The Keep (1983 film)

Based on the novel by F. Paul Wilson, The Keep is the story of a group of Nazi soldiers in 1941 Romania who enter an ancient fortress that possesses a mysterious entity that would eventually wreak havoc on everyone. Written for the screen and directed by Michael Mann, the film is a fantasy-horror film that explore this mysterious object that is filled with dark entities that would prove to be troubling for everyone. Starring Scott Glenn, Alberta Watson, Gabriel Byrne, Jurgen Prochnow, Robert Prosky, and Ian McKellan. The Keep is a fascinating but messy film from Michael Mann.

The film revolves around a mysterious fortress in 1941 Romania that the Nazis plan to use during the war where it is revealed that a mysterious entity has emerged within the fortress killing many where a Jewish professor, his daughter, a mysterious man, and other deal with this mysterious entity. It is a film that explore this entity inside a fortress in a small Romanian village near the Carpathian Mountains where the Nazis hoped to have control of the Dinu Pass. Michael Mann’s screenplay does showcase this air of conflict between two German officers in Captain Klaus Woermann (Jurgen Prochnow) and the more sadistic Nazi official Major Erich Kaempffer (Gabriel Byrne) as the former doesn’t want to bring any harm to the Romanian villagers but is also a much more humane individual than the latter who would arrive later following an incident in the fortress in which two soldiers tried to steal a metallic cross thinking it is silver and full of riches only to unleash the mysterious entity known as Radu Molasar (Michael Carter).

Captain Woermann turns to the local pastor Father Mihail Fonescu (Robert Prosky) for advice as Father Fonescu suggests getting the Jewish historian Theodore Cuza (Ian McKellan) who is at a concentration camp with his daughter Eva (Alberta Watson) as they’re retrieved despite Cuza’s ailing health while a mysterious man named Glaeken Trismegestus (Scott Glenn) arrives from Greece to deal with this entity. Mann does maintain this air of intrigue yet the fact that there’s so much going on and a lot of ambiguity into this entity doesn’t do much with the story though it is clear that there is a lot more that Mann wanted to say as it plays into the state of the world as well as the fortress itself as one of the first scenes in the film has Captain Woermann meet a man in Alexandru (W. Morgan Sheppard) who has been watching over the fortress as he made a warning towards Captain Woermann as he and his two adult sons are never seen again. It’s one of these things in the film that feels like it got cut out as there’s a lot of things that are unexplained in the film.

Mann’s direction is definitely stylish in terms of not just the vast scope he presents but also brings in this mixture of horror, drama, suspense, and war into one entire film. Shot partially on location at Llanberis in Wales as well as additional locations in Spain with much of the interiors of the fortress shot at Shepperton Studios near London. Mann definitely maintains some unique compositions including a lot of wide shots to get a look of some of the areas within this fortress that is filled with this air of death. Even in some of the exteriors where Mann uses some medium shots to get a look into the locations as well as the village where the Germans arrive with Captain Woermann wants to ensure civility. There are close-ups that do play into the drama and tension throughout the film yet the script doesn’t do enough to play into the suspense mainly due to the fact that the film was tampered with during post-production as there are scenes in the film that do feel longer as it has a lot more to say but got cut as some of the cutting feels awkward.

The scene where the two soldiers try to get this silver icon out of the wall that would lead to the chaos is a terrifying moment as is the reveal of Radu Molasar but there are elements in which Mann wanted to do so much more but it never goes all the way. Even as the presence of Molasar would loom over the village as Father Fonescu starts to act crazy where there is so much that feels like there is more to say. The film’s climax that involves Trismegestus and Molasar feels unfinished which lead to an abrupt ending of sorts as it does play like it was meant to be longer. Mann clearly wanted more to do but the result is something messy with so many questions into the stakes and the motivations of Molasar as it never is fully realized. Overall, Mann crafts a compelling but under-realized film about a group of people dealing with a mysterious entity at a Romanian fortress during World War II.

Cinematographer Alex Thomson does incredible work with the film’s cinematography as it is a highlight of the film with its usage of striking lighting for some of the interiors inside the fortress as well as some naturalistic looks for some of the daytime exterior scenes. Editor Dov Hoenig, with additional and un-credited work by Tony Palmer, does nice work with the editing as it has some moments to play into the suspense but the additional work from Palmer unfortunately has some jarring moments in the editing as it help play into the truncated tone of a film that felt longer. Production designer John Box, with set decorator Michael Seirton plus art directors Alan Tomkins and Herbert Westbrook, does amazing work with the look of the fortress including many of its interiors as well as the design of some of the interiors in village houses. Costume designer Anthony Mendleson does fantastic work with the costumes as it play into the period of the times including the Nazi uniforms that Major Kaempffer wears along with his own soldiers.

Makeup effects supervisor/prosthetics designer Nick Maley, with creature designer Enki Bilal, does excellent work with the look of some of the design of the corpses with Bilal creating the look of Molasar. Special effects supervisor Nick Allder, along with visual effects supervisors Robin Browne and Wally Veevers, does terrific work with some of the film’s visual effects as it play into the usage of practical effects and optical shots for some of the powers that Molasar has as well as the glowing eyes of Trismegestus. Sound editor William Trent, with re-recording mixer Doug Turner, does fine work with some of the sound in the way gunfire and other sound effects sound though there’s moments where the sound is muddled due to a lot of the chaos that went on during the film’s post-production. The film’s music by Tangerine Dream is phenomenal with its intoxicating electronic score that has elements of lush synthesizers with elements of guitars as it help play into the mood of the film as it is one of its major highlights.

The casting by Jeremy Zimmerman is superb as it feature some notable small roles and appearances from Frederick Warder and Bruce Payne as the two guards who tried to steal a silver icon that would unleash the terror that would haunt everyone, David Cardy and John Eastham as Alexandru’s sons who help him watch over the fortress, W. Morgan Sheppard as the fortress caretaker Alexandru whom Captain Woermann respects as he warns him about what is inside, and Michael Carter as the mysterious entity Radu Molasar who is this mysterious creature that is terrorizing everyone as it is a chilling performance though he is hampered by the film’s screenplay. Robert Prosky’s performance as Father Mihail Fonescu is an example of someone being miscast since Prosky doesn’t speak with a Romanian accent as he is someone who is trying to help Captain Woermann while dealing with some of the changes in Dr. Cuza’s behavior.

Ian McKellan is fantastic as Dr. Theodore Cuza as a Jewish professor who used to live in the village as he is taken from the concentration camp where he has an encounter with Molsar who cures his ailments as McKellan manages to even play into some over-the-top acting as a man trying not to get killed by the Nazis. Alberta Watson is good as Eva as Dr. Cuza’s daughter who is accompanying him as she is the lone female figure in the film who is seen by the Nazis as someone they can rape yet is also someone who is trying to understand what is going on as Watson has her moments in a role that is underwritten. Jurgen Prochnow is excellent as Captain Klaus Woermann as an infantry officer who reluctantly takes the assignment as he deals with the chaos involving the entity while also lamenting over Major Kaempffer’s sadistic tactics as he is a humane man that wants to protect the villagers and his soldiers from the chaos as well as questioning the ideas of the Nazis.

Gabriel Byrne’s performance as Major Erich Kaempffer as a Nazi officer who leads a band of commandos as he is a sadistic figure that spews Nazi rhetoric as it’s a role that is underwritten where Byrne doesn’t really get to do much but be an asshole. Finally, there’s Scott Glenn in a superb performance as Glaeken Trismegestus as a mysterious figure who seduces Eva while is also someone that is filled with a lot of ambiguity as Glenn is hampered by the script as it feels like there is more about him but is rushed because of the botch editing of the film though Glenn is able to bring in a performance is still intriguing.

The Keep is a good but extremely messy and flawed film from Michael Mann. While it has some incredible visuals from Alex Thomson as well as a great score by Tangerine Dream and some amazing set design. It is a film that feels like there is more to say in its original 210-minute cut that Mann had intended but instead the final version is at the 97-minute running time which feels more like a preview of something much darker. In the end, The Keep is a superb but undercooked film from Michael Mann.

Michael Mann Films: The Jericho Mile – Thief (1981 film) - Manhunter - L.A. Takedown – The Last of the Mohicans (1992 film) - Heat (1995 film) - The Insider – Ali - Collateral - Miami Vice - Public Enemies - Blackhat - Blackhat - Ferrari – (Heat 2) - The Auteurs #73: Michael Mann Pt.1 - Pt. 2

© thevoid99 2022

Spanking the Monkey

Written and directed by David O. Russell, Spanking the Monkey is the story of a medical student who is forced to stay home to take care of his injured mother as time spent with his mother lead to a troubling incest relationship. The film is an incest comedy of sorts of a young man who is trying to gain an internship as he is forced to return home by his father leading to all sorts of trouble. Starring Jeremy Davies, Alberta Watson, Carla Gallo, and Benjamin Hendrickson. Spanking the Monkey is a witty and offbeat film from David O. Russell.

The film revolves around a medical student whose plan to attend an internship in Washington is shattered when his mother is injured in an accident forcing him to take care of her for the summer while his father is away on business. The day-to-day routine of taking care of his mother and dog as well as doing household chores and lack of contact with others with the exception of a high school student lead to an unexpected incest relationship with his mother. David O. Russell’s screenplay explores the troubled summer of Raymond Aibelli (Jeremy Davies) whose chance to gain this important internship comes to question as he’s being forced to take care of his mother Susan (Alberta Watson) while his dad is away on business at the last minute.

Susan becomes needy not just because of her injury but also due to depression as it adds to Raymond’s frustration just as he met a young high school student in Toni Peck (Carla Gallo) who is interested in going to M.I.T. The chances to get his internship would be complicated by his father’s absence and mother’s neediness as it would lead to some events that Raymond wouldn’t expect as Russell would tell it in a darkly-comic presentation. Notably as the second half of the film is about the aftermath of this incest-driven affair and Raymond struggling with what had happened as it relates to his parents’ marriage which is becoming strained and filled with indifference.

Russell’s direction is largely simple in terms of its presentation as it is shot largely on location in Pawling, New York. While there’s some wide shots in the film, much of Russell’s direction is emphasized on close-ups and medium shots to get a look into the characters as well as using simple compositions to play into Raymond’s relationship with his mother as the close-ups also add to this sexual tension between the two as well as Raymond’s sexual attraction towards Toni. The approach to comedy is low-key as well as emphasizing on the awkward as it relates to the film’s second half in which Raymond discovers what he did with his mother and revelations about his relationship with his father. Even as he is forced to come to the fact that his father’s absence and selfishness has played a part in his mother’s emotional state and neediness that becomes too much for Raymond to handle who is in need to fend for himself and find his own path. Overall, Russell crafts a provocative and whimsical comedy about a medical student being forced to take care of his injured mother only to end up in a strange incest relationship.

Cinematographer Michael Mayers does excellent work with the film’s cinematography as it is largely straightforward in terms of its low-budget approach with some low-key lighting for some of the exterior scenes at night. Editor Pamela Martin does nice work with the editing as it include a few montages for some of the daily activities Raymond does as well as rhythmic cuts to play into its humor. Production designer Susan Block does fantastic work with the look of the home Raymond and his family live in as well as a few places he and his mother go to in the film’s second half.

Costume designer Carolyn Greco does nice work with the costumes as it is largely straightforward without anything stylish. Sound editor Steve Visscher does superb work with some of the sparse moments of the sound in the locations as well as what is heard from a TV as well as some of the noises from the inside. The film’s music by David Carbonara is wonderful for its folk-based score that is largely driven by acoustic guitars to play up the film’s humor while music supervisor Bonnie Greenberg provides a fun soundtrack that largely consists of music by the alternative-jazz band Morphine from their 1993 album Cure for Pain.

The casting by Ellen Parks is brilliant as it feature some notable small roles from Nancy Fields as a doctor, the trio of Josh Philip Weinstein, Zak Orth, and Matthew Puckett as friends of Raymond, and Judette Jones as Aunt Helen who briefly helps Raymond taking care of his mother. Benjamin Hendrickson is superb as Raymond’s father Tom who is a traveling salesman that goes away on business for the last minute as he’s bossy and demanding while is also hiding things that he doesn’t want Raymond nor Susan to know. Carla Gallo is fantastic as Toni Peck as a high school student who is intrigued by the idea of college while falling for Raymond prompting an unexpected relationship.

Alberta Watson is excellent as Susan as a woman with an injured leg who is depressed and needy as it play into someone that feels lost and unimportant using Raymond as someone who can fulfill her emotional needs. Finally, there’s Jeremy Davies in an amazing performance as Raymond Aibelli as a medical student who is forced to skip an important internship to stay home where he deals with taking care of his mother as well as his own sexual frustrations as it include a gag of him masturbating in the bathroom only to be interrupted by the dog.

Spanking the Monkey is a marvelous film from David O. Russell. Featuring a great cast and a disturbing yet riveting story of incest, sexual frustration, and emotional neediness. It’s a film that approaches a taboo subject with some offbeat humor as it play into a young man having to be there for his troubled mother only to get more than he bargained for. In the end, Spanking the Monkey is a remarkable film from David O. Russell.

David O. Russell Films: Flirting with Disaster - Three Kings - I Heart Huckabees - The Fighter - Silver Linings Playbook - American Hustle - Accidental Love - Joy (2015 film) - The Auteurs #70: David O. Russell

© thevoid99 2019

The Lookout

Originally Written and Posted at Epinions.com on 3/31/07 w/ Additional Edits.

Written and directed by Scott Frank, The Lookout is about a young man, damaged from an accident several years ago who is left mentally impaired as he's forced to right notes and things to get his life going. When he meets an old friend from high school, he suddenly takes part in a bank heist that would eventually go wrong. Frank, who has been known for writing screenplays in films like Get Shorty, Out of Sight, and Minority Report makes his directorial debut where he takes a different approach of the heist film. Starring Joseph Gordon-Levitt Jeff Daniels, Matthew Goode, Isla Fisher, Carla Gugino, Bruce McGill, and Alberta Watson. The Lookout is a smart, intelligent character study/heist film from Scott Frank.

The star hockey player in his high school and one of the top students, Chris Pratt (Joseph Gordon-Levitt) seemed to have it made. He had rich parents in Robert and Barbara Pratt (Bruce McGill and Alberta Watson) and was someone many idolized. Then one night after prom, he and some friends were on his car where playing around until a seriously horrifying accident happened leaving Chris damaged. Four years later, Chris is alive but mentally and emotionally impaired as he can barely remember the accident or put things in order. Even opening a simple can opener can be troubling. He talks to his counselor in Janet (Carla Gugino) about his day-to-day problems while he lives with a blind cook named Lewis (Jeff Daniels). In the day, he goes to school to improve his sequencing order while at night, he works as a janitor in a bank for his boss Mr. Tuttle (David Huband) and trying to work as a teller with help from Mrs. Lange (Alex Borstein).

Then one night after work, Chris goes to a bar where he meets a guy named Gary Spargo (Matthew Goode) who claims to have known him back in high school. Gary buys him a beer as the two begin to meet frequently as Gary introduces him to a former dancer named Luvlee (Isla Fisher). Chris is invited to a party where Luvlee told him she remembered him back in school at a championship game he played as she seduces him. Chris enjoys the company as he was invited to a post-Thanksgiving dinner where he learns of a plan involving a bank heist at his own bank. Chris at first doesn't want to get involved but Gary tells him it will be the only way to get away from his own mundane, repetitive life. Chris gives in eventually with a bit of help from Luvlee while Lewis notices a change in Chris' attitude and the company he's surrounded by. With Chris unwittingly takes pictures of the bank, he doesn't become aware of what is really going on.

With the heist going underway, tension begins to mount as Chris is wondering if he's doing the right thing. With Gary and his gang deciding to rob the bank at night with Chris being the lookout, he realizes he's in a lot more than he bargained for.

Heist films often has this sense of tension where things could go wrong during a heist and this film plays to the tradition of heist films of the past. The only difference about this movie is that it's really about this young, emotionally/mentally damaged young man who is sucked into a world of crime as an escape to his own mundane, repetitive life. Writer/director Scott Frank creates a momentum where the audience gets to know Chris Pratt and all of the things he's done in his day-to-day life. Even when he has to remember things, he has to write them all onto a notepad. It's really an engaging character study of this young man who becomes part of a heist as he gets into a moral dilemma.

The way the heist is set up reveals how Chris at first, gets into it by trading a jacket his mother bought him to the way he reacts to his own mundane life. Then once the heist comes around, there is this eerie tension that Frank sets up where it's known that something goes wrong. Whether it's a visit from the deputy watchman in Deputy Ted (Sergio Di Zio) comes in to check on Chris. To the moment they break into the vault and knowing that trouble is coming around.

Then there's the line "whoever has the money, has the power" which then becomes a game about power. Gary wants to use the money to lure Chris into all sorts of temptation until Chris' own conscience gets the best of him. While mainstream audiences might find the film's momentum in the first two acts to be jarring, it pays off in the third act. Particularly in the ending where it doesn't play to Hollywood conventions or has twists. Everything plays out straightforward. Even the characters who each have some back story while Gary is also flawed in a physical way since he carries an inhaler. Overall, the film's smart writing and very observant, stylish direction works as Scott Frank makes a hell of a debut.

Helping Frank in his visual presentation is cinematographer Alar Kivilio whose intimate camera work in the interior settings play to the film's tension, notably in the heist sequence. The exterior work shot on location in Canada as Kansas works to play up to the film's cold feel including the opening sequence that involves fireflies. Production designer David Brisbin and art director Dennis Davenport help bring the American look to create the bars and apartments that Chris lives and works in. Costume designer Abram Waterhouse also adds to the look of dark colors for most of the cast to convey this aura of darkness. Editor Jill Savitt really shines with her stylistic editing to convey the tension and suspense while giving the use of flashbacks to reveal the troubling emotions of Chris. Sound editor Kelly Cabral plays to the film's tension, particularly in the final moments to convey the cold weather and what is to come. Composer James Newton Howard brings a very melodic, moody score to play to the troubling mind of Chris Pratt as well as the suspense during the heist and its aftermath.

The film's cast is wonderfully assembled with small performances from Janaya Stephens and Marc Devigne as Chris' older, adult siblings, David Huband and Alex Borstein as Chris' bank supervisors, Sergio Di Zio as the comical Deputy Ted who often gives Chris donuts, and Laura Vandervoort as Chris' former high school girlfriend Kelly who brings an eerie presence to the film. Playing Gary's gang are Morgan Kelly as Marty and Aaron Berg as Cork who are both excellent while it's Greg Dunham as Bone that really brings an excellent presence with his black long hair and black sunglasses. Carla Gugino is excellent in her one-scene performance as Chris' caseworker while veteran actors Bruce McGill and Alberta Watson are fine as Chris' parents who struggle their attempt to reconnect with their son.

Known to audiences for her comedic work in Wedding Crashers, Isla Fisher is wonderful as the sexy seductress Luvlee with her charming, vibrant charm while Fisher shows a bit more of her serious side in a very intriguing scene with Jeff Daniels where she proves that she's more than just some pretty face. In a performance that is really against type, Matthew Goode is superbly terrifying as Gary Spargo. Known to audiences for his romantic work in movies like Chasing Liberty, Imagine Me & You, and Woody Allen's Match Point, the British actor plays against his good looks for a shaved haircut and a beard as this tough, manipulative robber who want to have money and power while using his wits to manipulate the fragile Chris. Goode is truly a revelation as he proves his range, even doing an excellent American accent. Veteran actor Jeff Daniels is also superb as the blind Lewis whose comical comments and wit brings a lot of needed humor to the dark film while being the only friend that Chris has while trying to keep him grounded in the world he's being sucked in. It's a fantastic performance from the veteran actor.

Finally, there's Joseph Gordon-Levitt in another winning performance as Chris Pratt. What is more shocking in this angst-ridden, emotionally troubled performance is the restraint that Gordon-Levitt brings. There's a way he stands and how he is quiet when doing his work or writing in his notepad. The way he observes things with silent. It's a very minimalist performance that could've gone wrong with some huge outburst. Yet, Gordon-Levitt remains still though at times, he curses and tries to deal with his emotions. When he's sucked in, he becomes a bit more selfish while remaining restrained and right to the end, he becomes a full-on acting powerhouse. This is not the same child actor we've known in Angels in the Outfield or the teen from 3rd Rock from the Sun. Joseph Gordon-Levitt proves he is for real and has what it takes to carry a film like this which he's also proven in films like Mysterious Skin and Brick.

The Lookout is a smart, engaging, entrancing crime drama from Scott Frank featuring a wonderfully leading performance from Joseph Gordon-Levitt. Fans of heist films will enjoy the tension and momentum it builds up while mainstream audiences should give the film's slow build-up a chance to be sucked in. With a fantastic supporting cast including Jeff Daniels, Matthew Goode, and Isla Fisher, it's a film that features great performances, witty dialogue, and great scenes that audiences can enjoy. Yet, the film really belongs to both Frank and Gordon-Levitt as a new director has now emerged while Gordon-Levitt continues to become a force in American Cinema. For anyone wanting a smart alternative to some of the big films this spring, check out The Lookout.

(C) thevoid99 2012

Hedwig & the Angry Inch

Originally Written and Posted at Epinions.com on 4/9/04 w/ Additional Edits.

Musicals have always been a genre people either love or hate, even if it’s in Broadway. While recently, Chicago brought the musical back into the silver screen after winning Best Picture.  The musical is still a genre some have a hard time to swallow. For some people, the rock opera has always been a great alternative since the music isn’t just more accessible but there’s also something refreshing. One example of that is an off-Broadway play called Hedwig & the Angry Inch about an East German transsexual rock star trying to gain exposure while suing his protege for plagiarism. The cult success of the glam-inspired play by John Cameron Mitchell with music by Stephen Trask gave the play’s creators a chance to turn into a film of the same named as it was released at the 2001 Sundance Film Festival to widespread acclaim.

Written, directed, and starring John Cameron Mitchell in the role of Hedwig of Hedwig & the Angry Inch, the film is about a young East German man who becomes a woman after a botched sex change operation as he desires to become a rock star only to be in the shadow of his protege while being at odds with his new one. The film is filled with mindless comedy, intense drama, and ass-kicking songs of love and rock n’ roll with music by the film’s original composer Stephen Trask, who plays a role as a member of the Angry Inch. With a cast that includes Michael Pitt, Andrea Martin, Alberta Watson, and original member of the play Miriam Shor.  Hedwig & the Angry Inch is one of the most spectacular, dizzying musicals from John Cameron Mitchell..

The music world is in a clamor as millions of teens are in awe of a new rock star. The songs of ambiguity and love are adored by millions as the individual is become a favorite with the industry, MTV, and teenyboppers. Unfortunately, it’s not Hedwig as he watches his own protege Tommy Gnosis (Michael Pitt) becoming the rocker he wants to be. With Gnosis embarking on a tour of the U.S., Hedwig and his band, the Angry Inch that consists of European immigrants along with new bearded-woman protege Yitzhak (Miriam Shor), decided to follow Tommy on tour with manager Phyllis Stein (Andrea Martin) as Hedwig is suing Tommy for plagiarism since the songs were really done by Hedwig. The transsexual rocker talks about his suit and Tommy as he tours restaurants across the venues Tommy is playing while a devoted following of Hedheads are following him with each show.

For Yitzhak, her relationship with Hedwig is starting to disintegrate as Hedwig still has feelings for Tommy while Hedwig and the band scrape by to play gigs. Hedwig tells stories of his life on how he as a child named Hansel (Ben Mayer-Goodman) is born in West Germany during the building of the Berlin Wall as his mother Hedwig (Alberta Watson) moves to East Berlin to work in the Communist area. Without a father and living in a small apartment, Hedwig would be influenced by the American music he heard in U.S. Air Forces radio that played soft-rockers like Debby Boone, Toni Tenille, and Anne Murray to the crypto-homo rockers of Lou Reed, Iggy Pop, and David Bowie. By the time he got older and was sunbathing, Hansel then meets up with a U.S. army sergeant named Luther (Maurice Dean Wint) who gives him colorful gummy bears and decides to marry him but in order to do that and go to America. His mother gives him her name and a sex change operation that leads to a chaotic song where Hedwig and the Angry Inch plus Hedheads and Phyllis embark on a brawl.

Hedwig recalls his arrival to Junction City, Kansas as Luther leaves him for another dude with Hedwig taking his fate in song. At this point with Luther gone, Hedwig scrapes buy with baby-sitting gigs to form his band filled with Korean housewives as he meets with a Jesus-freak boy named Tommy. Tommy falls for Hedwig as Hedwig takes him under his wing as they write songs, give him his name Tommy Gnosis and teach him about rock n’ roll. Soon, they were outselling monster trucks in Wichita as Tommy struggles to leave his conservative parents as he and Hedwig fall for each until Tommy discovers something that leaves out something cold and in response, the betrayal. Hedwig continually tries to confront Tommy later on as he became famous while Yitzhak, she decides to leave the group to join the play Rent as Hedwig finally meets him, they get into trouble and Hedwig finally becomes the star he’s wanted but at a huge price.

While turning a play into a film is pretty hard to do, thankfully since it was John Cameron Mitchell’s play, he manages to do a successful transition. In keeping with the stage-like tone of the original play, Mitchell brings in a film that isn’t just funny and dramatic but entertaining to watch in his direction and screenplay. Even the film’s pop culture references and animations along with Frank G. DeMarco’s colorful cinematography give life to the original play as the film plays out as something fun and outrageous. Mitchell doesn’t even try to play it safe as far as sexuality is concerned while belting out hilarious props including a penis wearing a pope’s hat, which is filled with ambiguity and comedy. In some cases, the film definitely has a lot of glam rock references, including the end, notably its biggest influence is obviously David Bowie and his Ziggy Stardust character. There are some elements of Ziggy in the film as Bowie himself, receives a special thanks credit as the rock legend often praised the play and film for years.

The film’s music by Stephen Trask is clearly one of the best musicals and scores ever written. It’s dreamy, evocative score gives out to the film’s cinematic, emotional tone while the music is diverse in its campiest and attitude. From its ballad The Origin of Love to fun rock songs like Sugar Daddy, Wig In A Box, Wicked Little Town, to the hard-charging “Angry Inch” with its famous chorus of, “Six inches forwards and five inches, I got an angry inch”. The film plays up to the glam rock music of the 1970s in modern fashion with John Cameron Mitchell doing many of the vocals as composer Trask sings the versions for Tommy Gnosis. If Hedwig & the Angry Inch were real, they’d probably have a few masterpieces out right now.

While the film’s ensemble cast that has a group of small but fine performances, even the actors playing Hedwig’s band the Angry Inch, the most well known is Rob Campbell of Boys Don’t Cry and The Photographer, are fun to watch in their roles. Alberta Watson is excellent as Hedwig’s scornful but caring mother as she often throws tomatoes at him for singing Lou Reed or dancing on the bed to rock n’ roll as she is fun to watch. Maurice Dean Wint is even more hilarious as the sultry Luther with his soul-deep voice and seductive look as he plays up to the fantasy of every gay man. Andrea Martin is funny as the manager that is filled with many cliches that are outshined by Martin’s comedic talents. Miriam Shor is awesome as the scorned lover Yitzhak as she tries not to be in Hedwig’s band, as she desires to be pretty and be the leader while being the only person standing up to Hedwig’s demands. Michael Pitt is amazing as the boyish-looking Tommy Gnosis as he starts out innocently while portraying that sad look perfectly as the glossy, Marilyn Manson-wannabe rocker as he looks great on screen.

The star of the film John Cameron Mitchell as the title character of Hedwig delivers an exhilarating performance as the transsexual rocker. Mitchell brings in not just elements of camp into his film while not afraid to parody all sorts of rock star behaviors. In the film’s funnier moments, he just shines, as he likes to shock and play around in his German accent. In the dramatic scenes, he doesn’t act like the troubled, despair figure of most rockers as he restrains himself from being emotional. Mitchell is Hedwig and there’ll probably never be another character as great as that.

While fans of traditional musicals might not like the glam-rock tone or camp of Hedwig & the Angry Inch, rock fans though will enjoy because of its music and subversive comedy tactics. With great performances from Pitt, Shor, and the film’s creator John Cameron Mitchell, it’s a film that is filled with laughs and musical moments that will make you sing along. Go put on some makeup, get a blond wig, and a dress and get ready to sing some great songs and be a punk rock star in Hedwig & the Angry Inch.

John Cameron Mitchell Films:  Shortbus - Rabbit Hole - How to Talk to Girls at Parties - The Auteurs #66: John Cameron Mitchell

© thevoid99 2011