Démence

After knowing literally nothing about either this film or the director (who I've, since, become very interested in), I must say that this is a fantastic piece of art. Lunacy refuses to be what anyone expects of it: beginning with a B-horror feel, evolving into a very Salo-esquire shock inducing libertine tale, and ending in a profoundly *con*founding take on mental health. This is neither surreal, nor horror, nor pure art film, but a very effective combination of the three that is both accessible and challenging. From its seemingly flat stop motion animation which becomes increasingly effective, to its difficult narrative, this is a shocking movie that transcends the simple desire to shock the viewer and leaves one feeling effected (not affected).

I recently saw this film at the Jeonju film festival in Korea. It was by far the best film I saw all weekend. Selini is like a combination of Godard, Herzog and classic Czech animation- the kind of committed and convincing political film making that is increasingly rare these days. In his introduction Svankmajer compares the excesses of extreme reactionary and liberal regimes and argues that we currentlycombine the worst of both worlds in encouraging people to do whatever they want whilst relying on punishment and fear to keep them under control. The plot (based on an Edgar Allen Poe short story) is simple- an innocent traveller bears witness to the lunatics taking over the asylum. But the nightmarish atmosphere of confusion and fear, enhanced by gruesome stop motion animation between scenes, is both compelling, disturbing and extremely effective in communicating the directors ideas. The acting is committed and convincing and the story has, like the decline into madness, a chilling inevitability about it. The film uses this simple story to explore more challenging philosophical concepts. You don't have to be a fan of art-house cinema to understand and enjoy this exciting movie. 9/10

"Lunacy" is Jan Svankmajer's homage to Edgar Allan Poe and the Marquis De Sade, (it's full of allusions to "Marat/Sade"), and as he tells us himself, is a horror film and not a work of art. It is certainly the first and I would argue it is also a work of art of quite a high order. It combines live-action with Svankmajer's trade-mark animation in giving us a study of what we might call 'the banality of evil' unlike almost anything else in cinema. It is a film that moves from a barely recognizable present to some kind of past as easily as it does from live-action to animation existing in a kind of no-man's-land between the real and surreal in a manner almost guaranteed to give you the very literal creeps; this is the real thing. Yet there is also something tongue-in-cheek about the horrors Svankmajer inflicts on us. There is a giddy perversity to the picture that to a degree dissipates the director's attack on the institutions he appears to condemn. This is as much a very bizarre celebration of hedonism as it is an attack on the communist regime. There's also an asylum in the film that makes the one at Charenton look like a Wendy House. Perverse, yes but also utterly extraordinary and undoubtedly one of Svankmajer's masterpieces.

Jan Svankmajer is one director to imaginatively combine real life images with the inventive use of stop motion animation that produces grotesque and nightmarish images that unnerve the viewer. LUNACY is further proof of this and its influence of Edgar Allen Poe and Marquis De Sade is perfect for the vision of Svankmajer. Its story concerns an innocent young man, travelling home from his mothers funeral who spends some time with a wealthy man, known only as the Marquis (possibly the Marquis De Sade). The young man bears witness to the Marquis' debauched and blasphemous rituals and after some philosophical discussion over the rights and wrongs of man and religion, the young man under the request of the Marquis goes undercover into an insane asylum and falls under the spell of a women who insists that he helps her release the actual warders and doctors who are locked away, as the inmates are running the asylum. The film is a bizarre yet brilliant look at a world gone insane, where fear, punishment and madness is ruling and no one is in charge and whoever is in charge is corrupted by there own absolute power and twisted morality. The stop motion animation interludes add to the grotesque and surreal nature of the film and even offers it to comparisons with the body horror films of David Cronenberg. Overall its an art house horror that provides the viewer an uneasy yet unforgettable journey into insanity.

Jan Svankmajer is a filmmaker who started out in animation, and made dozens of short films, most of them in surrealist settings and modes, and it was only when he got into feature films that he used live-action a lot more. This might explain why when he directs live-action you may not see certain usual things in movies, like with characters talking to the camera when in conversation (not sure if this breaks the 180-degree rule or not), or in a couple of awkward edits or his penchant for close-ups on mouths speaking words. And yet with each passing film I've come across from him- Alice, Faust, Little Otik- he gets a little better each time around. Now with Lunacy, his latest feature, it's by far his most assured and confidently insane direction (and rightfully so for this!) and featuring only minimal stop-motion animation. Thankfull, this animation is with pieces of meat put to piano honky tonk music.

But aside from the direction being stronger, and Svankmajer's actors being better than usual, it's such a thematically rich film that only a surrealist could pull off: one might say 'what does this mean or what's the symbol of the body doing that or that piece of food or the tar and feather or 13 punishments?' Secretly, Svankmajer's response, probably akin to Bunuel, would be 'does it ultimately matter?' In the scope of Lunacy, a film based on works by Poe and Marquis de Sade (what parts are which will only be known to those who've read the specific Poe stories, or are familiar enough with Sade, though I can likely guess the latter's influence in the last fifteen minutes), it's about the simple question: who's sane or not, and what defines sanity? Our protagonist, whom we think is the sanest of all, has recurring nightmares of men coming into his room at night with a straight-jacket ready to take him away and then his super-violent reaction. Is he, perhaps, any less wacko than the Marquis, or his fellow Doctor with the fake beards?

Well... maybe, comparatively, he is saner, but the question still stands amid a matter of degree; towards the end we're faced with the question of sanity in the face of "corporal punishment." Maybe the point is akin to the old George Carlin line about life being a freak-show and being born is just getting a ticket for the ride. Jean (Pavel Liska) is on his way back from his mother's funeral and is "befriended" (very loose quotes) by a Marquis (perfectly cast Jan Triska, definitely one of the creepiest of all screen villains) who by horse and buggy in present day takes him to his castle where Jean witnesses "blasphemous" acts at night with the Marquis and a bunch of naked ladies in a barn with an over-nailed cross. One thing leads to another- including a presumed suffocation by banana- and the Marquis oddly convinces Jean to come to the sanitarium to get some voluntary 'assistance'. Once there, it's a total upside-down cake where the lunatics have taken over, so to speak and literally, as the Marquis and Dr. Murloppe run rough-shod as the real doctors are locked in the basement, tarred and feathered with a bunch of chickens.

So much of this is rich and densely packed material that it kind of goes by simply. Ironic then (or maybe as a good old told-with-a-straight-faced joke) that Svankmajer makes an intro before the film about how "this is not art, art is probably dead anyway" when his film is just that: whacked out film-art to the tune of classic horror, as the genre goes, and as classic satire. This is full-bodied satire throughout, even when the style might suggest otherwise; just watch that super-crazy (however somewhat lucid) scene where the Marquis and doctor stage a reading and a kind of still-life of sorts in recreating a painting with the loonies- how the camera slides along those clapping hands and the Marquis reciting the words so eloquently. It's like a momentary glimpse at the blinding power of empowerment, of everyone in the room including Jean with getting poor Charlotte off the stage. While there are tendencies for it to get nasty (just in those 13 Sadistic punishments, no pun intended), the focus is always clear and powerful... and ultimately very funny.

Did I mention the meat seq-ways? This is just by itself extraordinary work and adds to the confounded but amazing artistry in the project. So much work was put in to tell these little stories of pieces of meat forming together, tongues and eyeballs, meat being tarred and feathered and humping, meat getting pecked at by chickens, etc. The combination of this and the fantastic live-action propel it up to being Svankmajer's best I've seen yet, and by the end we're left with whatever interpretation we want: does the meat represent the people going whatever way they will to form new shapes, or is commentary on what's going on in the story, or is it just eye-popping animation for the hell of the entire theme of lunacy all over the place? Why show any of this dark and despairing philosophical and psychological and physical things? Svankmajer's answer, undoubtedly, would be "why not?" A+