Inauguration of the Pleasure Dome

I have only had the priviledge of seeing three Kenneth Anger films, all picked up as curiosities from the college library. But, this film is staggering in the sensory rampage it inflicts. Deep, primal archetypes are brought to life in a chillingly abstract vision.

Plot less short about some Greek gods (or something) getting together in a pleasure dome. There's no dialogue--only music which is supposed to match the images (I think). The color (in the restored print) is incredibly vivid and rich and some of the images are eye-catching but this is more boring and self-indulgent than anything else. The same images are shown again and again and AGAIN...it gets tedious rather quickly. With no plot or story to follow this gets to be a chore to watch. This might be of some interest to some since it has author Anais Nin as Astarte and artist Paul Mathison looking incredibly handsome as Pan. But, all in all, this is boring and pointless. It comes across as little more than director Kenneth Anger and his friends playing dress up. I give this a 4 for the imagery and color alone.

Swallowing jewelry? Drinking potions? A birdcage as head-dress? Kenneth Anger's IOTPD is the trippiest, most gorgeously haunting and sensual of film experiences I have ever seen; trust me, it will leave your mouth gaping in sheer awe. Hallucinogenic, weirdly stagnant and moving at the same time, a head-first dive into Crowley Land, an otherworldly playground of dreams deluged with sensuality and, as the title suggests, pleasure. You can watch it again and again and still never bore of it. Mesmerizing and beautifully filmed. Easily Anger's masterpiece (more so than SCORPIO RISING or LUCIFER RISING), and better than any other dives into "psychedelic psinema" (THE TRIP and the acid montage from EASY RIDER come to mind). There has never EVER been anything like this trippy tour de force of style in the history of the cinema.

A Slavonic Mass by Leos Janácek plays as historical figures, biblical characters, and mythical creatures gather in the pleasure dome. Aphrodite, Lilith, Isis, Kali, Astarte, Nero, Pan, and the Great Beast and the Scarlet Woman are part of a visual feast of images superimposed, hallucinations, and the spirit of decadence of the "Yellow '90s." Kenneth Anger is a strange dude. No one else, before or since, has really made a name for themselves in blending mythology, the occult and elaborate costumes. How seriously you are to take his occultism is up to you, I suppose.

The version I watched had a rock score over the top. I am not sure it was there originally and I rather doubt it, but it helped the picture out tremendously. A retrospective on Anger really needs to be done, as it is surprising how few modern directors cite his work.

Ancient, monumental epics once dominated the silver screen. The silent classics of Griffith and DeMille were smash hits, breaking box office records, and revolutionized film as we know it. these are the types of films that Kenneth anger seems to be recalling with "Inauguration of the Pleasure Dome". He mixes the flavor of old silent Hollywood's most influential and magnificent epics with slightly disturbing and discomforting occultist imagery, making this short one Hell (no pun intended) of a weird ride.

It starts off cohesively enough as a wordless examination of some fantastical characters in an Inferno-like setting, made up of loose vignettes and beautiful, eye popping colors and effects; however, things take a turn for the insanely radical by the second half of the film. Soon, Anger seems to have completely lost his mind in the editing room and images are placed onto one another, demons smirk and sinful souls fall and cry in fright, creatures dance, beautiful women delightfully smile while monstrous beings pop from the opposite side of the frame. It's a dense, lyrical work of cinematic poetry that combines beauty with horror in a jaw dropping fashion, unlike almost any other movies being produced in the 1950's. Here's a weird, surrealistic experience that will please anyone that enjoys exploring the deepest depths of underground/avant garde filmmaking- it's a classic of the genre if there ever was one!