Anguish (1988)

After being hypnotized by his bizarre mother a man goes on a brutal killing spree complete with telepathic commands from mom to carve the eyeballs from his victims. But just when you think you ve seen it all comes the most shocking twist imaginable Zelda Rubinstein (POLTERGEIST SOUTHLAND TALES) and Oscar® nominee Michael Lerner (BARTON FINK MANIAC COP 2) star in one of the most acclaimed and unconventional horror films of the 80s. You won t believe your eyes as controversial Spanish writer/director Bigas Luna known primarily for his art house films like JAMON JAMON creates an otherworldly twist of reality in the William Castle tradition.Format: DVD MOVIE Genre: ACTION/ADVENTURE/THRILLERS UPC: 827058112499 Manufacturer No: BU1124 Product Description

Excellent Self-Reflexive Horror Film

The horror and science-fiction genres one could argue are inherently post-modern, the ease with which they interchange, and their long standing propensity for pastiche and homage, mark them out as particularly appropriate forms for directors with post-modern sensibilities. But post-modernism as a critical tool is very different to what has been termed the `post-modern' horror film. The distinction here is films that are weighed down by a knowing self-awareness and self-reflexivity and a need to quote from a myriad of sources. As we know histories are written by the winners, and in the case of the post-modern horror film the major figure is Wes Craven. His two key contributions; "A New Nightmare" and "Scream" sent the horror genre down a path which unfortunately turned into a creative cul-de-sac. Fortunately for Craven, the excellent Spanish horror film "Anguish" directed by Bigas Luna became an instant obscurity on its release in 1987. I say fortunate because this film could arguably be seen as the first truly self-conscious post-modern horror film.

Luna is perhaps best know to audiences who frequent the art cinema circuit, but "Anguish" nestles neatly and quietly in a filmography that is better know for the arty eroticism of "The Ages of Lulu" and "The Tit and the Moon". Perhaps the fact that Lunas had not worked within the horror genre before or after gave him a certain critical distance, and one which was able to utilise the predictable clichés of the slasher movie, and then to essentially satirise them. Naturally with exercises like this, the film comes perilously close to becoming a little too clever for its own good, but Lunas is not afraid to get his hands dirty and the film is decorated with a number of gruesome and violent moments.

It is very difficult to talk about this film without giving it away, but its sufficient to say that the film within a film structure, which is then tripled by the audiences own experience of watching two films unfolding makes for a radical departure from 1980's norms. The films emphasis on eyes and vision makes the critique of spectatorship a little too obvious perhaps, but other themes such as matriarchal dominance, and the question of whether films of this type can have a real and substantial influence on people gives it an added layer of value. Watching it now, the film seems ripe for academic re-assessment. I say this because as well as self-consciously satirising slasher conventions, Lunas also self-consciously created a film that appeals to such theoretical approaches as psychoanalysis. In its coveting of high cultural critical approaches, "Anguish" becomes a pretty arty movie in its own right, suggesting this is far from an aberration in the Spaniards filmography. This review has purposefully avoided going into plot details, I understand due to the obscurity of the film that many readers may not have seen it, and this is a film that can be spoiled all to easily by a single clumsy review.
June 24, 2008

ANGUISH-highly underrated-awesome horror movie!!!

I only watch horror movies. I'm 100% a horror fan, and the trash put out these days are highly disappointing considering what I am used to. ANGUISH is a pure classic-highly underrated, very talented, highly imaginative with a great plot, thrills, chills, some nice gross out scenes-and SUPERB ACTING!! Yes I've seen hundreds if not thousands of horror movies and I have seen this one at least a dozen times-and NEVER have I ever gotten tired of it. THIS MOVIE IS A GREAT TREAT!!! IF YOU NEVER SEEN IT-YOU MUST!!! YOU SIMPLY MUST!!! I wish I could give it a hundred stars.
May 31, 2008

Fascinating Film

I have given this film a 5 star rating, even though I have not seen the upcoming dvd release. I am also aware that this very special film is not for everyone. But unless the DVD is incrediby botched, my 5 stars stand proudly.

It's difficult to review this film because I don't want to spoil the experience of watching such a slippery, convoluted experiment in cinematic narrative. Let me just say that this film's narrative structure is highly unusual, and the frequent sudden shifts of reference could cause a bit of vertigo in the viewer as they try to figure out just what the heck is going on, only to have their hypothisis shattered (or at least tightly twisted) a few minutes later. This twisting, shifting narrative is fascinating to me, even though others may find it annoying. It's like living in a chinese box puzzle.

Perhaps I am especially partial to the film because I saw it in its original theatrical release. The theatre in which I watched it apparently had a very cool manager. During the last scenes of the film, when all the temporal and spatial references collapse, this theatre staged yet another plot twist by presenting yet another twist to the plot, enacted by a live "cast", sort of like the Rocky Horror Picture Show. The effect was startling and disorienting.

SPOILER ALERT!!!! Do not read any farther if you haven't seen the film before.

Imagine This: There is a movie, a silent movie, playing on a theatre screen. In the theatre, there is a murderer holding a person hostage in front of the screen, but this, too, is a movie . . . and in the theatre in which it is playing, there is a murderer holding a person hostage in front of the screen . . . but this, too, is a movie . . . and in thetheatre in which it is playing there is a murderer holding a person hostage in front of the screen . . . but this, too, is a movie . . . and in the theatre in which it is playing -- the theatre where YOU are sitting . . . there is a murderer holding a hostage in front of the screen. Yes, this murderer and his hostage are in the theatre with you, and the hostage was sitting on the same row you are sitting on. Then the police break in to all four theatres (yes, even the one where you are sitting) and shots are fired, and the movie ends. On the screen is the interior of Theatre number 3, and the credits unfold on that screen, as people in the MOVIE begin to file out of the theatre where they were sitting, amd apparently somehow find themselves in the theatre where You are sitting, because people are also exiting from THIS theatre.

Now, of course, unless you really work on it, the live show in the theatre where you are sitting, will not happen. Police will probably not break down your door and shoot the villian holding a friend of yours hostage in front of your tv, but when you actually watch ANGUISH, why not imagine this 4th theatre, this is actually your TV room, and that this fourth layer of the plot is actually taking place in your home.

PS: As long as we're spilling spoilers, let me invite you to be sure you have your surrounds run up all the way when watching the film. There is an extremely disorienting disconnect between layers early in the movie, as we assume we are watching one movie, but then begin to hear conversation and "popcorn crunching" all about us. Then the image is reframed and you realize that you have been watching a movie within a movie.

Watch With: The 1,000 Eyes of Dr. Mabuse, Memento, Identity, The Tingler, and any film that has an experimental narrative structure, such as Last Year at Marienbad, Intolerance, Time Code, etc.

May 8, 2008

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