Crumb

Robert Crumb must have had a bellyful of people calling him a genius, but that's exactly what he is. Having grown up a bullied, miserable child - and an anachronism almost from the start, with his interests in pop culture ephemera and old-time music - in a dysfunctional family (his father was an overbearing tyrant, his mother an amphetamine addict, his older brother so obsessed with comics that he forces his siblings to draw them), Crumb escaped this drudgery by fleeing to Cleveland, where he first became a staff artist for a greetings card company, then one of their most innovative and prolific designers, before relocating to San Fransisco. His initial impetus was to "get some of that free love stuff", but his pen ran away with his thoughts and he wound up virtually launching the underground comics movement. Between 1968 and 1993, Crumb produced some of the funniest, most outrageous, licentious and flat-out brilliant comic book work of all time, and this film is an invaluable insight into the man behind the madness and the mayhem. Turns out Crumb, despite his bizarre appearance (he's stick thin, wears Coke-bottle spectacles and dresses like a character actor from a 1930s comedy) and sexual deviance (he likes nothing more than hefty haunches and big, strong legs in a woman), is something of an everyman - he's married, dotes on his understanding wife and gifted daughter, and feels just as alienated from the 'evils' of modern living as the rest of us sensitive intellectuals! At first glance, of course, Crumb is as weird as they come, but the sight of the aforementioned older brother Charles (a reclusive crank who rarely leaves his squalid bedroom, let alone the house) and younger brother Maxon (a haunted, bedraggled amateur mystic, given to sitting on beds of nails and begging on the street with a wooden bowl) throws the relative sanity of Robert into stark relief. One gets the impression that if Robert had not escaped, he'd have wound up suffering just as much as Charles and Maxon, possibly even more. This isn't easy viewing and the subjects are undeniably resistable, but it does offer a unique and enlightening glimpse into the reality of the old cliché about genius and madness walking hand-in-hand. Recommended.

After reading the couple of negative reviews of "Crumb" on IMDB I re - viewed the movie one more time just to make sure that the many times when I had seen this movie before, on the silver screen and on video, I have not been in a state of delusion. With the movie fresh in my mind I want to put out this message to all the people who have made depreciating statements such as "what is Crumb moaning about, he's famous now", "the Sixties weren't really like that", "it was just two hours of whining, rambling and unjustified complaining" etc. etc.: go back to your Kevin Costner, Tom Hanks, Tom Cruise big budget Oscar winners, and stop smearing dirt on one of the best documentaries ever made. So frigging what if it's shot with a hand - held camera and without studio lighting? "Crumb" is the real thing, it does not need any trickery or gloss. Basically it shows Robert Crumb, the artist famous for "Keep On Truckin'", "Fritz The Cat" (though he does not like to be associated with either of them) and "Mr. Natural", telling the story of his life through his wife and brothers, with a few scenes of him at a vernissage and a comic book store (etc.) thrown in for good measure. Call it a modern - day version of the van Gogh - story, or a look at the darker (or even just the non - Warner - Brothers) side of the flower - power generation, the human condition, the power of art, the battle of the sexes, a case history of mental illness, psychotic families, whatever. The story, and with it the film, is amazing and totally captivating. I have watched it many times and intend to watch it many times over. Give it a miss only if you expect some good, clean, family entertainment, but do so at your loss.

Fascinating documentary about a US underground cartoonist, Robert Crumb. Although I'd heard of Crumb (mainly through American Splendour I wasn't that aware of his work although some of his cartoons were images that I'd seen before. Basically the guy did an assortment of freaky and surreal images straight out of the darker recesses of his mind. Criticised for his portrayal of women in his comics by some, the film delves into what can only be described as a unique family background, where his brothers appear to be as divorced from reality as his comics are. It was good enough to get me to go and check out some of his stuff.

Robert Crumb became an idol among hippies in the 1960's because of the psychedelic comics he drew at the time. In this excellent film, directed by Terry Zwigoff (who also directed the excellent, and also comic book related, "Ghost World" and "American Splendor") Crumb starts out by telling that he hates just about all the work he is most famous for. This is typical, Í think, of Crumb: he is uncompromisingly politically incorrect, completely unafraid to speak his mind openly, and above all disgusted by the idea of selling out for money.

I have been a fan of Crumb ever since I advanced beyond Donald Duck and Marvel Comics about 20 years ago (this is not to say that I don't love Donald or Marvel anymore, because I do). Crumb is probably the most talented comic book artist of the latter half of the 20t Century. Quite simply, I don't think anyone can draw as well as he does. He is not much of a storyteller, but like I pointed out above, that is more than made up by the fact that he is always totally candid about his life, sometimes painfully and embarrassingly so.

"Crumb" is an excellent portrait of an exceptionally talented artist who also happens to be a total pervert. However, as this film makes abundantly clear, Robert Crumb is practically the ideal model of a stable, well-adjusted person when compared to his mother or his brothers Charles and Maxon. We see once again that great suffering makes a great artist.

Crumb takes a deeply personal look at 60's counterculture artist Robert Crumb. The film focuses upon three decades of Crumb's artwork to reconstruct his unhappy childhood, days with Zap Comix in the late 60's, `dark side' period and recent life. Interviews with him, his wife Aline, family and friends reveal the motives behind his astounding creativity. Crumb is sometimes hilarious, often depressing and always entertaining – a rare combination in a documentary film.

During childhood, Crumb and his brothers Charles and Maxon found solace from their tyrannical father in comic books and drawing cartoons. Crumb escaped the mental illness that ended both his brother's careers as artists (Charles was equally as talented), but otherwise had a perfectly miserable childhood and adolescence. Socially awkward, bullied at school and rejected by women, he decided in 1962 (at age 17) to take revenge upon society `by becoming a famous artist'.

In 1966, his chemically inspired `revelations of some seamy side of America's subconscious' caught the eye of a Haight Street publisher in San Francisco and Zap Comix was born. Zap was an outlet for his creative energy, which was rooted in his social difficulties. He was uninterested in money and once turned down a $100,000 contract – a huge sum of money in those days. Although identified with the hippie crowd, he could not relate to their culture: `My main motivation [for drawing] was to get some of that free love action'.

After a few years of fame, he retired from Zap to express the darker side of his nature. His later work frequently contained sadistic and violent themes and was sometimes labeled as pornography by friends and critics alike. Even Crumb isn't sure of his intent: `Maybe I should be locked up and my pencils taken away from me'.

Critic Robert Hughes says that in Crumb's world there are no heroes and `even the victims are comic' – ideas that don't jive with traditional American culture. But Crumb has always considered himself to be an outsider and enjoys the feeling of `being very removed or extremely separated from the rest of humanity and the world in general'. `Words fail me, pictures aren't much better' to describe his disgust with American consumerism. He now lives in France because its culture is `slightly less evil than the United States'.

The film is embarrassingly candid about unhappy details of Crumb's life, such as his brothers' mental illness, experiments with drugs and ambivalent attitudes towards women. Yet it is apparent that there is no misery or violence in this man – it's all on paper. (Rating: A)