Blood Feast.
USA-1963.
Directed : Hershell Gordon Lewis.
Scenario: Alison Louise Down.
Performers: William Kerwin, Connie Mason, Mal Arnold, Lynn Bolton, Scott Hall.
Images: Hesrhell Gordon Lewis.
Music: Hershell Gordon Lewis.
Production: David Friedman
Duration: 67 minutes.
Synopsis: A restaurant kills Egyptian women to bring back to life a deity.
And we see in the background, when the eye dares to descend
Beyond life and breath and noise.
An awful black sun shines where the night.
Victor Hugo. What does this mouth shade.
Introduction: The chronology bloody.
On the walls of the cave illuminated by a flickering light, shadows dance, pointing here and there designs. The light and animate them with a blow, a spear penetrates the side of an aurochs, a penetration violent and bloody. Stage of life, lest too. Then the man as if to exorcise his inner demons, to ejaculate as fears buried deep inside him, draw violent scenes, foreshadowing the appearance of gods and early days of slavery. For the man who tamed his fear is a free man ... The magic of hieroglyphics, the magic of writing, 2001: A Space Odyssey The Journey ... fabulous!
April 1886. On a dock in Paris, a small crowd that will be mass magnifying ... She wants to even one child is called the Green Street. An angel's face, resting on a red seat. An angel's face, pale, dead ... The crowd, which is no longer a crowd but an audience has come to be called identify the dead child, she especially wants to feel the corpse. A short loan at the same time is the big horn and the waxworks, museum of petrified statues in a life that is not one and a death that is not the end. So, we just see all these small deaths, as if to reassure, to see life as ... Feeling immortal put a distance between us and the abyss.
1899, it seized a magician of the cinema. The magic invites himself to the cinema ... Méliès films Suicide of Colonel Henry and screen head explodes. The blood gushes, that of "Spear", death takes the blank canvas ... Film is this strange place, the cave or the shadows of life and death mate, or the past meets the present day, without leaving a only part of the future. A distance that the lantern between us and our prophetic destiny. A history of distance ....
1929. In the foreground, one eye is cut in two, a woman's eye. In the sky a cloud passes in front of a moon. They cry foul, Dali and Bunuel are on the brink of history at the stake avce Andalusian Dog! Yet here combines the raw violence and poetry the craziest. A dream awake, which arise on the walls of our consciousness so much engulfed, eros and thanatos ... This is true for many of the first act, horrific. For me it is the best! Because of Eros and Thanatos ...
That said we finally arrive at the film that interests us, the feast of blood, the Feast of Fools, the crowning of the voyeur, the beginning of the end ... But why this tedious
introduction, filled with dates? Because it is important to understand that cinema is not an evolution (or revolution) but it is artistic creation is modern and scientific what ever happened to cut ancient myths, religions called archaic, it is the end of this thread that the first man hung a few years ago by freezing on the walls of a cave, his fears, he transformed in god and he sought to "separate", putting a distance between him and the Thing! The film does say that the end of our society ... It was all there and destiny fulfilled almost without us. I hope you have grasped the links I wanted to weave and I'll talk later.
1-Just for a glance of you ...
The film addresses the need of a voyeur. We are well, we poor humans, controlled by impulses that have been put in us, that drives most of us are trying to hide. Yet we always answer that one and only ever need. More money as well if our day could be eternal, more notes to the point of forgetting the melody, more images to create cubism and more ready, ever willing, to the point forget even the very nature, I mean the natural vision. The real creation Film is the editing. Every image maker is one day faced with this great adventure ... And if there is mounting that the vision offered by the cinema is not a natural vision. The proof of the close-up.
I spoke earlier of Chien Andalou, the film was for me the penny barrier to cross before reaching the unreachable. To achieve this it will be inaccessible just a big plane, that of the eye sliced in half, cut its hemisphere and connected to the lunar symbolism.
Far from me to suggest an analysis of Chien Andalou is why, if you I could, I would retain for the moment that this Focus. The act itself is a violent act, but that this violence create or at least the highlights, it is precisely the fact that the eye is filmed at the ready, or so unnatural vision of Agenda intimate. Which would not have had to be seen and show here. What was the order of intimacy, or what in the classical theater should have happened behind the curtain here is the center of our attention. It explodes in front of us and crossed the course of "unshowable, ie the obscene (in the sense that it can not be shown on stage) so even the gore ... With Focus, we take the ultimate step of the film, we forget the soul, the human context for us to fix what should never be seen. If Godard said the Traveling is a moral issue, I would say the Focus is a moral issue ... For the Closeup, to penetrate the intimate, innermost in the mind of a viewer who is not prepared for this. The big plan is the most despicable act of the film, it is the domain of gore! I want to prevent the wholesale level may also be something symbolic and sometimes it must not clinging stupidly to the classification plans as if there was a fixed grammar of cinema, but went for the strength of the symbol in the picture ... So here
We arrived at Hesrhell Gordon Lewis ... In 1963, this director U.S. is a minor Hollywood craftsman. A small manufacturer of nudies, that is to say, bands that are sold in the drive-in or scenario needs to include some nude shots of simple but crisp. Moreover Blood Feast proposes a fine example when the not very beautiful (sorry!) Connie Mason, who is basically a simple palymmette takes sunbathing in the company of some nice friends. That is, it gives you an idea of what kind of band that could produce Lewis.
But then, in 1963, with his friend and producer David F. Friedman, he cried and turns following one of these nice junk, a new film, something like: "nothing comparable in the annals the horror ... "Shot very quickly, just as quickly written by an ex-cop, Hershell Gordon Lewis is the creator, today is nicknamed the grandfather of gore, the first true reel bloody ... So that
'is what makes it unique, what makes that the film becomes a "first"? Well for me, is clearly the close, with all its psychological and symbolic value. Closeup of dismemberment by example. Well, as many say now, it's not as good as Lucio Fulci, but it is the only director who said Gore really my opinion, because it is the only one who knew how to wear as far aesthetics and "mythology" of the dismemberment of the liquefaction of flesh, blood dripping, bursting from the scene and framework with a lot of Focus.
course, Blood Feast has its share of horror and level of intimacy.
But it is a big plan said to me the whole movie and even said that all the gore. Strangely, this plan, not a bloody.
Fuad, the murderer, is an Egyptian shop. You'll see later what happens in the background, behind the big red curtain that hides behind his shop. Between a woman's mother, Connie Mason. She wants to organize an original meal for the birthday of his daughter. And then the genius of Lewis, also included more or less Mabuse, Dr. hypnotic, it inserts a close, very close eye. A close-up that lasts and lasts and lasts ... It is so hypnotized, and highlight, so are we. For once, as we will do may we never shared an intimacy with the killer sound bad ... This large pan symbolizes attraction, this inability we have to look away from even in our control. It most certainly look there, but less intimate, that would be the child of Green Street ... We are caught in the mouth look, this abyss where we dive in face to face this disease. You see all the subtlety of the big plan? And that Herschell Gordon Lewis who supply us with large purely gore ... Something is palpable, something supernatural and surreal ... At the time we violate the privacy others, with this camera brings us closer and thus magnifies the character as a monster and at the same time it violates our privacy. While this close-up says a lot ... And we see at the bottom of the eye can see ... the crimes we see the blood ... But this blood there, it is known already, it is already in us, but if you prefer the other ... As in the days of gladiators ... We see and we vomit with our eyes. There's that look of Fuad and must be put in parallel with the atrocious crimes he commits! That's true
creation of Lewis, to go further than the eye, further the scene and pushing without fear, with a rapid gesture, the red curtain that hides all the abuses of Fuad, who hides all that is inside us ... The inside us ... The inside of the mad ... If the wide shot highlights the internal structures of a given system, the Focus highlights the internal himself within the more invisible becomes visible, but without structure, without the world, or world without the structure of world wide shot ... The pile of tripe is more body, it is a structure, a body part cut off from the rest. Each
crimes proposed by Herschel Gordon Lewis puts This evidence, ie plans, objects, things, bodies or whatever else, that are "cut" and many more cut off from the world of objects without backgrounds who become forms such barbaric and brutal these associations surreal. Le Chien Andalou is an exquisite corpse, Blood Feast is an exquisite corpse that will restore more.
Warning I am not saying that Blood Feast is a surrealist film, no, it is even in my opinion, human all too human, but I say that asking the gore it raises the close and even goes away (as if we already had this in the Andalusian Dog) by adding this violates the intimate, color ... Still, for me the real question of gore, and that's why I want both estimated Lucio Fulci, remains close. By cutting an object from its context, the context is in fact a kind of expansion, a monster that still glues together a reality in it, by itself, is injected horror. By cutting a leg, removing it from its context is in fact an atrocity .... In this sense
Blood Feast is a film without substance, I mean, no depth of field. At no time have we the right to put in perspective, so any time we can guess a future, any ounce of joy ... The Focus engulfs the body and the eye devour them. The close approaches while denying the individual, ie, all the symbolism and it's next to Fuad, we approach the monstrous result of falling asleep. I think it's the gore and it is my opinion that makes Blood Feast a great movie in this genre and maybe even the one ... here we cross a threshold in terms of image, n has rarely had crossed. The adult sense of the term, the horror is almost free ... Let us renew us here, with the spear, we do not seek not explain the world, to put it into perspective or equation, we just constons, helplessly. We see it in a hypnotic state, as the first man had to watch in horror, lightning descend loan of his cave. It was the notion of rationality that is reread it ven in question, our daily c'ts itself becomes unbearable to the point where we can no longer understand it.
That said, I hope and heard, we must necessarily take an interest in what's more gore in the film: the crimes. That women of course ... The first filmed crime, even before the credits, is to me a lesson in staging despite the basics used by the director. It should be absolutely even, although I'm not going to talk about it here. However note that in this first crime as in all others, there is no prospect, a wall here, elsewhere the night, yet another wall. Can not say the world can not be in the world and impossible to escape.
Nothing is possible, not even the love ... Look at this little quiet on the beach couple, who broke the rule of the twelve strokes of midnight, and who will be killed. All crimes have their big plane. All shows us that faced with the impossibility reign a nameless horror. Example
even more striking is the crime or the sound is more before the murder or at the time of the crime, the real sound comes a cry. As if reality did not come to pass, always overtaken by horror. The close-up of crimes brings us face to face, like the close eye of Fuad nius placed face to face with the unspeakable, to the unfathomable and abject. This is what makes me feel a great movie gore and they are few ...
I want before moving on to something else, as noted in more close-up, use the blur. On several occasions during these scenes lethal, the plan becomes blurred, bypassed by the act of assembly, but still clearly visible anyway. The blur is two things: excess and lack of precision. The excess when approaching things too, when the camera physically reacts to this sudden and brutal approach. The focus is no longer.
It also lacks precision because it is as surprised by the object that is filmed, surprised to find so close, a sort of reaction on contact with flesh. In this gray area, so there is this something that indisble, this kind of black hole, this variable is that we move towards the unknown. The blur in
Hercshell Gordon Lewis, is this inability to tell the world, this inability to go further ... Censorship? No, I do not think ... More of a physical reaction of the camera facing the biological unbearable ... A tale of morality? No. For if the Focus, as we have said above is a moral issue, the guarantor is not the director but the editor who chooses to keep or not to insert or not ... No, it s IS there some kind of filmmaker anxiety, an anxiety that results in an odd inaccuracy, which is reflected within the same plan ...
Blood Feast is not a film that tells the world, but that does not tell the world that ignores the world to pass through the object, the body itself being an object the victims being nothing more than meat. Apart Fulci film has never been this far in the unspoken in the world not in what I call for my part, the big nowhere. To find equivalent should go toward the painting on the side of Bacon, Soutine, the monochrome Malevich (is there any more btl way to say goodbye to the eye) and may create a situation same side of abstractions, which are the only images that go far in the direction where it passes through the material ... carrement
2 / archaic and Primitivism:
course as you can imagine by reading this short note, I have chosen to Blood Feast as gory scenes, murders in doing. It may be that there is not much more ... I told you Blood Feast is a film without substance ...
But it should nevertheless not overlook the rest of Hershell Gordon Lewis ... Car is here demonstrate an archaism and a great primitivism fabulous! For my part, I find it very beautiful. We often forget the simple things, what makes these simple things are lost. Remember these words of Robert Bresson who said why put two violins there or did you need a ... Well, this is not really the case in Blood Feast, and I would say there's Baroque this film, especially in this first great opening scene, blue etc. ...
But it should also remind us of Picasso having shown all the paintings from the Prado, fall in love with a statue of African art that the simple and primitive lead to other paths, those hence we know. The archaism of
Hesrhell Gordon Lewis in the mists of time. Remember my introduction to the cave. Remember the red curtain that now we have not crossed and that is years behind shop Fuad. It ets time now passed through ...
and here we are, or have we entered? In the cave, this place closed or create the bloody cult, or create a new goddess, golden calf ... Back to the source of humanity back into the cave first ... There we have it and then you understand that interconnection Blood Feast involves. We travel for millions of years ago. By choosing a sort of sorcerer of ancient times in a lost civilization that can not recognize the name of morality again and again, Lewis takes us into the worlds forgotten, the cruelty first, under the guise of gods, engage the worst abuse.
Again in this cave of horrors, the basis of our humanity and generator matrix of morality, there is no escape, no putting into perspective.
must then look to Méliès the magician to understand (you see it was worth my introduction !). Plans Méliès is commonly said to resume the position of the gentleman of the orchestra. This means that there is not in the films of Méliès camera moves and in its fixity the machine next to the wife everyman, the eyes of a follower lambda in a theater. This does not detract from the magic and beautiful films of this brilliant designer.
Well, in this fabulous idea of primitivism, Lewis takes up such plans, filming the front, trapping the light, not always in horror elsewhere, and giving more a show (we think the great horn of course!) which still says unable to see and even the inability to escape the rest ... a kind of filmed theater, as can be seen among others in the scenes (catastrophic ??!!) the police station, on a theater to be played as above, above the world without being able to see or feel ... Maybe the awful truth is there ... Just in the impossible, the unattainable ...
Blood Feast is a movie so strange, both pioneer, discoverer of new land, but at the same time reconnecting with the beauty of the primitive, the archaic and film to fit. A film that says nothing and is the only message is there, ie the impossibility of say, show what does not show. Lewis, pioneer crossing borders that nobody crosses with equal skill and bravery with exception of Lucio Fulci.
Then of course, Blood Feast is a film a bit old, a little past but whatever ... C'st also what makes it so charming. It remains as always a trace of the finest archaic, the one I prefer, one that remains attached to my heart like a bullet: the story ... because Fuad is a bad wolf who devours the poor girls, but who will pay for his crimes and his abject cannibalism.
For me it is a pinnacle that the author himself never equal ...
Beyond life and breath and noise.
An awful black sun shines where the night.
Victor Hugo. What does this mouth shade.
Introduction: The chronology bloody.
On the walls of the cave illuminated by a flickering light, shadows dance, pointing here and there designs. The light and animate them with a blow, a spear penetrates the side of an aurochs, a penetration violent and bloody. Stage of life, lest too. Then the man as if to exorcise his inner demons, to ejaculate as fears buried deep inside him, draw violent scenes, foreshadowing the appearance of gods and early days of slavery. For the man who tamed his fear is a free man ... The magic of hieroglyphics, the magic of writing, 2001: A Space Odyssey The Journey ... fabulous!
April 1886. On a dock in Paris, a small crowd that will be mass magnifying ... She wants to even one child is called the Green Street. An angel's face, resting on a red seat. An angel's face, pale, dead ... The crowd, which is no longer a crowd but an audience has come to be called identify the dead child, she especially wants to feel the corpse. A short loan at the same time is the big horn and the waxworks, museum of petrified statues in a life that is not one and a death that is not the end. So, we just see all these small deaths, as if to reassure, to see life as ... Feeling immortal put a distance between us and the abyss.
1899, it seized a magician of the cinema. The magic invites himself to the cinema ... Méliès films Suicide of Colonel Henry and screen head explodes. The blood gushes, that of "Spear", death takes the blank canvas ... Film is this strange place, the cave or the shadows of life and death mate, or the past meets the present day, without leaving a only part of the future. A distance that the lantern between us and our prophetic destiny. A history of distance ....
1929. In the foreground, one eye is cut in two, a woman's eye. In the sky a cloud passes in front of a moon. They cry foul, Dali and Bunuel are on the brink of history at the stake avce Andalusian Dog! Yet here combines the raw violence and poetry the craziest. A dream awake, which arise on the walls of our consciousness so much engulfed, eros and thanatos ... This is true for many of the first act, horrific. For me it is the best! Because of Eros and Thanatos ...
That said we finally arrive at the film that interests us, the feast of blood, the Feast of Fools, the crowning of the voyeur, the beginning of the end ... But why this tedious
introduction, filled with dates? Because it is important to understand that cinema is not an evolution (or revolution) but it is artistic creation is modern and scientific what ever happened to cut ancient myths, religions called archaic, it is the end of this thread that the first man hung a few years ago by freezing on the walls of a cave, his fears, he transformed in god and he sought to "separate", putting a distance between him and the Thing! The film does say that the end of our society ... It was all there and destiny fulfilled almost without us. I hope you have grasped the links I wanted to weave and I'll talk later.
1-Just for a glance of you ...
The film addresses the need of a voyeur. We are well, we poor humans, controlled by impulses that have been put in us, that drives most of us are trying to hide. Yet we always answer that one and only ever need. More money as well if our day could be eternal, more notes to the point of forgetting the melody, more images to create cubism and more ready, ever willing, to the point forget even the very nature, I mean the natural vision. The real creation Film is the editing. Every image maker is one day faced with this great adventure ... And if there is mounting that the vision offered by the cinema is not a natural vision. The proof of the close-up.
I spoke earlier of Chien Andalou, the film was for me the penny barrier to cross before reaching the unreachable. To achieve this it will be inaccessible just a big plane, that of the eye sliced in half, cut its hemisphere and connected to the lunar symbolism.
Far from me to suggest an analysis of Chien Andalou is why, if you I could, I would retain for the moment that this Focus. The act itself is a violent act, but that this violence create or at least the highlights, it is precisely the fact that the eye is filmed at the ready, or so unnatural vision of Agenda intimate. Which would not have had to be seen and show here. What was the order of intimacy, or what in the classical theater should have happened behind the curtain here is the center of our attention. It explodes in front of us and crossed the course of "unshowable, ie the obscene (in the sense that it can not be shown on stage) so even the gore ... With Focus, we take the ultimate step of the film, we forget the soul, the human context for us to fix what should never be seen. If Godard said the Traveling is a moral issue, I would say the Focus is a moral issue ... For the Closeup, to penetrate the intimate, innermost in the mind of a viewer who is not prepared for this. The big plan is the most despicable act of the film, it is the domain of gore! I want to prevent the wholesale level may also be something symbolic and sometimes it must not clinging stupidly to the classification plans as if there was a fixed grammar of cinema, but went for the strength of the symbol in the picture ... So here
We arrived at Hesrhell Gordon Lewis ... In 1963, this director U.S. is a minor Hollywood craftsman. A small manufacturer of nudies, that is to say, bands that are sold in the drive-in or scenario needs to include some nude shots of simple but crisp. Moreover Blood Feast proposes a fine example when the not very beautiful (sorry!) Connie Mason, who is basically a simple palymmette takes sunbathing in the company of some nice friends. That is, it gives you an idea of what kind of band that could produce Lewis.
But then, in 1963, with his friend and producer David F. Friedman, he cried and turns following one of these nice junk, a new film, something like: "nothing comparable in the annals the horror ... "Shot very quickly, just as quickly written by an ex-cop, Hershell Gordon Lewis is the creator, today is nicknamed the grandfather of gore, the first true reel bloody ... So that
'is what makes it unique, what makes that the film becomes a "first"? Well for me, is clearly the close, with all its psychological and symbolic value. Closeup of dismemberment by example. Well, as many say now, it's not as good as Lucio Fulci, but it is the only director who said Gore really my opinion, because it is the only one who knew how to wear as far aesthetics and "mythology" of the dismemberment of the liquefaction of flesh, blood dripping, bursting from the scene and framework with a lot of Focus.
course, Blood Feast has its share of horror and level of intimacy.
But it is a big plan said to me the whole movie and even said that all the gore. Strangely, this plan, not a bloody.
Fuad, the murderer, is an Egyptian shop. You'll see later what happens in the background, behind the big red curtain that hides behind his shop. Between a woman's mother, Connie Mason. She wants to organize an original meal for the birthday of his daughter. And then the genius of Lewis, also included more or less Mabuse, Dr. hypnotic, it inserts a close, very close eye. A close-up that lasts and lasts and lasts ... It is so hypnotized, and highlight, so are we. For once, as we will do may we never shared an intimacy with the killer sound bad ... This large pan symbolizes attraction, this inability we have to look away from even in our control. It most certainly look there, but less intimate, that would be the child of Green Street ... We are caught in the mouth look, this abyss where we dive in face to face this disease. You see all the subtlety of the big plan? And that Herschell Gordon Lewis who supply us with large purely gore ... Something is palpable, something supernatural and surreal ... At the time we violate the privacy others, with this camera brings us closer and thus magnifies the character as a monster and at the same time it violates our privacy. While this close-up says a lot ... And we see at the bottom of the eye can see ... the crimes we see the blood ... But this blood there, it is known already, it is already in us, but if you prefer the other ... As in the days of gladiators ... We see and we vomit with our eyes. There's that look of Fuad and must be put in parallel with the atrocious crimes he commits! That's true
creation of Lewis, to go further than the eye, further the scene and pushing without fear, with a rapid gesture, the red curtain that hides all the abuses of Fuad, who hides all that is inside us ... The inside us ... The inside of the mad ... If the wide shot highlights the internal structures of a given system, the Focus highlights the internal himself within the more invisible becomes visible, but without structure, without the world, or world without the structure of world wide shot ... The pile of tripe is more body, it is a structure, a body part cut off from the rest. Each
crimes proposed by Herschel Gordon Lewis puts This evidence, ie plans, objects, things, bodies or whatever else, that are "cut" and many more cut off from the world of objects without backgrounds who become forms such barbaric and brutal these associations surreal. Le Chien Andalou is an exquisite corpse, Blood Feast is an exquisite corpse that will restore more.
Warning I am not saying that Blood Feast is a surrealist film, no, it is even in my opinion, human all too human, but I say that asking the gore it raises the close and even goes away (as if we already had this in the Andalusian Dog) by adding this violates the intimate, color ... Still, for me the real question of gore, and that's why I want both estimated Lucio Fulci, remains close. By cutting an object from its context, the context is in fact a kind of expansion, a monster that still glues together a reality in it, by itself, is injected horror. By cutting a leg, removing it from its context is in fact an atrocity .... In this sense
Blood Feast is a film without substance, I mean, no depth of field. At no time have we the right to put in perspective, so any time we can guess a future, any ounce of joy ... The Focus engulfs the body and the eye devour them. The close approaches while denying the individual, ie, all the symbolism and it's next to Fuad, we approach the monstrous result of falling asleep. I think it's the gore and it is my opinion that makes Blood Feast a great movie in this genre and maybe even the one ... here we cross a threshold in terms of image, n has rarely had crossed. The adult sense of the term, the horror is almost free ... Let us renew us here, with the spear, we do not seek not explain the world, to put it into perspective or equation, we just constons, helplessly. We see it in a hypnotic state, as the first man had to watch in horror, lightning descend loan of his cave. It was the notion of rationality that is reread it ven in question, our daily c'ts itself becomes unbearable to the point where we can no longer understand it.
That said, I hope and heard, we must necessarily take an interest in what's more gore in the film: the crimes. That women of course ... The first filmed crime, even before the credits, is to me a lesson in staging despite the basics used by the director. It should be absolutely even, although I'm not going to talk about it here. However note that in this first crime as in all others, there is no prospect, a wall here, elsewhere the night, yet another wall. Can not say the world can not be in the world and impossible to escape.
Nothing is possible, not even the love ... Look at this little quiet on the beach couple, who broke the rule of the twelve strokes of midnight, and who will be killed. All crimes have their big plane. All shows us that faced with the impossibility reign a nameless horror. Example
even more striking is the crime or the sound is more before the murder or at the time of the crime, the real sound comes a cry. As if reality did not come to pass, always overtaken by horror. The close-up of crimes brings us face to face, like the close eye of Fuad nius placed face to face with the unspeakable, to the unfathomable and abject. This is what makes me feel a great movie gore and they are few ...
I want before moving on to something else, as noted in more close-up, use the blur. On several occasions during these scenes lethal, the plan becomes blurred, bypassed by the act of assembly, but still clearly visible anyway. The blur is two things: excess and lack of precision. The excess when approaching things too, when the camera physically reacts to this sudden and brutal approach. The focus is no longer.
It also lacks precision because it is as surprised by the object that is filmed, surprised to find so close, a sort of reaction on contact with flesh. In this gray area, so there is this something that indisble, this kind of black hole, this variable is that we move towards the unknown. The blur in
Hercshell Gordon Lewis, is this inability to tell the world, this inability to go further ... Censorship? No, I do not think ... More of a physical reaction of the camera facing the biological unbearable ... A tale of morality? No. For if the Focus, as we have said above is a moral issue, the guarantor is not the director but the editor who chooses to keep or not to insert or not ... No, it s IS there some kind of filmmaker anxiety, an anxiety that results in an odd inaccuracy, which is reflected within the same plan ...
Blood Feast is not a film that tells the world, but that does not tell the world that ignores the world to pass through the object, the body itself being an object the victims being nothing more than meat. Apart Fulci film has never been this far in the unspoken in the world not in what I call for my part, the big nowhere. To find equivalent should go toward the painting on the side of Bacon, Soutine, the monochrome Malevich (is there any more btl way to say goodbye to the eye) and may create a situation same side of abstractions, which are the only images that go far in the direction where it passes through the material ... carrement
2 / archaic and Primitivism:
course as you can imagine by reading this short note, I have chosen to Blood Feast as gory scenes, murders in doing. It may be that there is not much more ... I told you Blood Feast is a film without substance ...
But it should nevertheless not overlook the rest of Hershell Gordon Lewis ... Car is here demonstrate an archaism and a great primitivism fabulous! For my part, I find it very beautiful. We often forget the simple things, what makes these simple things are lost. Remember these words of Robert Bresson who said why put two violins there or did you need a ... Well, this is not really the case in Blood Feast, and I would say there's Baroque this film, especially in this first great opening scene, blue etc. ...
But it should also remind us of Picasso having shown all the paintings from the Prado, fall in love with a statue of African art that the simple and primitive lead to other paths, those hence we know. The archaism of
Hesrhell Gordon Lewis in the mists of time. Remember my introduction to the cave. Remember the red curtain that now we have not crossed and that is years behind shop Fuad. It ets time now passed through ...
and here we are, or have we entered? In the cave, this place closed or create the bloody cult, or create a new goddess, golden calf ... Back to the source of humanity back into the cave first ... There we have it and then you understand that interconnection Blood Feast involves. We travel for millions of years ago. By choosing a sort of sorcerer of ancient times in a lost civilization that can not recognize the name of morality again and again, Lewis takes us into the worlds forgotten, the cruelty first, under the guise of gods, engage the worst abuse.
Again in this cave of horrors, the basis of our humanity and generator matrix of morality, there is no escape, no putting into perspective.
must then look to Méliès the magician to understand (you see it was worth my introduction !). Plans Méliès is commonly said to resume the position of the gentleman of the orchestra. This means that there is not in the films of Méliès camera moves and in its fixity the machine next to the wife everyman, the eyes of a follower lambda in a theater. This does not detract from the magic and beautiful films of this brilliant designer.
Well, in this fabulous idea of primitivism, Lewis takes up such plans, filming the front, trapping the light, not always in horror elsewhere, and giving more a show (we think the great horn of course!) which still says unable to see and even the inability to escape the rest ... a kind of filmed theater, as can be seen among others in the scenes (catastrophic ??!!) the police station, on a theater to be played as above, above the world without being able to see or feel ... Maybe the awful truth is there ... Just in the impossible, the unattainable ...
Blood Feast is a movie so strange, both pioneer, discoverer of new land, but at the same time reconnecting with the beauty of the primitive, the archaic and film to fit. A film that says nothing and is the only message is there, ie the impossibility of say, show what does not show. Lewis, pioneer crossing borders that nobody crosses with equal skill and bravery with exception of Lucio Fulci.
Then of course, Blood Feast is a film a bit old, a little past but whatever ... C'st also what makes it so charming. It remains as always a trace of the finest archaic, the one I prefer, one that remains attached to my heart like a bullet: the story ... because Fuad is a bad wolf who devours the poor girls, but who will pay for his crimes and his abject cannibalism.
For me it is a pinnacle that the author himself never equal ...
I do not know yet what I will soon ... And I do If I do not know ... I do not know ... I do not even know if I would continue in any case ... Thanks to the few who read me ... Frankly it's been very happy ... Thanks for comments ...
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