Chafed Elbows

Along with a few adventurous souls from Stuyvesant H.S. I went to see this at the Bleecker Street Cinema so I was very young. It was the first underground film I had ever seen and it was playing with Anger's 'Scorpio Rising'. In the late 60's these films were so ahead of their time that it was like being transported out of the world of the go go 60's into the Bizarro alternate universe. I don't even have more than a hazy memory of 'Chafed Elbows' except I think the mother character was crawling under the table at some kind of wedding to get at someone and that it was all in stop action - something else that was unheard of at the time. But again, to see it back then was like being initiated into some kind of cult of either hidden truth or bizarro Satanism. But both of those films have never left me. In fact, I was surprised when I came across this site and that it could actually be seen again. Way back then, going to the Bleecker Street Cinema, the mecca for European film like Fellini's work (the first time I saw '8 1/2' I couldn't quite figure out what I had just seen - it was like a phantasmagoria of a dream - but I knew I wanted to see it again) was like attending a congregation of some arcane underground religion - and there weren't that many true believers. Stephan Morrow, Artistic Director, The Great American Play Series

I guess that it's not really a mystery why Robert Downey Sr.'s films get some weirdly bad reviews. Though his films are smart and hip, Downey goes after straight culture with an unmatched, gleeful, subversive eye, and generally hits what he aims at. Chafed Elbows epitomises this style, going after everything, including the making of movies itself. In Chafed Elbows, like Chris Marker, he uses still photographs to great effect, but more in the vein of National Lampoon magazine than F-Stop. This film plays like jazz, riffing from one theme to another, one scene to another, one character to another, eschewing plot for wit and speed and surreal wordplay. It's a wonder that this, and Downey's other movies, were ever made, they are so wonderfully offensive. His audience is, perhaps intentionally, small. The rewards, however, for those who do love his films, are great indeed. Viva Downey!

George Morgan has affairs with several women, including his mother, all played by Elsie Downey, while he goes through his annual mental breakdown.

I have a big problem writing about Robert Downey Sr.'s mixture of silent and sound film with voice-overs and still-shot sequences on a site devoted to movies. It is absurd. This is not a movie in any sense that we understand it. Oh, you might call it 'experimental cinema', but what then? The general rule seems to be that such experiments are always successful, whether you're looking at the Empire State Building for 24 hours or reinventing basic Georges Melies camera tricks fifty years later. I reject such a standard as being no standard whatsoever. So where are we?

This.... well, this thing looks amateurish, although I do do enjoy the bursts of Groucho-style voice-overs. Over to other opinions.

This is among the strangest and most plot less comedies I have ever seen. After thinking about the film, I've realized that it the protagonist manages to be insane and incestuous murderer. The film sort of follows him around over the course of two "mental breakdowns" in which he encounters a "sock sniffer", marries his own mother, visits Heaven, and much more. The film is wonderfully satirical, and it makes fun of almost everything, much like the very best of Kurt Vonnegut's novels.

It's a highly creative work from a highly creative director, the underground filmmaker Robert Downey, Sr. At this point, I'm beginning to really adore Downey Sr.'s sense of humor. It's always very satirical, dark, and offensive, and his filmmaking style is highly experimental, surrealistic, and absurd. All of these elements of humor and filmmaking are right up my alley and it seems that I'm really going to enjoy the rest of the films on the "Up All Night with Robert Downey Sr." eclipse set from the Criterion Collection. I'm seriously looking forward to "Putney Swope"!

Able to watch this online after renting/reviewing "Putney Swope."

This predates "Putney" and apparently Downey Sr. Could not even afford enough film, so much of the movie is still after still photo collage. I think one has to go in to this film valuing not just the non-commercial world, but the anti-commercial one at that.

So it's over the top, with elements of vaudeville and a drive to play tag with various taboos. Or is it the video version of Fluxus, I do think something may connect "experimental" larks like this with horror and I don't know but maybe the realm of Roger Corman/Lloyd Kaufman. The idea that for some film is so clearly fake and not real life, that it necessarily must rollick in the ridiculous.

AnyWays, I did enjoy the AW painted on our anti-hero, and was guessing that was for Andy Warhol, but I could be wrong. Pop/rock music digs as well, I'm tempted to play the "Black Leather Negligee" on KFJC next chance I get. The movie is likely brimming with inside jokes, and maybe they are not all that funny. Or are/were hilarious. C'mon "Pictures of Bertram Russell in a steambath" - "Mumbling in flamenco" And was that directory called Neil Realism?

It reminds me of Fracture Fairytales or Firesign Theater a little now while listening and typing this up. Robert Downey Jr's Mom - Elsie as every woman in this, including Mae West.

Woops, it was was this movie that had the one-"liner" - "You got to draw the line somewhere." Need to fix my Putney review.

At times, I wonder if existence is as absurd as these films...