Andrò come un cavallo pazzo

A bizarre work of surrealist art. I don't know if I've just outgrown this kind of thing or if this one in particular is just sophomoric, but I didn't like it all that much. I didn't exactly hate it either. It surely has its share of outrageous and entertaining images and gags, but it feels like director Arrabal (best known for writing Jodorowsky's debut film, Fando and Lis) is doing little besides trying to shock the audience. So we get all kinds of penis torture, cannibalism, and poo play, and it gets tiresome long before the film is over. What little story there is has on-the-lam murderer George Shannon running into holy fool dwarf (Hachemi Marzouk) in the desert. The dwarf shows him how he lives in the desert, so Shannon later repays him by bringing him back to Paris. The dwarf, an outcast, continuously points out how silly the modern world is. I rented the film because it was the only one with Emmanuelle Riva that Netflix carried that I hadn't already seen. In particular, the film wasn't worth seeing as a memorial to the recently deceased actress. She plays Shannon's mother and murder victim. She barely says a word and catches some guy's ejaculate. Not her proudest moment.

The comments to this bizarre and intriguing film are as interesting as the film itself. People who have never experienced the 20thC European art film milieu will often cry 'pretentious' which is as banal a description or accusation as anything and offers nothing , where the film itself is so full of offering.

I came across this film as a gay theme recommendation which turned out to also be somewhat off-centre considering the epic nature in which modern man's big themes are performed here.

I leave it to the individual to choose regarding seeking out this movie. For me there were two significant rewards in having done so.

1.It is a fine example of the early 70s Auteur-cinema's bent for creating 'tableau' and 'image' - often derived from the contemporary theatre of the time, the advent of the 'Happening' and Performance Art. Often quite stagy, high camp, paying homage to both theatre and cinema (Passolini in mind) it sought profundity and the expression of big themes. To that extent it speaks in a classic period language , and in my mind is a good quality example of the genre.

2. The real surprise on discovering this film 35 years after it's time was how genuinely shocking it actually is. Films like these remind us that the permissive age of the 60s and 70s was authentically radical and that as i write in 2009, i speak from a time of deep conservatism and fear of such a freedom. We no longer trust ourselves with content such as is created in this film. The shock therefore lies ultimately not in the film, but in the fact that my current time is shown to be so oppressive, in the light of the images that flash out from this film.

A short footnote about the Frenchness of this film. The early 70's would see a closure of the taken-for-granted assumption that France was the great cultural engine of the 20th century. Something of the previous spirit resides in this film. The by then established identification of France herself as a geography of Freudianism, of dream, of psychoanalysis; The depiction of the ageing ruins of France's glorious past as mythical symbols of Man's history itself. All this was very much given in French cinema of the day, as a code that conversed with decades of high cultural production. For me it's always a pleasure to experience this outrageous fortune, this extraordinary conceit.

The late 60's/early 70's were a time of experimentation for most filmmakers. In fact filmmakers got away with things back then that few would be able to get away with now. Arrabal and his first two features, VIVA LA MUERTE and this, are no exceptions.

One thing you still can't do without scandal is full frontal male nudity - especially of children. The scene where the little naked boy is gunned down by a firing squad of an Army of Christians could be reinterpreted today as a metaphor for how children always get caught in the crossfire when religions declare war on one another. The nudity symbolizes innocence. The 10 second scene is in no way pornographic but try doing that today and you will be shut down before you can call action.

One scene predate's THE CRYING GAME by 20 years. It's too good to give away. The character of Marvel would be seen now as a Arab stereotype for sheer ignorance of all things western. Political correctness aside, the character is too funny and likable to hate.

Cannibalism, still a taboo topic, is treated by Arrabal here as a mere plot device. No wonder this movie had censorship problems, which Arrabal addresses in the DVD interview segment. My only regret is that he didn't include scene by scene audio commentary as Jodorowsky did for DVD of FANDO & LIS -which is based on the Arrabal play. It would be especially helpful in this particular scene because it looks like they may have used an actual cadaver. This finale even tops the VIVA LA MUERTE finale in which a bull is sacrificed on camera. Unless you're doing the latest installment in the FACES OF DEATH series, you just can't do that kind of stuff in a narrative feature today.

Those who see this now as merely a pretentious art film, forget how shocking it must have been then. That's especially true when you consider that it's a gay love story. One of the most unusual ever filmed. It's unsettling in a way that is stimulating. This movie was buried by the censors in 72. No major studio would green light such a production today. If you think you've seen it all, this is one you've got to go back and see in order to say that. Filmmaking could move forward if filmmakers looked back at the "scandals" the "Panic" movement of Arrabal, Topor and Jodorowsky caused in those days. It's a miracle that a film like this can survive intact. Definately not for all tastes but 10 of 10 anyway.

I didn't know what to expect when I first viewed this film. But a lot of the imagery is something a normal person wouldn't even think of. But I did find this movie to be funny (some parts at least) and some of it to be shocking. But there's not too many filmmakers that have done anything like this Except for alejandro jodorowsky. And arrabal. But I honestly enjoyed it an

Three years after Viva la Muerte, Fernando Arrabal created J'Irai Comme Un Cheval Fou (I Will Walk Like a Crazy Horse), another masterly piece of cinematic surrealism. It follows two men, Aden and Marvel. Aden is sought by the police and on the run after the death of his mother, when he meets the appropriately named Marvel, a mystical loner who lives in the desert with his goat. One of his Marvel's skills is turning day immediately into night (and vice versa) with the click off his thumbs. Aden falls in love with Marvel, and decides to show him the big city. This is where Arrabal shows us the chaos of humanity. Many memorable images ensue. This is imperative viewing for any people interested in surrealism in film. I can't recommend it enough.