Sweet Movie (Dolcefilm)

...and if that statement makes sense, you should see this movie! This is a very funny movie for its first half, because one-of-a-kind director Dusan Makavejev populates his mess of randomness with the same docu-in-your-face absurdity and crude outrageous view of sex that his best film, WR, had. We meet Mr. Kapital (John Vernon, of all people, though it is not his own genitals used when the character is seen on camera with them dipped in gold) who brushes a napkin across his daughter (if it is his daughter, maybe his girlfriend, played by Carole Laure) on one side of the super loose narrative-side, and on the other Potemkin Sailor (ho-ho), who takes on board a stray, even though to have sex with her will lead to certain death.

Then there's also Jeremiah Muscle, who flaunts his black snake like it's nobody's business but the lady's, and a Hispanic singing sensation (on record only, of course, as he makes a music video with the backdrop of the Eifel tower, leading to getting stuck with another women in the act), all mixed up in a crazy lot of scenes that emphasize phallus imagery, the female form, and bright, primary colors- as Makavejev put it "a love letter to Kodak".

This isn't to say the film doesn't take more than a little- actually quite a lot of- work on the viewer to know what the hell is going on. Like WR, the director throws in a few times throughout some real found-documentary footage, only this time without much relevance to the film that the director has made around it (albeit the song used in the clips is excellent). And yet for the first half of Sweet Movie this isn't of a terrible concern, at least for one knowing that the unexpected and anarchic is all in tasteless fun. It's is a little like if there was a rogue Marxist (i.e. the awesome pipe Kapital has, and the ship's main mast) who got kicked out of Monty Python and was obsessed with genitals and went off and made an independent film.

That is, for the first half, anyway. After this, when Miss Canada/1984/whomever runs into the commune group- this is where, all of a sudden, the randomness of tasteless acts starts to try one's patience. I can even see what Makavejev was going for here without trying to add to much meaning to what it all is: the disgusting depravity with food, vomiting, infantilism, nudity, barbarism of communism as satire. But it just goes on for much too long; where the first half had little stabs of wild wit, this, along with the long sequence with Anna Planeta around the young boys, soon fall flat not because of there not being any cohesive narrative structure, but because they just aren't as captivating, or hilarious, as what came before.

It might be a tough act to follow such a crafty and controversial hybrid like WR Mysteries of the Organism, but Makavejev's method of throwing caution completely into the wind soon starts to reel into the tedious, with the exception of the sugar sex scene and Laure's naked chocolate session, which are some of the best scenes in the film. This being noted, the shards that do work in Sweet Movie make it a somewhat worthwhile viewing; certainly for those who are die-hard avant-garde cineasts Sweet Movie marks as something like an X-rated milkshake- lots and lots of nudity and pushing-the-line sexual acts done to a style that can only come out of a man with a real vision at work.

What it is precisely I can't quite say. It is, at the least, an 'experience' of its time and mood. That it's not the sort of work one would want to watch it again from start to finish for quite a long time (unlike WR) is its biggest sort of drawback.

The satirical Sweet Movie teases the viewer with its well-executed, comical, opening scenes of the Miss Monde Virginity Contest before delivering the main body of the film, what might be more aptly titled "Disgusting Movie". Nearly incomprehensible and pseudo-symbolic, Makavejev's film is comprised mainly of scenes depicting actual urination (seemingly the filmmaker's obsession), defecation, and vomiting, combined with stock footage of the exhumed remains of apparent WWII concentration camp victims.

The film follows the separate adventures of two female characters: Anna Planeta (Anna Prucnal), a mentally ill murderess, and Miss Monde 1984 (Carole Laure), a victimized beauty who slowly succumbs to mental illness. The film's title is ambiguous, referring to the sugar and candy stocked on board Anna's boat, bait which she uses to lure her prey, and to the "sweetness" of Miss Monde's virginity. The title is also ironic in its reference to the bitterness of harsh reality. The potential meaning of the film can be squeezed out of the brief, somewhat disjointed conversation between Anna and the Potemkin mariner (Pierre Clementi) near the film's end: Mariner: "Are you afraid of the past?" Anna: "I brought a lot of sugar, but I can't get rid of the bitter taste." Mariner: "Anyway, it leaves a trace." Anna: "And the witnesses must disappear."

This mostly depressing film does have its moments -- a few comical scenes involving lovely actress Carole Laure. Anna Prucnal's striptease, performed in front of a group of young boys, is equally fascinating but anti-climactic. And John Vernon (Dirty Harry, Outlaw Josey Wales, Animal House), in the role of Mr. Kapital, is particularly memorable. Sweet Movie is certainly interesting and different but falls short of a recommendation.

I've seen people write that the only true Surrealist films were made in the 20's-30's with of course Bunuel's Un Chien Andalou heading the pack. Now "Sweet Movie" might not be a true Surrealist film, but I think an argument can be made that it's definitely surrealism that follows the path of the aforementioned classic from Bunuel. I've seen Jodorowsky referenced to describe it, and to me it was reminiscent of Fernando Arrabal's stuff, aside from the obvious shocking imagery and 70's vibe.

I've just watched it, and besides some symbolism (repressed/sheltered life vs "liberation"), I'm not going to champion the film as having some deep meaning behind it. There is an evident juxtaposition of innocence (Miss Virginity) and the surreal messed up journey she embarks on and the abuse she has to endure, along with interspersed Holocaust footage and a parallel tale of a supposedly Communist woman and her deviant activities and relationship with a fellow revolutionary. What ensues are scenes that are designed to shock, but Makavejev would probably say that he wanted to "Freudian out" with it. Despite the plethora of shock scenes, there are definitely humorous parts and it's all done in a lighthearted manner to me).

I didn't think it was great, as it was too much of an amalgamation with no strong substance, but it still works for what it was (see above) and besides being offbeat it had an inviting festive vibe (combined with the exploitation!). I suppose art-house exploitation is a proper title.

They don't make movies like this anymore. Even Dusan Makavejev himself shied from experimenting further along the route of sexual anarchy, ending up as a pale shadow of his former, rousing self. It brings to memory the golden days of the early 70's, when radical sex and politics thrived in the cinemas along with traditional Hollywood-fare, and movies were still considered dangerous and subversive. The movie itself is funny, tasteless, allegorical and even has glorious in-jokes. Like the river-boat "Potemkin" sailing down the Seine with the enormous head of Lenin in the prow. The gold-painted, urinating penis was, by the way, not cut from the picture when I saw it at the age of 15. I never recovered from the shock.

This movie is not for the faint of heart. In fact, it seems as if the creators have done everything possible to make you abort viewing it before the last reel. The vast majority of people will find it offensive, disgusting, and vomit-inducing. I find it refreshing for that very fact.

"Sweet Movie" is a vehicle designed to elicit base reactions from the audience. While the plot is not coherent, the acting not ultimately believable, and the cinematography shaky at best, nevertheless the complete package is more than the sum of its parts. Especially for American audiences, I dare anyone to watch the entire movie without at least one genuine reaction of revulsion. And that makes it almost unique.