Two girls from New York (Ashley C. Williams and Ashlynn Yennie) find themselves stranded in the German countryside after getting a flat tire. Seeking refuge from a leering local and the rain, they knock on Dr. Heiter’s (Dieter Laser) front door, asking to use his phone.
Unfortunately for them, Heiter, an expert on the surgical separation of Siamese twins and dedicated misanthrope (Heiter, get it?), has decided to “create” rather than “destroy”, and plans to stitch the girls and a Japanese man end to end, as it were, mouth to nether region (get it?) forming a continuous digestive system… A Siamese triplet.
You pretty much know what “the human centipede” is about going in, you’re just not sure how bad it’s going to be. You also know ten minutes in that whatever’s coming to the two girls, they deserve it: they would make Darwin spin in his grave. They are the first stereotypical characters of the movie, and pretty much scream from beginning to end.
The two cops who appear towards the end also are clear stereotypes, virtually identical in both look and clothing. The thing about stereotypes is that they can actually be funny, as in biting satires, but more often than not, they’re just lazy.
“Die 3 Groschen Oper”… Of late, we have been going through several films of significance, centering around the evil men are capable of. I am thinking mainly of “the killer inside me” and “Wolf Creek”, but there’s more: “Psycho”, “M” and much more.
If you are familiar with “threepenny opera” you might think the comparison to be strange, but it really isn’t.
“Threepenny opera” began as a stage play written by Bertolt Brecht, a playwright of vision and talent who was also very difficult to work with, focusing as he did on differences rather than goals. Basically an egotistic prick with talent, Brecht’s history is fascinating in itself but is not the focus of this piece.
One of the protagonists (antagonists?) of “threepenny opera” is Macheath “Mackie” Messer, a psychopathic killer, in modern terms. You are probably familiar with the song “Mack the knife”, which has seen several interpretations over the years, by Louis Armstrong, Bobby Darin and Frank Sinatra among others.
But the original version is not quite so… watered down, and we actually owe its existence to Harald Paulsen, another egotistic you-know-what who was cast as Macheath before Rudolf Forster replaced him, and most likely for the better.
The fact remains, however, that if not for Paulsen’s demands to have a song introducing his character, we would not have this classic today.
Some places remain within you forever, that is a fact. The Oceanographic Institute in Monaco Ville is so deeply embedded in my mind, I had no clue where this image I photoshopped came from, until reading an article recently:
This year, I realized only this week, marks the 100th anniversary of the Institute. The impressions it left upon me 40 years ago are much more than memories.
Le Pétomane was the stage name of the French flatulist (professional farter) and entertainer Joseph Pujol (June 1, 1857 – 1945). He was famous for his remarkable control of the abdominal muscles, which enabled him to fart at will. His stage name combines the French verb péter, “to fart” with the -mane, “-maniac” suffix, which translates to “fartomaniac”. The profession is also referred to as “flatulist”, “farteur”, or “fartiste”. […]
Soon after he left school he had a strange experience while swimming in the sea. He put his head under the water and held his breath, whereupon he felt an icy cold penetrating his rear. He ran ashore in fright and was amazed to see water pouring from his anus. A doctor assured him that there was nothing to worry about.
When he joined the army he told his fellow soldiers about his special ability, and repeated it for their amusement, sucking up water from a pan into his rectum and then projecting it through his anus up to several yards. He then found that he could suck in air as well. […]
This is lighter fare, of the kind both grown ups and children (though not too small) would enjoy for both its lessons and visuals. This is the third of Michel Ocelot’s animations we have watched and while all three are distinct and original, there is a common humanistic thread to his tales that is enchanting. Ocelot’s background covers virtually every aspect of animation from background artist to director, producer and narrator.
See a scene here:
I don’t believe his name is well known here, although he certainly is widely recognized in his field.
“I got one foot on both sides of the fence, I can’t move, I can’t jump.”
Lou Ford (Casey Affleck) is a Sheriff’s deputy in a small town in West Texas, easy going and friendly with all. As a matter of fact, Lou does a lot of favors. He takes care of his community, no fuss, no muss.
That is until the Sheriff (Tom Bower), a good old boy drowning despair in alcohol, asks him to tell a hooker living on the outskirts of town to get a move on. Joyce (Jessica Alba) doesn’t take the news well, and slaps, then hits Lou. This exchange triggers something in him that he buried many years earlier. He gives Joyce a whipping with his belt and there starts a relationship based on animal lust and forceful, dangerous sex.
This also presents Lou with an opportunity to settle old scores. As he put it himself, “the problem with growing up in a small town is that everyone thinks they know you”.