Stati di allucinazione

... and an early example of psychedelic horror.

I wanted desperately to like Altered States, because the things it gets right it gets so right. But sadly it's such a tonally inconsistent film, and one that can't seem to focus on anything at all. First it's about a Judeo-Christian concept of hell and the devil, and then it's about some ancient indigenous deity and spirituality, and then it's about some extra-dimensional being, and then it's about genetic memory and body horror, before finally referencing alternate universes. The tone of the film is also sadly inconsistent. At times it's closer to a romantic drama than anything else. When it actually gets down to the horror part it swings strangely between themes of the paranoid mad scientist and the grand tone and sweep of man vs God.

It's memorable for some of the great special effects of its time, but overall it feels like a conversation you have when you're 19, think you know everything, get really baked, and then start rambling about philosophy with your friends.

My original review was written in November 1980 after a screening at the Ziegfeld theater: "Altered States" is an exciting combo science fiction-horror film, well-timed to exploit the under-30 market's current enthusiasm for this genre. Direction by Ken Russell has energy to spare, with appropriate match-up of his baroque visual style to special effects-intensive material. With repeat attendance a definite possibility, Warner Brothers could have major hit via this $15,000,000 budgeter.

Producers Howard Gottfried and Daniel Melnick weathered stormy pre-production problems, including the ankling of director Arthur Penn late in 1978, departure soon after of special effect wiz John Dykstra, and transfer of proposed project from Columbia to Warners as proposed budget grew.

Screenplay credited to Sidney Aaron (after Paddy Chayefsky insisted his name be removed) follows the Chayefsky novel very closely, retaining much of the dialog and crucial incidents. Tall tale concerns a young psychophysiologist, Edward Jessup (William Hurt), working in New York and later at Harvard on dangerous experiments concerning human consciousness. Despite his having visions of Christ during his childhood, he take a strictly rationalist "God is dead" stance in his search for a meaning behind man's existence.

Using himself as the subject, Jessup makes use of a sensory deprivation tank (sealing off light, sound, gravity, etc.) to hallucinate back to the event of his birth and beyond, regressing into primitive stages of human evolution.

As Hurt, a physically commanding young actor becomes increasingly obsessed, his wife Emily provides the film's human balance. She is an anthropologist with a career of her own, portrayed empathetically by the redhead beauty Blair Brown, previously on view in "One-Trick Pony", shot after "Altered States".

Jessup ventures to Mexico, participating in a mystical Indian rite. Bringing home the Indians' hallucinogenic compounds, he escalates his tank sessions until physically changing into an apelike monster, killing a security guard and escaping into the primitive environment of a neary zoo.

Returning to normal in "Jekyll and Hyde" fashion, Jessup continues in his folly until wife Emily is also involved, with duo's love romantically conquering the physical (and perhaps psychological) effects. Making for a surprisingly hopeful conclusion.

Russell has downplayed much of Chayefsky's heady philosophy by having the actors, especially Hurt, rattle off their jargon-laden speeches at breakneck speed. In fact, the thesps' tendency to declaim or shout is the film's weakest element. Countering this defect are the film's impressive hallucinations, akin to the "ultimate trip" light-shows in Stanley Kubrick's "2001: A Space Odyssey". Shattering use of Dolby stereo effects conspires with the images to give the viewer a vicarious LSD-type experience sans drugs. While not for all tastes, this aspect of the pic should win over the youth audience.

Film's action scenes are also potent, with Eric Jenkins' top-notch editing bringing it all in at under 100 minutes. Dick Smith's makeup is outstanding, and combines with the physical agility of Miguel Godreau as the apeman to suspend disbelief during the most outrageous horror scenes.

William Hurt's feature film debut is arresting, especially during the film's grueling climactic sequence. Hopefully he will be given a chance to relax in future roles. Blair Brown is warm and appealing, while also up to the physical demands of nudity and mayhem typical of Russell's approach. Charles Haid's gruff, southern-fried medico creates solid comic relief between action crescendos.

A newcomer to films, classical composer John Corigliano has penned an atonal score which more than holds its own amidst a barrage of sound effects. Effects men and the whole technical crew, deserve kudos including cameraman Jordan Cronenweth for his lighting and tracking. Their combined efforts should "zap" audiences with a theatrical film experience they can't get at home.

During a series of sensory-deprivation experiments, a professor devolves into a prehistoric form of life. This bizarre yet intriguing sci-fi offering comes from Ken Russell, a genre filmmaker who's made a handful of weak films, including The Lair of the White Worm (1988) and Gothic (1986). The script comes from Paddy Chayefsky, who also wrote the book upon which the film is based. Though Chayefsky disowned the film and Russell's direction, it remains among the best films in both they're careers. The best thing about the film is easily the script, which is intelligent and thought-provoking. Russell's direction is quite good as well; the editing on this film is truly top-notch. The actors gave great performances, especially a very young-looking William Hurt as the lead. In my opinion, Blair Brown's performance was at times a little uneven, but that never hurt the movie. The make-up effects, from Dick Smith, were terrific. The imagery—including visions of hell, a seven-eyed goat-man (how cool is that?), hideously mutated human bodies and a truly trippy vision of the creation of life—are startling. There's some decent gore too, included a nasty gutted lizard (which looks suspiciously realistic if you ask me…) and other goodies I won't spoil for you. Also worth mentioning is a great score from John Corigliano, which is unsettling and very suspenseful.

This film is NOT for everyone—some viewers might be lost by the scientific aspects of the film and the hallucinogenic scenes. If you like everything explained to you and you're afraid of a little ambiguity, this isn't for you. If you want a different, intelligent sci-fi film…see this.

7/10.

Just one complaint though—I'm no scientist, but wouldn't it be impossible for a human being to survive the physical and metabolic changes of a transformation like the one seen in the film? (I know, I know, it's just a movie…).

It's been a quarter century since I first experienced Altered States, Ken Russell's take on Paddy Chayevsky's novel of the search for a common bond between all of us, the ability to love. I personally don't care if Chayevsky disowned the movie or if Russell resented him for it or how many angels you can set on the head of a pin, for that matter. Altered States is a harshly beautiful and intellectual movie based on a book with the same adjectives.

I'm not going to praise the fine performances, the dazzling special effects, or the painful, emotional epiphany that the lead character, Eddie Jessup (William Hurt) experiences as he fights his way past the roadblock of pure intellect. I want to praise Altered States for its emotional and intellectual message of the power of love to embrace us all and heal our wounds.

Altered States is not for the weak of stomach or the easily offended. The imagery is disturbing and, at times, repulsive. There are scenes of blasphemy that I know have put off Evangelical friends of mine. But the central idea of a commonality, a kinship that humans have with one another and the danger of setting oneself apart to avoid the pain of interacting and loving is, I believe, supremely satisfying at both an intellectual and emotional level.

Altered States isn't one of the very best films I've seen, but it surely has been a source of joy for me. And if it doesn't turn your crank--or turns it the wrong way--then find your joy in another film or other media . . . and remember to love.

Altered States is not everything that it could be, and that's because director Ken Russell was more interested in assaulting the viewer with a series of startling (by 1980 standards) images than he was in exploring the stories subtext. Eddie Jessup is a scientist so introverted and afraid of human connections that it's not enough to abandon his family, he also has to further deprive himself of any and all stimulation, performing sensory depravation experiments on himself to attain better understanding of "ultimate truth." Jessup proclaims himself to be an atheist, but the visual content of his hallucinations reveals him to be a man who's more at war with God than a man who disbelieves. His descent into a more primal state of being is an obvious metaphor for how easy it is for a man with commitment issues and fear of intimacy to turn completely inward, leaving the real world behind. Some of what the character says early on about family and love make his motivations clear... Jessup is a man shattered by his father's death and unable to accept the vulnerability of the human condition. A viewer has to really work to absorb and enjoy these metaphors, though, as Russell never slows his onslaught of special effects. The movie also suffers from smart but unrealistic dialogue and ham-fisted performances from some of the principle characters (watch Blair Brown's over-the-top breakdowns in the last act). Altered States isn't the total package, it doesn't combine the visceral and the philosophical as well as movies like Jacob's Ladder or Natural Born Killers. But it's better than most of today's equivalent movies (Donnie Darko, etc) that want to stimulate and provoke the viewer and don't quite pull it off.