Poison

Well, this is indeed a pretty weird mix of three seemingly unrelated stories, the debut feature film by Todd Haynes. I had seen nothing by him before, but I've been interested in seeing 'Safe' (1995) for a while now. And his recent film 'Carol' really seems worth a watch as well. I have 'Velvet goldmine' on DVD as well, but I'm not sure about that one, for more personal - rather inexplicable - reasons, I suppose.

Back to 'Poison'. I found the whole thing to be pretty intriguing, though I'm not sure how it should all relate (other than the obvious human state of misery). A quote from the film, a certain statement about something being a lie and the truth at the same time, struck a cord with me; the film seems to be the director's attempt to put something really personal out there, but at the same time he hopes it pertains to something essential. A bit vague, I'll admit, but I'll comfortably leave it at that: I liked it quite a bit, even if things (altogether) didn't make sense, completely.

The individual stories, about a boy killing his father, a man in prison meeting an 'old' friend and a scientist who simply makes a big mistake, somehow blended together well enough, reminding me of several other directors' films, such as Guy Maddin (haven't seen much of him - shame on me), Tom Kalin^ and John Paizs.

So... a fine little gem it is: 8 out of 10.

^ Strangely enough, Kalin made a rather cult-ish debut film a few years before Haynes did, then Haynes did a much more straightforward (but certainly not mainstream, either) follow-up drama with Julianne Moore in the lead, and then - guess what - years later Kalin did the just the same...

Despite this film receiving a lot of negative feed back from a lot of its viewers, I think the film is a truly provocative experience. Granted this film is definitely not everyones cup of tea to say the least, but it operates beyond entertainment. It is not there to be liked or disliked, it is there to be analysed and that is where the enjoyment comes into play.

The film is constructed of 3 stories; the homo, the horror and the hero. Spread out over three different time periods. If any one is thinking The Hours or 21grams think again, its not. This is a much slower paced film and for want of a better word, 'duller' than the two previously mentioned films.

Upon first viewing of the film, it appears that the three characters share no apparent link. However, each story acts as a metaphor for a wider issue, which does connect them all. I wont say what it is, thats your job! Overall poison is a very clever work of art, which belongs to the sub genres of expose and art-house. So if you enjoy those types of films and are interested in queer cinema go watch it! Finally I think Todd Haynes is a genius, a true auteur.

Queer filmmaker Todd Haynes' debut feature POISON dazzles as a multi-faceted cinematic triptych, three segments: Hero, Horror, Homo, all inspired by Jean Genet's novels (with his texts sporadically materialize on the screen as inner beacons), are intertwined altogether yet each is bestowed with a sui generis visual style that speaks volumes of Haynes' eclectic idioms.

Hero takes the form of a grainy and slipshod pseudo-documentary, interviewing sundry characters about a deadly homicide further confounded by a surreal twist, a 7-year-old boy, shoots his father dead and then wondrously flies away from the window witnessed by his mother Felicia (Meeks), various interviewees recounts the boy's aberrant deportment before the incident, some are startlingly perverse, finally, through Felicia's account, the boy's ascension smacks of something punitive and defiant in the face of family dysfunction and violent impulse, rather dissimilar in its undertone and timbre from that WTF upshot in Alejandro González Iñárritu's BIRDMAN (2014, 7.6/10).

Horror, shot in retro-monochrome and abounds with eye-catching Dutch angles, namely is a none- too-engrossing pastiche of the erstwhile B-movies and body horror, a scientist Dr. Thomas Graves (Maxwell), accidentally ingests the serum of "human sexuality" which he has successfully extracted, starts to transmogrify into a leprosy-inflicted monster, and his condition is deadly contagious, which threats lives around him, especially his admirer Dr. Nancy Olsen (Norman), who against all odds, not daunted by his physical deterioration. In comparison, this segment is less savory owing to its own unstimulating camp, where Hero ends with a subjective ascending, the upshot for a beleaguered gargoyle is nothing but plummeting.

Last but not the least, Homo is plainly a more self-reflexive treatment conjured up à la Fassbinder's QUERELLE (1982), another mainstay of queer cinema derived from Genet's text. A prisoner John Broom (Renderer), grows intimate towards the blow-in Jack Bolton (Lyons), whom he has met before during his stint in a juvenile facility of delinquency, Jack's humiliated past emerges inside John's mind, now it is his turn to exert his suppressed libido. This chapter is as homoerotic as one can possibly imagine, a maneuver Haynes would have unwillingly relinquished en route pursuing mainstream acceptance, one tantalizing sequence of Broom groping an asleep Jack is divinely graphic and atmospherically transcendent.

Credited as an experimental juvenilia, POISON throbs with vitality, ambition and knowing archness, though the end result is far from flawless, it potently anticipates many a Haynes' modus operandi, say, the segmental structure and interview-style in I'M NOT THERE. (2007, 8.0/10), his distinct prediction for the photogenic period setting and outfit in FAR FROM HEAVEN (2002, 9.2/10) and CAROL (2015, 8.9/10), not to mention his latest sortie into black-and-white mystique and paralleled storytelling in the Cannes-premiered WONDERSTRUCK (2017).

Not many can embrace perversity as plucky as Mr. Haynes has done, whether it is a tragedy can easily take place around us in real life, or a man living through his most egregious incubus, or a blatantly idealized contest of one's sexuality (motifs like wedding, saliva and scars are all defying their accepted norms), just like a child's stretching hand in the opening credit, Haynes' first directorial outing jauntily treads through many taboo subjects and in retrospect, vindicates that it will be our profound loss if his talent fails to be acknowledged and utilized in full scale.

Poison, the first theatrical film of Todd Haynes, is a grotesque, pessimistic, and extremely disturbing picture that is both celebration of misery and cruelty and a reflection of human tenderness and sexual freedom. The film interweaves three very different stories together into one narrative line. The film goes back and forth between each story, and each story is completely different from one another in theme, content, style, musical choice, genre, and tone. One story, titled 'Horror', is shot in the style of a 50s B-horror film and is about a scientist who manages to alienate the human sex drive into a vial of fluid. Unfortunately, he accidentally drinks the fluid and mutates into a blistering pile of pus and proceeds to go on an infectious rampage, spreading his disease to all he comes into contact with. Another story, titled 'Homo', is a sinister, gritty, muddy, and emotionally tender love story set in an underground prison of some kind in which two male prisoners slowly descend into an obsessive and violent S&M relationship. The story contains flashbacks to their traumatic youth. The remaining story, titled 'Hero', is shot in what appears to be a documentary format in which several members of a distraught community are interviewed about a recent bizarre tragedy involving a disturbed family. A little boy named Richard shoots his sexually abusive father and then flies out the window, and the entire incident was witnessed by his mother who considers her son to be an angel sent from God to watch over her.

Poison is a rather strangely enchanting film. One of the most enchanting things about it is that it never quite gives you any time to breathe. From frame one, the film plunges you into a world full of cruelty and chaotic confusion and you're left on your own to pretty much sort through the images. It's all rather elegantly pulled off. Haynes manages to capture a lot of the charm and the overall structure from each film medium his stories represent. With 'Hero' he manages to present that optimistic 50s family sitcom outlook gone slightly wrong found in David Lynch's Blue Velvet. He does this by using a lot of bright colors and simplistic architecture. The effect is unsettling, but it is also strangely hypnotic in it's own weird way. By using mostly mastershots and by allowing a little more time for talking heads, he's able to create a real creepy sense of foreboding fury that fits really well with the other two stories. With 'Homo', he uses a lot of low angles and close-ups. He also uses more natural lighting, at least in the scenes that aren't flashbacks. It's a much more testosterone driven story, and so the dark look really helps to highlight a lot of the sweatier, more vulnerable aspects of the bodies of these characters. This adds a much more psychological aspect of male sexuality to the film that carries over to the other two stories, making 'Hero' seem ever so slightly more perverted to the average viewer and making 'Horror' seem a lot more metaphorical and realistic in some ways. With 'Horror', we get the bleakest and most disturbing tale of the three. In order to create that classic horror movie feel, Todd Haynes uses a lot more fade-outs, more specific music cues, and noticeably melodramatic narration. He allows us to really feel sorry for this disturbed character, and that feeling of uncleanliness pervades the rest of the film as a result.

It seems to me that Haynes wanted to create this film in order to develop an intricate puzzle of how genre pictures can manipulate other genre pictures, the viewing experience of each picture, how watching one sort of theme in one picture can invisibly affect a separate viewing of another picture, and to recreate the style of multiple viewing itself. His personal reasons for making this film, however, seem to be much more complicated. Poison is what I would consider the quintessential gay picture. It has everything I love and hate about most gay themed films (the depressing endings, the perverted camera-work, the abundant strange behavior, the gratuitous sex), but it's self-awareness is so fun to watch that it rises above all the schlock and finds it's own path toward narrative freedom.

Above all, Poison is a masterpiece. Along with In a Glass Cage, If...., My Own Private Idaho, Mysterious Skin, and the films of Derek Jarman, it's one of the more challenging gay themed films that you're likely to see. Even if the subject matter disturbs you, there is still so much to digest in terms of imagery and in the wonderful music score. Even if you put aside all that, however, you still have one of the most unusual storytelling structures you will likely see for this kind of film. You can spend the entire film just studying the structure and you will learn so much about scene and theme composition. Even putting aside THAT, however, the ambition of the film is enough to admire. I find that there is way too much going on here that can simply be written off. The things I've noticed upon re-watching this film have chilled me to the bone, and watching it only makes me want to watch it again. It's one of those films that really hit the right notes with me. I will admit that the first time I watched it I couldn't quite comprehend it. It is a dizzying film in that sense, and I don't expect most viewers to digest a lot of the imagery on their first viewing. However, it's a film that I think really says a lot about human progress in terms of sex, imagination, violence, and physical desire. It's a powerful film with a lot of quiet emotion with an ending that left me feeling very polarized. Watching it once is simply not enough.

*to read more, go to cuddercityfilmchronicles.blogspot.com*

Todd Haynes first full-length film was a triptych of stories inspired not only by the novels of Jean Genet but also by the schlock-horror B-Movies of the fifties and sixties. Sex, primarily homosexuality, is the main theme and is presented both poetically and with a good deal of self-deprecating humor, (one tale, modeled on "The Fly", is obviously about AIDS), and prefigures much of Haynes later work; "Far from Heaven" isn't far from the surface in the presentation of the story about a boy who kills his father and literally flies away. It's certainly not commercial and was clearly aimed at a specific art-house audience but it marked a breakthrough both in Independent American Cinema and in LGBT cinema. It also marked Haynes out as a major talent and someone to watch.