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[RS com] The Movies of David Cronenberg
David Cronenberg, also known as the King of Venereal Horror or the Baron of blood, was born in Toronto, Ontario, Canada, in 1943. His father was a journalist, and his mother was a piano player. After showing an inclination for literature at an early age (he wrote and published eerie short stories, thus following his father's path) and for music (playing classical guitar until he was 12), Cronenberg graduated from the University of Toronto with a degree in Literature after switching from the science department. He reached the cult status of horror-meister with the gore-filled, modern-vampire variations of Shivers (1975) and Rabid (1977), following an experimental apprenticeship in independent filmmaking and in Canadian television programs.
Cronenberg gained popularity with the head-exploding, telepathy-based Scanners (1981) after the release of the much underrated, controversial, and autobiographical The Brood (1979). Cronenberg become a sort of a mass media guru with Videodrome (1983), a shocking investigation of the hazards of reality-morphing television and a prophetic critique of contemporary aesthetics. The issues of tech-induced mutation of the human body and topics of the prominent dichotomy between body and mind were back again in The Dead Zone (1983) and The Fly (1986), both bright examples of a personal filmmaking identity, even if both films are based on mass-entertainment materials: the first being a rendition of a Stephen King best-seller, the latter a remake of famous American horror movie.
With Dead Ringers (1988) and Naked Lunch (1991), the Canadian director, no more a mere genre movie-maker but a fully realized auteur, got the acclaim of international critics. Such profound statements on modern humanity and ever-changing society are prominent in the provocative Crash (1996/I) and in the virtual reality essay of eXistenZ (1999), both of which well fared at the Cannes and Berlin Film Festivals. In the last three filmic projects Spider (2002), A History of Violence (2005) and Eastern Promises (2007) Cronenberg avoids expressing his teratologic and oniric expressionism in favour of a more psycological exploration of human contradictions and idiosyncrasies.
Crimes of the Future (1970)
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| http://www.imdb.com/title/tt0065591/ |
The bizarre premise introduces a dystopian future society in the wake of a devastating epidemic � which killed off most of the adult female population thanks to a buildup of dangerous chemicals in cosmetics. Victims of this particularly gruesome affliction are marked by multicolored bodily secretions from every orifice � which seem to produce an irresistible aphrodisiac effect on others. The majority of surviving females are pre-pubescent and frequently sought by creepy underground organizations of pedophiles.
When one such group kidnaps a five-year-old girl, an agent from the Institute of Skin -- bearing the interesting moniker Adrian Tripod -- sets out to find her. Tripod drifts from one bizarre situation to another in his quest to find the girl, leading to several cerebral and frequently twisted episodes.
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Shivers (1975)
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| http://www.imdb.com/title/tt0073705/ |
A startling look at modern isolationist society with a parasitic twist. When a scientist experimenting with a new form of organ transplants kills a young female resident of a fortress-like apartment complex before subsequently committing suicide, the investigation into her death leads to a frightening discovery. Originally conceived by the misguided scientist in a bid to aid organ transplant, an overzealous parasite quickly escapes into the complex in search of a host. One by one, the unsuspecting residents fall prey to the parasite, and the result is an aggressive horde of sex maniacs who will stop at nothing to satisfy their primal lust and pass the infection on through sexual contact.
Like George Romero, on whose Night of the Living Dead this film so successfully riffs, David Cronenberg knew early on how to parlay low production values and genre conventions into artistic strengths. Rarely has a horror film portrayed the ugliness of an era as subtly and unrelentingly as 'Shivers' does in its clinical dissection of the empty, high-rise '70s.
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Rabid (1977)
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| http://www.imdb.com/title/tt0076590/ |
Marilyn Chambers stars as Rose, an attractive young woman who becomes horribly injured in a motorcycle accident. Spirited away to the clinic of Drs. Dan and Roxanne Keloid, a pair of experimental plastic surgeons, Rose becomes an unwitting guinea pig in an operation that grafts genetically modified tissue into her body. Waking from her coma to find she is unable to ingest normal food, Rose unwittingly feeds on human blood by means of a phallic organ that emerges from a vulval orifice in her armpit. Within hours of providing Rose with sustenance, her victims fall prey to an incurable, highly contagious disease that turns them into raving lunatics who foam at the mouth and attack others indiscriminately.
From an opening sequence involving an auto accident caused by a family of clueless tourists to the scenes of Rose hitchhiking Canada's highways, Rabid adds the open road to Cronenberg's existing visual vocabulary of frosty architecture, empty hallways, and chic, modern women. Throw in the wry humor of the Keloid clinic's well-heeled cosmetic-surgery patients and the vulgar particularities of Rose's mutation and you've got a film whose visual style pops in all the right places.
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The Brood (1979)
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| http://www.imdb.com/title/tt0078908/ |
Psychologist Dr. Raglan (Oliver Reed), director of the controversial Psychoplasmic Institute and author of the book "The Shape of Rage," encourages his patients to outwardly manifest their anger and fear (aided by some experimental drugs), which then takes physical shape as actual sores, cancers or strange new organs. One of Raglan's more successful patients (from his point of view, anyway) is Nola Carveth, who is undergoing therapy following a painful divorce from her husband Frank. When Frank discovers evidence that Nola may have injured their daughter Candice, he begins to suspect Raglan's techniques but is unprepared for the most horrifying by-product of her rage: a progeny of sexless, dwarflike mutants who are born for the sole purpose of acting out her violent fantasies of revenge.
The director introduces the central premise of his story -- mutation as therapy -- in the first sequence, but its full implications are mapped out only in stages, culminating in a truly chilling finale that veers from stark, otherworldly suspense to set piece gross-out. Shivers, Cronenberg's feature debut, moved at a similarly deliberate pace, but it was full of violence and gore almost from the start.
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Scanners (1982)
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| http://www.imdb.com/title/tt0081455/ |
The title of this sci-fi horror film refers to a group of people who have telekinetic powers that allow them to read minds and give them the ability to make other people's heads explode. The children of a group of women who took an experimental tranquilizer during their pregnancies, the scanners are now adults and have become outcasts from society.
Perhaps the best and most characteristic film in David Cronenberg's early career, Scanners has a distinctly bizarre premise: telepathic humans bent on world domination use their powers to blow up other people's heads. The director's earlier efforts are often labeled horror films due to their host of grotesqueries -- the exploding head in Scanners is one of his most indelible images -- but they're better thought of as bleak, philosophical science fiction. Scanners is most concerned with the incongruous relationship between the human body and technology, a theme that Cronenberg would continue to explore in nearly every subsequent film, most obviously in works such as The Fly (1986) or Existenz (1999). Scanners was Cronenberg's first film with a modest budget, though the gritty look is very much in keeping with his lower-budget work.
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Videodrome (1982)
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| http://www.imdb.com/title/tt0086541/ |
Hardcore pornography, sadomasochism, mind control, and living televisions all play crucial roles in Videodrome, one of director David Cronenberg's explorations of dangerous sexuality and technological obsession. The morally questionable hero of the tale is one Max Renn, a television executive searching for an intense new program for his sex-oriented network. He ultimately discovers an underground program called "Videodrome," which appears to broadcast pornographic snuff films of actual murders. Horrified but perversely intrigued, Renn sets out to find the truth behind the program.
Well before he adapted William S. Burroughs' Naked Lunch, David Cronenberg's debt to the beat writer was laid bare with Videodrome, a phantasmagoric journey through fractured psyches and cathode tubes. The film features several of Burroughs's trademarks, including a stream-of-consciousness narrative, a paranoid, conspiratorial tone, and overriding themes of desire and addiction. At the same time, this movie is perhaps the best articulated vision of Cronenberg's ongoing exploration of the edges of technology and human physiology.
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The Dead Zone (1983)
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| http://www.imdb.com/title/tt0085407/ |
A schoolteacher, Johnny Smith, awakens from a five-year coma. He discovers that he has acquired the ability to foretell a person's future simply by touching his or her hand. After seeing several examples, Smith's doctor becomes convinced that Smith can not only predict the future, but also has the power to change it. This ability is given its severest test when Smith shakes the hand of ruthless political candidate Greg Stillson � and suddenly has a flash-forward to a nuclear holocaust.
David Cronenberg's adaptation of Stephen King's novel The Dead Zone succeeds in fusing the distinct vision of two very different approaches to horror. Where King's books succeed at revealing the horrific and mysterious in a seemingly ordinary world (The Green Mile, Christine, It), Cronenberg has always been intrigued by the fragility of the human body. The movie version of The Dead Zone triumphantly coalesces these two themes into a highly emotional and simultaneously chilling tale.
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The Fly (1986)
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| http://www.imdb.com/title/tt0091064/ |
Jeff Goldblum and Geena Davis star as Seth Brundle, a self-involved research scientist, and Veronica Quaife, a science-magazine reporter. Inviting Veronica to his lab, Seth prepares to demonstrate his "telepod," which can theoretically transfer matter through space. As they grow closer over the next few weeks, she inadvertently goads Seth into experimenting with human beings rather than inanimate objects. Seth himself enters the telepod, preparing to transmit himself through the ether � but he doesn't know that he is sharing the telepod with a tiny housefly.
Some viewers read David Cronenberg's revitalization of the 1958 Vincent Price camp classic as a thinly veiled AIDS allegory (Cronenberg denies it), but more obviously the film attacks humans' unbridled ambition not only to understand nature but also to control and shape it in their own image. In a theme as familiar as Frankenstein (and Kafka's Metamorphosis), Cronenberg betrays his romantic heart when he shows the consequences of bending the scientific method to one's God-like schemes. Many viewers consider the film Cronenberg's best work -- fully rounded, as touching as it is gruesome, as intellectually complex as it is viscerally affecting.
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B GOOD AND SHARE WITH THIS BOARD
FEED YOUR KARMA & UPLOAD SOME NICE STUFF YERSELF!
Dead Ringers (1988)
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| http://www.imdb.com/title/tt0094964/ |
Two twin brothers, both renowned gynecologists, descend into madness after becoming romantically involved with the same woman in this disturbing, horrific drama. Jeremy Irons delivers a bravura performance as both Beverly and Elliot Mantle, Toronto-based surgeons who operate an exclusive gynecological clinic and share a reputation as brilliant innovators. They also share lovers, as the more aggressive, confident Elliott seduces women and later secretly allows the shier, more intellectual Beverly to reap the benefits. This arrangement is disturbed when Beverly falls in love with their newest conquest, Claire Niveau (Genevieve Bujold), a famous actress with an unusual gynecological deformity.
David Cronenberg focussed his obsession with the grotesque inward with Dead Ringers. Unlike his previous efforts, the director is more interested in the emotional defects of his characters as opposed to their physical manifestations of deviance. The clinical, disquieting tone is somewhat surprising from a director who is considered something of an auteur of vulgarity, not only because of the bizarre qualities of his films, but also because of his tendency to push the boundaries of special effects.
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Naked Lunch (1991)
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| http://www.imdb.com/title/tt0102511/ |
This cinematic/literary hybrid fuses motifs from Beat writer William S. Burroughs's novel of the same name with elements of the author's biography and plenty of the cerebral alienation and biomorphic special effects fans of creepy cult director David Cronenberg have come to expect. Bill Lee wants to write, but he exterminates bugs to pay the bills. His wife, Joan becomes addicted to Bill's bug powder dust, and soon he joins her in a world of unorthodox hallucinogens; he visits the kindly yet sinister Dr. Benway and walks away with his first dose of the black meat -- a narcotic made from the flesh of the giant aquatic Brazilian centipede.
Cronenberg was hardly faithful to either the contents or the precise spirit of the author's nightmarishly misanthropic beat masterpiece, but he did manage to transform elements of the book and the overall Burroughs mythos into a coherent entry in his own oeuvre of stylized alienation. The viscous special effects, vivid cinematography, and distorted period costume design all conspire to conjure up a dream-logic 1950s of squares, hipsters, and secret agents awash in neon, cigarette smoke, and junkie delirium.
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Crash (1996)
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| http://www.imdb.com/title/tt0115964/ |
After surviving a brutal car wreck, commercial director James Ballard finds himself slowly drawn to a mysterious subculture of people who have transformed automobile accidents into erotic events.
The film starts out with three bizarre sex scenes in a row, and many more follow. Although they aren't strictly exploitive and are necessary to the plot, squeamish viewers may find the film rough going. Crash paints a disturbing and coldly revolting portrait of turn-of-the-century Americans, advanced in technology but ~censored~ emotionally. For these numb, disconnected people, humanity has lost its appeal, and their only remaining thrills can come from twisting their useless bodies into a bloody wreck on the freeway of the millennium. Cronenberg has fashioned a brutally candid return to his favorite themes, as well as coaxing a surprisingly dark and perceptive performance from Hunter, who steals the film from its uninvolving star. It's not for the timid, but is well worth seeing.
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eXistenZ (1999)
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| http://www.imdb.com/title/tt0120907/ |
What is eXistenZ? According to the glossary Cronenberg put together for this film, it is a new organic game system that, when downloaded into humans, accesses their central nervous system, transporting them on a wild ride in and out of reality. What's more, it changes every time it is played, by adapting to the individual user -- you have to play the game to find out why you are playing the game. More than one person can plug into the same game and set out on a series of bizarre and surrealistic adventures together. The narrative takes place sometime in the near future, when game designers are worshipped as superstars and players can organically enter inside the games.
With a plot that folds in on itself and then proceeds to twist and turn until arriving at a very different place than it began, this science-fiction horror film is every bit as stimulating, absorbing, intelligent, and difficult to watch as his best genre films, The Fly, Dead Ringers and Naked Lunch. All of Cronenberg's trademarks are here: an overarching sense of doom, fiendishly gleeful gross-out gore, a healthy sense of humor about the proceedings, and serious questions about the nature of existence (hence the title).
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Spider (2002)
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http://www.imdb.com/title/tt0278731/
| Ralph Fiennes plays a grown man haunted by his childhood in David Cronenberg's stylized psychological drama Spider. Upon his release from a mental institution, Spider (Fiennes) takes up residence in a halfway house. Paranoid, quiet, and forever making notes, Spider spends much of the film remembering scenes from his youth, specifically a horrific event from his childhood that occurred after he came to believe that his father (Gabriel Byrne) was having an affair on his mother (Miranda Richardson). The psychological terror builds to a climax that challenges how much the viewer can believe Spider's recollections of the event. Bradley Hall plays Spider as a boy, and Richardson portrays many different women who come into contact with Spider. Spider was screened in competition at the 2002 Cannes Film Festival.
The material in Spider that works ranks with the best realized moments in Cronenberg's career: He handles his cast beautifully (Miranda Richardson, Gabriel Byrne, and Lynn Redgrave all deliver top-shelf performances), his vision of a gray and crumbling England trapped somewhere in time is superb, and the remarkably detailed flashbacks of Spider's blighted childhood are at once painful and mesmerizing. Spider is a flawed film, but one well worth watching; even its lesser moments are too strong to dismiss, and the highlights are at once horrible, honest, and deeply human.
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A History of Violence (2005)
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| http://www.imdb.com/title/tt0399146/ |
David Cronenberg directed this screen adaptation of a graphic novel by John Wagner and Vince Locke which explores how an act of heroism unexpectedly changes a man's life. Tom Stall (Viggo Mortensen) lives a quiet life in a small Indiana town, running the local diner with his wife, Edie (Maria Bello), and raising their two children. But the quiet is shattered one day when a pair of criminals on the run from the police walk into his diner just before closing time.
This bold but shockingly low-key thriller is without question one of the reigning body-horror master's most mainstream cinematic outings to date (no videotape-swallowing orifices or medieval-looking medical instruments here); however, the film's depiction of the vicious cyclical nature of violence is as horrific and challenging as anything in the veteran director's notoriously gruesome filmography.
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Eastern Promises (2007)
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| http://www.imdb.com/title/tt0765443/ |
Viggo Mortensen, Naomi Watts, Armin Mueller-Stahl, and Vincent Cassel star in this thriller concerning a London midwife who unwittingly stumbles into a clandestine Russian sex trafficking ring. An unidentified Russian teen has been rushed to a London hospital after going into labor. Though midwife Anna Khitrova (Watts) does manage to deliver a healthy baby girl, the newborn's mother dies tragically during delivery. But the deceased mother's secrets did not die with her, because she has left behind a diary...
Much like A History of Violence, Eastern Promises is a film that will likely prove to the uninitiated what longtime fans of Cronenberg have known all along -- that he is not simply one of the most talented filmmakers of his generation, but one of the most courageous voices in contemporary film as well.
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