Symbiopsychotaxiplasm: Take One

I gave this film a three only because it kept me interested enough in watching all of it. The film was an interesting experiment but brilliant? That's a stretch, at best, but for its time a big maybe, perhaps. It's a film about nothing but it is a film that is also filled with egomaniacs, misogynists, wannabes and hangers-on. I saw more talent from the candid crowd shots than I did the cast and crew combined of what the third party film crew was filming when the lens was actually focused or the view finder wasn't fixed at a treetop because someone was holding the running camera under their arm. It was a depressing journey on a continuous loop going nowhere, a carousel of blathering idiotic dialog and smug pseudo-intellectualism. It is an interesting time capsule but it's cringe inducing for any woman to watch. The interesting aspect is how many women were involved in the film crew (as well as the actresses) and not one of them flinched at the blatant and nasty undercurrent of misogyny that flowed throughout which was about the only constant this film accidentally chartered a course on and that was the subsequent impact this film left in its cinematic impact and wake.

......................................................from Pasto,Colombia...Via: L.A. CA...and ORLANDO, FL

After my first viewing: Total shock! Upon some reflection, I didn't feel I was ready to write a review, so I watched the Special Features segment on William Greaves (At 1 hour, almost as long as the film) and then watched SYMBIO again. Here's the comment I was going to use after viewing once: "Is it an extremely original concept in film-making? Yes, undoubtedly! Is it enjoyable and watchable? For me, at least, the answer to that is 'Not so much' 7*" Just how stupid am I, anyway? (Rhetorical question, that!)

Here I am, nearly 66 years old, yet it wasn't till yesterday that I became aware of William Greaves! Can't remember the last time I could look anyone and everyone in the eye and say the words, with soulful and unabashed conviction: "GENIUS! Pure, Unadulterated GENIUS!" Sitting here at my computer, focusing on authoring this review, the SYMBIO-experience has inspired me to an extent unparalleled by any other film in recent years.

My job now: Articulate this in a way that, in turn, will inspire you to watch and perhaps produce a review of your own. Here, perhaps the most challenging aspect of review-writing is to avoid anything resembling a spoiler. Don't read the Blurbs. One definitely contains a spoiler, which could easily deprive you of the joy of "Getting It" all on your own! The two things which stand out most in retrospect? First, the sheer simplicity of the applied concept itself is truly inspirational, in and of itself. Second, that it took a 1/4 of a century, after the fact, for Mr. Greaves to get a decent screening and begin to get some of the recognition he so sorely deserved for this cinematic milestone.

Couldn't help but notice that SYMBIO-was shot in August 1968, just a few months after the release of Stanley Kubrick's 2001. What do both films have in common? Well, thematically, not much, really. But it's hard to imagine someone like Greaves not having seen it soon after its release, so...Who knows? We could always ask him!

10*.....ENJOY/DISFRUTELA!

Any comments, questions or observations, in English o en Español, are most welcome!

This was recommended by a reader, and I'm glad to have seen it. But that's only because I'm interested in anything that contributes to the vocabulary of folding or self-reference. But I would not recommend this to you as a film experience. It is a clever idea: film acting students in Central Park doing a screen test. The lines they play with are capriciously malleable. Meanwhile a camera documents the events behind the first camera. There's sometimes a third camera as well, and from time to time that camera focuses on a discussion of the crew. They're discussing — with amazing vacuity — the advanced implications of the film.

In other words it is explicitly self-referential in the simplest of ways. There are many more clever folds in the film world, and certainly from that period, so this isn't rare or even novel. It would be something to recommend if all this relatively sophomoric enlightenment had been turned to something that had blood and muscle of some kind.

But it hasn't. Its one tool in a collection of several that have to be applied to the real building material of life. It lacks any of that and isn't a particularly sharp tool at that.

Perhaps Part 2 1/2 will be worth it.

Ted's Evaluation -- 2 of 3: Has some interesting elements.

I AM IN SHOCK!!!

After my first viewing, I was in shock! After some reflection, I really didn't feel one viewing was enough to write a review, so I watched the Special Features segment on William Greaves (At one hour, almost as long as the feature itself!) and then I watched the entire movie again...Here is the comment I was going to use after just my first viewing: "Is it an extremely original concept in film-making? Yes, undoubtedly! Is it enjoyable and watchable? For me, at least, the answer to that question is 'Not so much!'

8*******" Boy, just how stupid am I, anyway? (Rhetorical question, of course!) Here I am, at 76.2 years of age, and it wasn't until yesterday that I became aware of the name William Greaves! I really can't remember the last time I could look anyone and everyone in the eye and say the words, with soulful and unabashed conviction..."GENIUS!... Pure, Unadulterated GENIUS!"

Sitting here at my computer, focusing on authoring this review, the SYMBIO-experience has inspired me to an extent unparalleled by any other film in recent years. My job now: Articulate this in a way that, in turn, will inspire you to Queue, watch and perhaps produce a review of your own. Here, perhaps the most challenging aspect of review-writing is to avoid anything resembling a spoiler. Don't read the NF Blurbs. One definitely contains a spoiler, which could easily deprive you of the joy of "Getting It" all on your own! The 2 things which stand out most in retrospect? First, the sheer simplicity of the applied concept itself is truly inspirational, in and of itself. Second, that it took a quarter of a century, after the fact, for Mr. Greaves to get a decent screening and begin to get some of the recognition he so sorely deserved for this cinematic milestone.

Couldn't help but notice that "SYMBIO" was shot in August 1968, just 3 months after the release of Stanley Kubrick's 2001. What do the 2 films have in common? Well, thematically, not much, really. It's hard to imagine a person like Greaves not having seen it, so...Who knows? We could always ask him! REVISED RATING... 10**********

ENJOY! / DISFRUTELA!

It would be hard to put a numerical rating on this movie, as it is essentially a movie created inside out, with the `action' being performed by the `actors' as the hard nut on the inside, and the more free-flowing production process as the body of the film – this process being captured on several 35mm cameras rolling continually -- on the outside. Not to say there is nothing important about the `action,' which centers on an arguing couple in Central Park – in fact, there is a certain anarchy of purpose in the two characters' criticism of each other (using pithy, well-worn movie expressions) that mirrors a knowing anarchy in the production loosely watched over by Greaves. The film is open-ended, suggesting that the production process will continue even after the `failure' of more than one pair of actors to claim their roles for themselves. There is something about Symbiopsychotaxiplasm that suggests failure, whether it's the suspicion of the crew that Greaves lacks direction, or the sort of floundering behavior of the actors when they are not reading their lines. But that too is part of Greaves vision. Early on in the film one of the production staff laments Greaves' opacity, saying that the director tends to answer questions with very vague statements that make one wish they hadn't asked the question in the first place. It is this mysteriousness within Greaves (`what is he doing?') that gives the film its skeleton, and makes it much more than simply a Happening in the Park.