Crazy Love

CRAZY LOVE (Love Is A Dog From Hell) is a romantically disquieting and dismaying film by Flemish director,Dominique Deruddere, and is loosely based on Charles Bukowski's short story, "The Copulating Mermaid From Venice, California". Bukowski is often referred to as, "The Poet Laueate of Skid Row", and all of his work embraces the darker aspects of reality, and this film is certainly no exception. CRAZY LOVE is divided into three parts, and examines the life of the deeply flawed and conflicted individual, Harry Voss. In the first section, we witness Harry at the age of twelve as he begins to intuit the romantic possibilities of Love, and is introduced to the sordid mechanics of sex. And, in the second section, he is a senior in high school who tries to establish some kind of a romantic relationship with the opposite sex while dealing with a disfiguring case of acne. And, in the final section, Harry directly confronts the most perfect manifestation of his sexual and romantic desires. The film is a minor classic of Flemish cinema, and the Netlix disc contains an excellent Bonus Selection which offers an insightful conversation with the director, a short feature on the making of the film, and a brief description of the history of Belgium film-making. CRAZY LOVE is certainly not for everyone, but Bukowski has said that this film comes the closest to capturing the essence of his work.

This movie shows the life of Harry Voss, from being a child with a romantic vision of the world to becoming a frustrated alcoholic. Only the third part is based on the short story "The copulating mermaid of Venice, California" by Charles Bukowski. But its development is so intense that it required two other chapters in order to make it even more meaningful. It mixes nice and entertaining images with black, depressing scenes and the end might not be everybody's taste. As one of the songs of the movie puts it, love hurts but it can also kill. Although the film can be funny at times it is mainly sad and it will not leave any spectator indifferent.

Crazy Love is a little known eighties cult film that traces a boy's life through three key events. The film is Belgian produced; based around three stories by cult writer Charles Bukowski and brought to life by Belgian director Dominique Deruddere. Crazy Love does not have a particularly good reputation these days, although it apparently caused quite a stir upon its release and that isn't all that surprising considering the subject matter; although to be honest, nothing in this film particularly shocked or offended me. The central character is Harry Voss, who we first meet as a young kid who is learning about sex from his friend, with the aide of a few loose women. We then pick up a few years later and Henry is a schoolboy, befallen by an extreme case of acne that leads to him being rejected by the opposite sex and ridiculed by his peers. The third and final chapter sees the once bright young boy as a drunken waster who cuts a stark contrast to the boy we saw in both the first and second chapters of the film.

The three parts of the film are all incredibly different and the director succeeds in creating an atmosphere to carry this off. Crazy Love is a 'coming of age' film; a favourite subject among Hollywood 'cookie cutter' filmmakers, but this one is about as far from the mainstream as you can get. The first segment is the lightest of the three, but still packs a punch as we watch the subject discovering sex and eventually getting acquainted with his hand. The second segment focuses more on the idea of teenage alienation and sees the film take a darker turn as the sensitive young man is rejected by all the girls because of his deforming acne. This provides a nice opener to the third section, which is completely dark and dismal and probably what earned the film its reputation - the ending is not something that many will forget in a hurry! Overall, it's not really surprising that this film hasn't gone down as an all time 'classic, but it certainly has its place among cult fans and that isn't surprising either. Be sure to catch this film if you want something a bit different!

When it exploded onto screens in the mid 1980's, Oscar® nominated director

Dominique Deruddere's film CRAZY LOVE divided critics and audiences as few

films before or since.

Championed by Godfather director Francis Ford Coppola, the film was picked

up for US distribution. Stars like Madonna and Sean Penn attended the LA

premiere. But the films shocking subject matter and startling imagery were too rich a combination for audiences at the time. The film vanished from sight,

becoming an instant cult classic - much written about but seldom seen and now reappraised as one of the most underrated films of the 1980's.

Taking his cue from stories by cult American author Charles Bukowski,

Deruddere's film tells the story of a man's life via three nights, spread over 20 years. We see his hero, Harry Voss, first as a romantic young boy of 12, then as an acne ridden teenager, lost in unrequited love, and finally as a drink sodden drop out, for whom no act is too dreadful to contemplate...with terrible and yet deeply moving consequences.

It's a film that, once seen, is never likely to be forgotten. A film with a unique, bitter sweet and poetic mood that manages to be funny and tragic at the same

time. A minor masterpiece.

LOVE IS A DOG FROM HELL (a.k.a CRAZY LOVE) (Dominique Deruddere - Belgium 1987).

Three Bukowskian tales set in a Belgian, mostly rural, setting. How about that? Despite good reviews upon its release, winning several awards and getting support by Hollywood heavyweights Sean Penn and Francis For Coppola, the film vanished into obscurity almost immediately after its release. Perhaps it was bad timing, because Barbet Schroeder's star-studded BARFLY was released almost simultaneously. Who knows? By any chance, this film is a beauty, clearly deserving wider attention.

The film has a three-act construction, all set around the live of Harry Voss, focusing on his difficult search for love and affection. The first act is set in 1955 and follows Harry when he's twelve years old. He is struck by his first notions of true love when he sees a dream-like film in cinema, only to be helped out of his dream by a more mature friend who claims the only reason people get married is to get laid. Remember, it's fifties' rural Flanders we're talking here. In the second act, in the early sixties, Harry is a shy 19-year old, his face horribly disfigured by a grotesque form of acne. When driving in the bus, he is stared at by all the children, while the adults look away. There's a high school dance, but Harry can't get a girl. In the third act we get a more literal adaptation of Bukowsky's THE COPULATING MERMAID OF VENICE, CA., when Harry is a down-on-his-luck alcoholic, devoid of any aspirations, spending most of his time in shady bars. When he meets an old acquaintance, they go on a joined drinking binch and rehash old memories while patrolling the foggy streets. In their drunken frenzy ("for old time's sake") they decide to steal a body from an ambulance they see on a deserted street and take it to an abandoned house. This makes - how morbid it may sound - for one of the most beautiful and touching scenes of the film. The ending is a beauty.

In the first act the film starts of a bit slowly with some awkward moments. I found the second and third acts the strongest, but all three segments show remarkable cinematic harmony. Beginning and ending the film with nicely contrasted mirror images of "the Princess" running across some dimly lit corridor and Raymond van het Groenewoud's haunting musical theme, it makes for a very neat composition indeed. Cars also feature prominently in all three segments. Most of the key scenes take place in or around cars. It all a very American feel to it, especially the second act. A homecoming dance, a prom, lampoons, American cars, it's small town USA transferred to Belgium. The lead performance by Josse de Pauw who plays the adult Harry in the second and third acts, is a joy to watch.

All the more recommended, because of Mondo Macabro's excellent DVD-release. A bit of an oddity in their usual catalogue of all kinds of exploitational sewers of world cinema (which I often like, don't get me wrong), their treatment of the film is excellent, with a luminous new transfer and jam-packed with extras. Two documentaries, the "making-off" with some great footage of Bukowski and his thoughts on the film, a filmed interview with director Deruddere, a text essay on Flemish cinema, and Mondo Macabro's usual trailer reel of the wilder side of world cinema to top it all off. With an almost surrealist setting and touching subjects like necrophilia, it's not a film most audiences will embrace easily, but any fan of Bukowski, Belgian cinema or good cinema in general should really give this one a try. It might be a far cry from Bukowsky's usual settings but liberal interpretations usually make for far more interesting films. This is worth seeing. Damn, the man even approved of it himself!

Camera Obscura --- 9/10