Ganja & Hess

Many comments on this film from other users implicitly take on a perspective not unlike that of the producers who severly cut the film before its theatrical release because they expected it to be a more conventional blaxploitation horror film. It is neither blaxploitation nor horror, but instead one of the few (only?) examples of an independent African-American art cinema from the early '70s. It may be flawed, but it is also an incredibly ambitious, challenging film. If you are a fan of Shaft, Superfly, et. al., you may not like this one; if you are a fan of Bergman, Bunuel, or Antonioni, you should check it out.

This is an odd movie to say the least. Dr. Hess Green (Duane Jones) acquires the "addiction" from a ceremony while travelling in Africa and becomes, basically, a vampire. Not your standard fictional vampire mind you, but someone who has a hunger for blood and cannot die. After that, all similarities with your standard vampire end. He walks in the daylight, sleeps in a bed, goes to church and does not have fangs. He lives on a large estate and has a butler and chauffeur who take care of him. There is a bit of narration from the butler who knows about the doctor's affliction, but it is mostly to get us up to speed at the beginning of the film. A ways into the film Ganja (Marlene Clark) comes to stay with Dr. Hess. She finds evidence of strange goings on and tells Hess an interesting story from her childhood. Somehow this leads to their getting married and him performing the ceremony on her to give her the same affliction he has.

There are parts of the film that have a lot of dialog and then other parts that have very little, if any. There are also some extended scenes from a gospel singing church that look more like a documentary than a fictional vampire movie. Flashback scenes are interspersed with dream sequences and at times it is difficult to tell if it is present reality or a dream. There are a few violent scenes where the doctor feeds including one at a whorehouse where he somewhat violently kills his victim and laps up the blood that has spilled. In another scene he robs a medical clinic, walking away with their supply of blood in his leather satchel.

I can't say that this is a great movie, but it is somewhat entertaining, if not a little slow. When the film was first screened the producers were disappointed that it was not a traditional "blaxpoitation" film and cut it down from 110 minutes to 78 minutes. It bombed and was soon forgotten.

All Day Entertainment released the fully restored dvd to much fanfare from fans of the movie back in 1998 and it is still in release. There is an essay from Tim Lucas and and a commentary from producer Chiz Schultz, actress Marlene Clark, cinematographer James Hinton and soundtrack composer Sam Waymon. The full retail price is $30 and I am certainly glad I rented it from Netflix instead of buying it, but some collectors might consider it for their collection, mostly those intereseted in really offbeat, independent vampire films, or collectors of interesting black cinema (blaxploitation it is not).

Ganja and Hess doesn't surpass any cinematic niveaux or reinvent the art form but it is far above the standard fare afro Americans have had to tolerate as representative cinema. Something about it is just charming enough to recommend it; it is quirky and pensive but paces itself so deliberately it might well be delivered in episodes. It is a historical artifact, you will notice a multitude of 70s markers. The vampirism is not campy, the dialogue while perhaps inexpertly delivered, is not cliché or stereotyped and the cast looks good. It takes patience, nonetheless to watch and more than a little intelligence to decipher its subtexts.

I first heard of GANJA & HESS (1973) on the Internet but, after reading several favorable reviews, I decided to purchase it and I'm glad I did – though I've only watched it once so far. While I absolutely adore the "old" horror films, it's refreshing that once in a while a film comes along that treats the genre with extra sensitivity and maturity: Bill Gunn's approach, while peripheral in intent, is highly original and invigorating. The music score adds that much more to it, while the photography and editing techniques envelop the whole in a truly stunning visual style. It is inconceivable that such a seminal (and relatively recent) piece of work was almost lost to the ravages of time, not to mention the ignorance and pretensions of commercially-minded distributors!

The DVD's Audio Commentary, though limited (due to the obvious absence of Gunn and Duane Jones), was quite informative and the cast and crew members involved were certainly enthusiastic, harboring a genuine affection for the film. The essay co-written by Tim Lucas was also very interesting, filling as it does the "gaps" concerning the film's background and its chequered history along the years.

I would have liked that the notorious shorter version of the film, BLOOD COUPLE – complete with alternate credits and extra footage, shot by Gunn but discarded when assembling the original director's cut – could have been included on the DVD but, when I put this question to David Kalat (All Day's President), this is what he had to say:

"On GANJA & HESS, all of the parties involved in the original version hated and despised the BLOOD COUPLE recut and everything it represented to them. They worked hard, for little pay, to make a Black art film, and found their work abused and maltreated. 25 years later, through the DVD, they found an opportunity to try again. None of them--the producer, the editor, the DP--would have agreed to include the BLOOD COUPLE cut on the DVD, and I respected their wishes. I used Tim's article as a way to describe that alternate version, even if it wasn't otherwise represented."

To be perfectly honest, the first time I watched Bill Gunn's 1973 art-house horror movie, "Ganja and Hess," it left me quite cold and even managed to put me to sleep. I felt that the film was unbearably slow moving, featured unsympathetic characters, suffered from lackadaisical direction and mumbled line readings, contained numerous scenes that petered out listlessly and meaninglessly, and concluded with an excruciatingly protracted gospel finale. During a repeat viewing, however, to ascertain whether this film, which I'd loooong wanted to see, was really that bad--and with not so much lowered as altered expectations--I realized that the picture, despite its previously mentioned faults, does contain many fine qualities. In it, we meet Dr. Hess Green, an anthropologist who is stabbed by his unbalanced assistant with a knife from the fabled land of Myrthia and becomes a blood addict (the "v" word is never mentioned in this film), just as likely to sip his beverage of choice from a cut-glass decanter as to lap it up from a dirty floor. He takes up with the wife of his attacker, a beautiful though obnoxious woman named Ganja Meda, in a very unusual romance indeed. Duane Jones, the hero of 1968's seminal "Night of the Living Dead," is excellent and charismatic here as the bearded Dr. Green, and Marlene Clark does well in her difficult role. The film makes great use of an African chant that weaves through Hess' consciousness when he is, uh, thirsty, and its lethargic pace struck me, on a second viewing, as not so much glacial as dreamlike. This is a picture that almost demands and requires a second look to appreciate all its subtleties and various symbolic allusions. Put aside your expectations of fangs and capes and bats and you may find yourself really getting immersed in Hess Green's nightmare. This picture turns out to be not nearly as anemic as I initially thought!