Narcotic

Someone who only knows of Esper, coming to this film with n open mind will I think be rather surprised at how good it is. Far from being a mindless hack who churned out any oddly rubbish for the so-called "exploitation" market, Esper very clearly had aspirations of an artistic kind and experiments with European-style montage (not simply "irrelevant footage" as one reviewer seems to think), very rare in US film, and with some interesting chiaroscuro effects. This sometimes makes the continuity a little dodgy but gives the film a certain quality much superior to the general run of "Poverty Row" films.

By contrast, his follow-up, Maniac, which dabbles in horror/melodrama somewhat in the line of the contemporary British star Tod Slaughter, is not nearly so good a film and gives a yardstick by which to appreciate the real qualities of Narcotic.

What one also sees most clearly with Esper at his best is the way in which the "exploitation" film is really a sort of alter ego, a shameful double of the US industry as a whole. Consider for instance how a typical police-operation gangster film uses essentially the same tropes - one part of the film follows the police or the FBI (emphasising the evil of the gangsterism in narrations that are not unlike Esper's supposedly didactic intertitles, while the other part of the film allows the viewer to enjoy the antics of the gangster.

Genre after genre in US cinema in fact exhibit the same essential traits as the "exploitation" film because it is what, between censorship rules and greed for high profits, the US film industry had essentially learned to be and Esper's films are simply a microcosm, Hollywood denuded of its glamour.

Note two how this film is interestingly rooted in the memory of Hollywood with silent stars Paul Panzer and Josef Swickard and even the son of film pioneer Stuart Blackton amongst the cast.

From the obviously Caucasian 'Chinaman' who introduces opium to the protagonist, to the patently absurd narcotics party scene, this film makes little attempt at realism, belying its claim that it accurately depicts the scourge of heroin addiction. Disguised as a public service type of message, it instead seeks to titillate the viewer, and is in this sense exploitive, prurient for its day, and intellectually dishonest.

Nice background music, though, including passages from Wagner's Gatterdammerung and Schubert's Unfinished Symphony.

Another "message" film by Dwain Esper, also written by his wife, Hildegarde Stadie, as was Maniac. It is an example of pre-code Hollywood, and has a place in film history. The message, is, of course, about the evils of drugs.

It is interesting that the Asian in the film was play by a Caucasian, none other than J. Stuart Blackton Jr., who, along with D.W. Griffith, was a pioneer in the development of the motion picture art.

The film also features Jean Lacy, who as Jeanne Gray, had her own talk show on TV from 1949-51. She didn't like the way the young announcer introduced her, "And Nowww, Thhhe . . . Jeeeeannne . . . Graaaay . . . " Thayoung announcer, who wanted his own show, was none other than Johnny Carson.

At least it wasn't as silly as Reefer Madness.

Although this movie is supposedly based on actual events, the production values of the film betray that it is yet another old exploitation film--the sort that were produced by fly-by-night production companies to prey upon the public's fear AND fascination with sex and drugs. But, since such topics could not generally get past the censor boards of each state, they were marketed as "educational" and shown to adults-only audiences. Some of the obvious problems with the film are the use of silent film footage (when shown on a normal projector, it runs too fast and looks odd), clips of a baby being delivered by c-section (for little apparent reason other than they happened to have the film and decided to shove it into the movie) as well as choppy editing and poor acting. It's obvious th was NOT a large budget production, but made 'on the cheap', so to speak.

After showing a lot of seemingly irrelevant stock footage, the story begins. A Chinese man who looks about as Chinese as Eddie Murphy is talking with a couple American men. Later, one of them approaches this 'Asian' and requests that they do some opium together. So, they go to an opium den and hit the pipe. While this is pretty cheesy since the Chinese guy obviously ISN'T, the way they demonstrate opium and the paraphernalia is surprisingly accurate compared to the information you usually get in such films. Soon you see the two drift into a blissful stupor. Later, the American guy goes back for more and he's obviously hooked. How this turns him into a man who sells patent medicines is beyond me.

The rest of the film is jam-packed full irrelevant film footage--including odd clips of sideshow freaks, speeding cars and, cats staring at snakes--once again, whatever they seemed to have on hand--slapping it all together and hoping to make a semi-coherent film. And, unlike the segment on opium, the drug information is, to put it charitably, histrionic! Supposedly wild parties and a guy ripping the dress off his wife when he ran out of drugs are among the more outlandish scenes in this film--that, by this point, has become an almost plot less mess. By then end, the opium addict is a complete and total mess and he begins quoting Bible verses about the danger of alcohol--as he calls out to God and then kills himself. Believe it or not, this scene actually is well done--with some dandy acting by the addict. But, sadly, it's about the only well made portion of the film! Some of the problems with the film were probably not originally in the film. Many times, the film appears to have little bits and pieces missing and as a result, the film is pretty choppy. Considering this was a Kino DVD, I assume this is simply the best copy they have as this company usually does a good job in producing excellent quality disks.

It's obvious from my review that this is a terrible film. But, is it worth seeing--after all, some bad films are so stupid and clumsily made that they are fun to see and laugh at--especially with friends. Well, this film is stupid and you will laugh a bit at its horribleness--but it never quite reaches the same level of histrionics and stupidity of such cult classic bad films as "Reefer Madness". Still, it's good for a laugh or two and probably did little to educate anyone--especially with such lines as "Ladies, ladies...let's not get vulgar...YET!".

While not as over-the-top as Dwain Esper's MANIAC or as professionally made as his MARIJUANA: WEED WITH ROOTS IN HELL, NARCOTIC is a unique film experience. It has a jumpy, elliptical style--sometimes the next scene may be a few days after the prior scene, sometimes a few months or even years. Add to this the use of stock footage from silent films (in the first half) and stock footage of animals killing each other (in the last third).Also, the script mixes philosophy with medical jargon with drug slang with hard-boiled dialogue. And Esper's preference for odd, off-putting camera angles and introducing characters by showing their shadow.The whole thing, in under one hour, has a grimy feel to it. Even the worst poverty row b-movie tries, on some level, to be entertaining, no matter how far it misses that mark. This film really is NOT trying to entertain--it tries to create certain moods and reactions in the viewer, and it will use non-rational, expressionistic techniques to create those effects in the viewer. It's MUCH different from other 30s exploitation films such as REEFER MADNESS and COCAINE FIENDS. One must give Esper credit--the film was made 70 years ago but it is still a disquieting experience.