Le Bal du vaudou

I took a chance on this because of Sue Lyon and the references to Stanley Kubrick. And yes, it's there in good fun. Apparently the original script was more focused on the nurse character, and less of the gang. But when A Clockwork Orange was released, De La Iglesia saw a way to tie it in, and no doubt try to capitalize on it. However the gang is just 'goofy'. Like the boy scouts trying to be the Hell's Angels. But the member David (Chris Mitchum) is interesting, as he solely witnesses Ana's (Sue Lyon) disposing of a body and proceeds to craftily blackmail her. The men she chooses to lure and dispose of is interesting as well, but not really fully explained. And the exterior environment and its 'futuristic' look is barely noticeable. Yet, Ana as a respected and dedicated nurse by day, and luring and unremorseful serial killer by night is a good story in itself. And the blackmailing, and how to remedy that is intriguing as well. But the ending is without any resolve or reason. Other than violence and murder cannot be readily detected or cured. So in taking away Kubrick's influence, lack of budget, and loose threads all around - the integral story isn't half bad. And there are some good haunting shots that show integrity and vision above a cheaply thrown together 'knock off' as it was panned. Not the greatest movie, but worth a watch and to have knowledge of.

This movie is OBVIOUSLY (and quite blatantly) inspired by Stanley Kubrick's "A Clockwork Orange". In fact early in the movie, right before a family is attacked by a group of "droog"-like bikers with bull-whips, they are actually settling down to watch "A Clockwork Orange" on TV!(it's hard to imagine even in a futuristic film like this THAT movie showing on television in what was still Franco's Spain at the time). There's also other blatant references to other Kubrick movies. The female protagonist has a copy of the infamous Vladimir Nabokov novel "Lolita" on her nightstand, and the film adaptation of that was also directed by Stanley Kubrick--and Kubrick's "Lolita", of course, was played by Sue Lyon, who plays the female protagonist of this movie! So pat yourself on the back if you notice all this and then move on.

I kind of have a problem with people that simply dismiss Italian and Spanish films like this as "rip-offs". First they seem to assume that bigger-budgeted Anglo-American/Hollywood films are all completely original (nowadays Hollywood "remakes" a lot more Spanish films than vice versa). Moreover, they don't seem to realize that a lot of these movies were blatantly aping popular Hollywood films on the surface, but were often doing something quite interesting and even subversive underneath. The most interesting part of this movie, for instance, isn't Chris Mitchum and his "droog"-like gang, nor is it Lyon's boyfriend (played by Jean Sorel) who works at a "Clockwork Orange"-type behavior modification institute. The most interesting part is Sue Lyon's character, a respectable nurse and "pop" art collector, who likes to pick up beautiful young men, take them home to bed, listen to the post-coital beating of their hearts, and then stab them to death with a surgical scalpel! The director of this Eloy Inglesias was a famous gay Spanish director. The bizarre scene where Lyon dresses up as a man and picks up an effeminate (but closeted) homosexual, or the scene where she picks up a narcissistic and (even more closeted)male model give a very noirish psychosexual--and decidedly homoerotic--ambiance to this film that has little to do with "A Clockwork Orange" and a LOT to do with the rest of the director's oeuvre like his most famous film, "Cannibal Man" (aka "Week of the Killer"). Inglesias didn't make a whole lot of films, but I would advise anyone to check out some of the ones he did before dismissing him as some kind of rip-off artist. He was, in fact, one of Spain's most interesting and courageous directors.

The English-language title of this, "Murder in a Blue World". is interesting, but even more interesting is the Spanish title which loosely translates to something like "A Drop of Blood for Dying while Making Love" . This colorful title serves to connect this film (despite its futuristic sci-fi elements)to the Italian/Spanish giallo genre. This is basically a homoerotically-charged, futuristic dystopian, psychosexual giallo, which makes it pretty damn interesting--and original--in my book.

The third De La Iglesia film I am watching in a row – and the best (though the "Cult Films" website rates this a measly *1/2) – that, while it touches on the same theme of a serial-killer on the loose, is the most ambitious (numbering no fewer than 5 scriptwriters!) because it is set in a dystopian future and employs international actors. Since I have made it a point to discard Sci-Fi titles for this year's "Halloween Challenge", I was a little wary of adding this but, thankfully, it proved a continuation of De La Iglesia's preoccupations.

The film wears its obvious inspiration from Stanley Kubrick's A CLOCKWORK ORANGE (1971) proudly on its sleeve because, not only is there a Droog-like band of violent criminals marauding at night (wielding whips at leisure), but they also assault an upper-class household that is very much decorated in the ultra-modern fashion seen in CLOCKWORK and, as if this was not enough, a screening of that very Kubrickian adaptation of the Anthony Burgess novel is about to start on TV when their doorbell rings! Likewise, a subplot revolves around an experimental program which is supposed to render hardened criminals into acceptable society members (but, predictably, the last scene demonstrates that the scheme has failed horribly), while peppering the soundtrack with classical music pieces (albeit being otherwise scored as if it were a Spaghetti Western!). Interestingly, whether deliberately or not, Kubrick returned the favor by utilizing music by the composer of this one (Georges Garvarentz) for his own swan-song EYES WIDE SHUT (1999)! Indeed, while the original Spanish title translates to the poetic A DROP OF BLOOD TO DIE LOVING and that the film was released on R2 DVD as MURDER IN A BLUE WORLD (for the record, the widescreen copy I acquired, albeit VHS quality, was fairly good and did not noticeably detract from my enjoyment of the striking visual look of the décor and costumes), the film was apparently known in the U.S. under the rather condescending moniker of CLOCKWORK TERROR.

Moreover, Sue Lyon – as it happens, the young star of Kubrick's LOLITA (1962) – has the leading role here and, at one point, is even seen leafing through Vladimir Nabokov's eponymous novel while lounging in a gay bar! The rest of the cast is made up of Christopher Mitchum (who would later appear in another foul-play-in-a-hospital movie, FACELESS {1987}) and Jean Sorel (who had already played a doctor in his most famous film, Luis Bunuel's BELLE DE JOUR {1967}: incidentally, A CLOCKWORK ORANGE itself was Bunuel's own favorite movie!). For being the younger son of Hollywood legend Robert Mitchum, Chris worked with some far-out directors: in fact, apart from De La Iglesia, he also made films for Alejandro Jodorowsky and Jess Franco! Lyon, while ostensibly renowned psychiatrist Sorel's girl, moonlights as a serial-killer of males between the ages of 17 and 25 (though her reasons for running amok are attributed to the traumatic death of the girl's parents in childhood, it is never quite clear why she targets that particular age group, one of whom she ensnares by outbidding him at an auction for the very first edition of the "Flash Gordon" comic-strip!) and, therefore, according to news reports, the murderer must be a homosexual! Conversely, Mitchum is one of the four members of the afore-mentioned "Droog"-like anarchists who falls foul of his team-mates and, to earn some cash on the side, takes to blackmailing Lyon (whom he had unwittingly spied while disposing of a body: she often affects disguises herself – as a mature woman or a man! – to lure her victims, who include a macho publicity guy modeling underwear on TV, linking the film, as do the entire lady-killing scenario and the overriding influence of TV, to the recently-viewed THE WITCH WHO CAME FROM THE SEA {1976}). Eventually, Mitchum's former friends beat him up and he is hospitalized and, ironically enough, put in Lyon's care…but, in eliminating him there, she also gives herself away – to Sorel's obvious horror.

Given my rewarding experience so far with the filmography of Eloy De La Iglesia (on a side-note, that of Alex, who is not a relation, is no less intriguing but somewhat less consistent), I opted to acquire yet one more effort i.e. his adaptation of Henry James' classic – and much-filmed – ghost story THE TURN OF THE SCREW (1985), but which I was unable to include in the "Halloween Challenge" that has just come to an end.

There are films whose strength lies not in what they tell, nor even in how they tell it, but in the visual universe they construct to envelop us. "A Drop of Blood to Die Loving," also known as Clockwork Terror, cannot be highlighted for the finesse of its script or the precision of its dialogue-both crude, even rudimentary-but for something much more difficult to achieve: a magnetic aesthetic and absolutely extraordinary direction. Eloy de la Iglesia, with modest means but undeniable talent, manages to film a dystopian world that not only rivals that of A Clockwork Orange, but in certain shots and visual ideas could even make Kubrick's work feel a pang of jealousy.

When I was living in Mexico, at a university in Mexico City, a colloquium was organized around A Clockwork Orange. Young intellectual prudes, intoxicated by pretensions, all of them educated among poorly digested photocopies of Deleuze and Godard, gathered to dissect Kubrick's "violence" and "the aesthetics of chaos." They all congratulated each other for mentioning Schwitters or Malevich with ease, without even suspecting what connected them to Alex DeLarge. Taking advantage of the void of real thought, I proposed replacing the screening with another: A Drop of Blood to Die Loving. I presented the DVD to them as a forgotten European rarity. When it was over, several applauded, speaking of its "fascinating conceptual design" and a "mise-en-scène inherited from Resnais." They didn't realize they were watching a Spanish film by Eloy de la Iglesia, and that the alleged cult gem was known in their country as The Clockwork Mandarin.

They all analyzed it enthusiastically, without realizing that they were watching a fierce critique of people like themselves. The same complacent academics, the authoritarian system, and the alienating consumerism that Eloy de la Iglesia passionately despised. The worst part was watching them applaud the work without understanding that he was pointing the finger at them. One even said that the characters' coldness was "a metaphor for the loss of intelligence and individual thought in postmodernism." I couldn't help but smile. If de la Iglesia himself had been there, he would have run away.

The film, however, has more to offer than that anecdote. Despite its narrative weaknesses-and they are not few-it constructs a coherent, icy, and disturbing visual world. The future it portrays, a society where the individual is worth only in terms of their usefulness, dangerously resembles our fascist-like present, only without the metal uniforms.

Eloy constructs an authoritarian and surveilled society with a narrative economy that many an established director would envy. The coldness of the spaces, the geometric design of the interiors, the expressive use of color-all evoke a modern, icy, even brutalist sensibility that elevates the final result. Its sense of framing and visual rhythm recalls the best cinema of the 1970s, which wasn't afraid to let the image speak without underlining it.

The story is minimal and, honestly, very poor. The script barely articulates its ideas. The dialogue is functional, if not downright ridiculous, and the acting, for the most part, is poor and flat. However, Eloy de la Iglesia's direction is so refined, expert, and steady that it elevates the whole. The subversion of cinematic language to create its own makes it as unsettling as it is thoughtful and functionally (indeed, brutally) aesthetic. The architectural minimalism, the geometric framing, the clinical coldness of the space-all contribute to a highly effective atmosphere of suffocation. It's a film that seems designed more to be seen than to be told, more to be intuited than understood. And therein lies much of its strength.

A Drop of Blood to Die Loving is a living work, charged with visual energy, committed to its own vision of the world. And that, in a landscape full of empty imitators-since we're talking about an imitation-makes it a brave rarity.

A masterpiece of early 70's Euro rip-off madness. It's got Sue Lyon wearing too much greasy make-up and the always underwhelming Chris Mitchum...excited, I am. This is great nonsense of the highest order, if your taste in movies stretches to the more mondo end of the bracket, Jess Franco, bad Italian biker movies, Umberto Lenzi etc you're gonna dig this. Sleeper style futuristic art direction, gay looking hoodlums in shiny red helmets, and Sue Lyons killing hardbodied young men for no explicable reason, aside from the director wanting her to...Genius. This film also contains two superb faux adverts which are hysterical, one for an msg free blue drink, called Blue Drink the other extolling the virtues of masculine leopard spot sex pants. Two heavy handed references to Sue Lyon's previous role as Lolita, why????? because the director wanted to, good enough for me. Plot - some Italian producers saw Clockwork Orange and thought they could do the same, they couldn't...but it's bonza all the same. I picked it up at a market for a £1 and aside from 'Tuxedo Warrior' it is thus far my greatest find. The cover itself is as camp as fairy dust...if you ever are lucky enough to come in contact with this slice of mondo-trasho check it out.