an issue of the Lee/Burroughs character trying and, in the end, failing, to make sense of the connections between these plots.
It is a very self-conscious, personal, brilliantly developed and visually intense film. Yet, despite its self-exposure and openness, the film maintains a certain distance from its audience, as if it has taken on the life given it by Cronenberg and Burroughs and established its own unique personality, which will keep its audience at a certain distance. To really appreciate this, you must watch the film at least a few times.
It is especially significant that Burroughs gave his approval for this project. Burroughs' writing is intensely personal and artistic, and his willingness to allow Cronenberg to position himself and his experience of Burrough's work within the film, and to decenter Naked Lunch is as powerful a testimony to Burrough's own integrity as an artist as it is to Cronenberg's vision.
Most of the people who acted in this film really wanted to be involved in it and it shows. Ian Holm and Roy Scheider are always great. Peter Weller, a big Burroughs fan and a severely underrated actor gives what may be the performance of his lifetime, Judy Davis and Julian Sands are both perfectly cast and powerful in their roles.
This films imagery is necessarily disturbing, disorienting, and, at times, quite comic. Very much in keeping with the feel of Burrough's work.
See it. You don't have to like it to respect it.
¿Sabías que...?
- CuriosidadesPeter Weller turned down the lead role in RoboCop 3 (1993) to appear in this movie.
- PifiasThe glass shot off Judy Davis' head changes to a plastic glass. First instance as the glass is falling off her head after the shot and then at end of film it is a plastic glass Ms Davis balances on her head. It remains plastic until it falls to floor and changes back into glass.
- Citas
Bill Lee: Did I ever tell you about the man who taught his asshole to talk? His whole abdomen would move up and down you dig farting out the words. It was unlike anything I had ever heard. This asshole talk had sort of a gut frequency. It hit you right down there like you gotta go. You know when the old colon gives you the elbow and it feels sorta cold inside, and you know all you have to do is turn loose? Well this talking hit you right down there, a bubbly, thick stagnant sound, a sound you could smell. This man worked for a carnival you dig, and to start with it was like a novelty ventriliquist act. Real funny, too, at first. He had a number he called The Better Ole that was a scream, I tell you. I forget most of it but it was clever. Like, "Oh I say, are you still down there, old thing?" "Nah I had to go relieve myself." After a while the asshole started talking on its own. He would go in without anything prepared and his asshole would ad-lib and toss the gags back at him every time. Then it developed sort of teeth-like little raspy in-curving hooks and start eating. He thought this was cute at first and built an act around it, but the asshole would eat its way through his pants and start talking on the street, shouting out it wanted equal rights. It would get drunk, too, and have crying jags nobody loved it and it wanted to be kissed same as any other mouth. Finally it talked all the time day and night, you could hear him for blocks screaming at it to shut up, and beating it with his fist, and sticking candles up it, but nothing did any good and the asshole said to him, "It is you who will shut up in the end. Not me. Because we dont need you around here any more. I can talk and eat AND shit." After that he began waking up in the morning with a transparent jelly like a tadpoles tail all over his mouth. This jelly was what the scientists call un-D.T., Undifferentiated Tissue, which can grow into any kind of flesh on the human body. He would tear it off his mouth and the pieces would stick to his hands like burning gasoline jelly and grow there, grow anywhere on him a glob of it fell. So finally his mouth sealed over, and the whole head would have have amputated spontaneous - except for the EYES you dig. Thats one thing the asshole COULDN'T do was see. It needed the eyes. But nerve connections were blocked and infiltrated and atrophied so the brain couldnt give orders any more. It was trapped in the skull, sealed off. For a while you could see the silent, helpless suffering of the brain behind the eyes, then finally the brain must have died, because the eyes WENT OUT, and there was no more feeling in them than a crabs eyes on the end of a stalk.
- Banda sonoraVaya Con Dios
Composed by Larry Russell / Inez James / Buddy Pepper
Performed by Les Paul and Mary Ford
Courtesy of Capitol Records
Selecciones populares
- How long is Naked Lunch?Con tecnología de Alexa
Detalles
- Fecha de lanzamiento
- Países de origen
- Idiomas
- Títulos en diferentes países
- Naked Lunch
- Localizaciones del rodaje
- Toronto, Ontario, Canadá(Studio, only interiors)
- Empresas productoras
- Ver más compañías en los créditos en IMDbPro
Taquilla
- Presupuesto
- 16.000.000 US$ (estimación)
- Recaudación en Estados Unidos y Canadá
- 2.641.357 US$
- Fin de semana de estreno en EE. UU. y Canadá
- 64.491 US$
- 29 dic 1991
- Recaudación en todo el mundo
- 2.641.357 US$
- Duración1 hora 55 minutos
- Color
- Mezcla de sonido
- Relación de aspecto
- 1.85 : 1
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