By Sophie Cossette with Phil Liberbaum & Ryan Lalande (ECW Press)
ISBN: 978-1-77041-112-8
Win’s Christmas Gift Recommendation: Because you’re you… 8/10
Filmmaking was the pre-eminent art form of the 20th century, capable of marrying the aesthetic strictures of humanity’s unfailing urge to create with the common herd’s insatiable desire to be distracted with stories. Cinema always aspired to educate, elucidate and entertain, but so often merely pandered, titillated and, if moralists and cultural blamestormers are to be believed, corrupted.
It’s apparently still going strong in the post-literate, increasingly online 21st century…
Practically all people everywhere love “The Movies†and controversial Canadian adults-only cartoonist Sophie Cossette (Mendacity, scripted by Tamara Faith Berger), her husband Phil Liberbaum and their close friend Ryan Lalande are amongst the most avid and erudite of aficionados.
Being proper grown-ups, however, they can readily accept that only a certain kind of person could envision, steer, wrangle and accomplish such an immense collaborative concoction and – like most of us – revel in the rewarding, gossipy indulgence that comes from debating, deconstructing, deriding and just plain mocking such auteurs’ inescapable sexual foibles and indisputably embarrassing kinky quirks.
Thus, Sinemania! – a bawdily baroque collection of graphic skits, sketches, articles, reviews, recommendations, games, featurettes and interpretations of behaviours favoured by Tinseltown’s most infamous denizens past and present, delivered in outrageously addictive cartoon narratives very much in the iconoclastic vein of Kenneth Anger’s notorious Hollywood Babylon.
Of course, famously fair and scrupulously polite, the Canuck contingent don’t stint in turning their all-seeing eyes on the worst excesses of British, European and their own Dominion’s savants as well.
Moreover, the project – financially supported by the prestigious Canada Council for the Arts, Ontario Arts Council and the Canada Book Fund – is adamant that “this book is a work of satire. Names, characters, places and incidents either are the product of the author’s imagination or are used fictitiously, and any resemblance to actual persons – living or dead, (celebrity or extra, clothed or naked) – business establishments, events or locales is either satirical or entirely coincidental.â€
So there.
Subtitled ‘A satirical exposé of the lives of the most outlandish movie directors! Welles, Hitchcock, Taratino, and more!’ the cartoon calumnies commence, after Opening Shots and Introductory Thoughts from the team, with a 2-part biography of ‘Mondo Tarantino’ before taking a few well-aimed shots at ‘Alfred Hitchcock – The Hitch Who Lusted Too Much’.
A series of comparative reviews separating each entry begins with Fritz Lang’s Scarlet Street (1954) analysed by Lalande and his 1953 Noir epic The Big Heat similarly examined by Liberbaum, after which ‘William Castle – the King of Gimmicks!’ tells of B-Movie excesses in excoriating fashion.
The Fearless Vampire Killers (1967) and Rosemary’s Baby (1968) undergo the Ryan & Phil treatment before Roman Polanski gets a metaphorical thrashing in ‘Polanski! In the Corner! Now!’, and judgement of Tod Browning’s The Unknown (1927, by Ryan) and Freaks (1932, Phil) segues into ‘Diary of a Surrealist Madman’ with the shocking low-down on Luis Buñuel…
R & P assess David Lynch’s Elephant Man (1980) and Blue Velvet (1986) as Sophie plays ‘Tim Burton’s Dice Game’ whilst ‘Orson Welles – It’s All True!’ examines a stellar fall in what could so easily have been his own words.
Elia Kazan’s A Streetcar Named Desire (1951) and Baby Doll (1956) precede the imaginary testimony of ‘Otto Preminger – The Man with the Iron Fist’ after which Stanley Kubrick’s The Killing (1956) and A Clockwork Orange get a solid thumbs up from the panel.
The antics of ‘Ken Russell – The Mad Hatter of British Cinema!’ are followed by Fargo (1996) and The Big Lebowski (1998) courtesy of The Coen Brothers via Phil & Ryan, and then there’s a sense of genuine outrage in Cossette’s dissection of ‘Russ Meyer – and the Immortal Mrs. Tease!’
Brian De Palma is represented by and lauded for Carrie (1976) and Carlito’s Way (1993), after which ‘Love at First Bark’ weighs the relative demerits of two directors dominated by the women in their lives in ‘Joseph von Sternberg vs. Guy Ritchie’ before Paul Thomas Anderson answers to Ryan & Phil for Boogie Nights (1997) and Magnolia (1999)…
‘Sam Peckinpah vs. Rainer Werner Fassbinder – Duel of the Hellraisers!’ is another comparison (sour) taste test, including ‘The Prolific Rainer Werner Fassbinder Kraut Paper Doll’ complete with fetish outfits for you to cut out and enjoy, followed by reviews of Robert Wise’s Born to Kill (1947) and I Want to Live! (1956) and Cossette’s astounding, mindboggling ‘Pier Paolo Pasolini – The Jeremiad of a Modern Martyr’ totally steals the show in a blistering graphic panorama.
Phil & Ryan then dissect Federico Fellini’s The White Sheik (1952) and La Strada (1954) before a glimpse at a scrapbook divulges ‘Fritz Lang: The Secret Behind the Door’ and Joseph H. Lewis’ Gun Crazy (1950) and The Big Combo (1955) lead to stylishly open warfare in ‘Woody Allen and Spike Lee – Woody Spikes Things Up at Cannes!’
The magnificent Billy Wilder fares well under Ryan & Phil’s scrutiny of Sunset Blvd. (1950) and Ace in the Hole (1951) whereas the reputation of Erich von Stroheim takes a bit of a bashing in Sophie’s ‘La Grande Delusion of Count von Stroheim’ and ‘Kenneth Anger’s Snakes and Ladders Game’ reveals even more of Hollywood’s seamier side.
The debased behaviour of Werner Herzog in ‘The Wild, Wild Adventures of a Shoe Eater!’ is balanced by reviews of Paul Verhoeven’s Turkish Delight (1973) and Showgirls (1995) before the industry somewhat eats itself in ‘Timothy Carey – And the Razzie Goes To…’
After Sidney Lumet’s The Pawnbroker (1964) and Dog Day Afternoon (1975), the unflinching artist takes a glimpse closer to home through the works of Bruce McDonald and others in ‘Blame Canada!’
No cinematic catalogue of shame could be complete without ‘Dennis Hopper: A Man Under the Influence’ and his impossible life and dreams wrap up the main feature here after one last Ryan & Phil fest, examining Lindsay Anderson’s unique contributions in This Sporting Life (1963) and If…(1968), but please wait: there’s more…
This grotesquely compelling trawl through tacky times and turgidly lowered tone still holds a few Short Stories to titillate and thrill, beginning with witty eulogies to John Waters and Buster Keaton in ‘Tacky Trashy’ and ‘Shattered Silent Dreams’ before offering up a ‘Requiem for a Real Femme Fatale’ in the form of troubled, doomed-from-the-get-go Barbara Payton.
A trenchant comparison of ‘Slashers vs. Blockbusters’ segues neatly into a nightmare trip with Paul Schrader in ‘Confessions of a Taxi Driver’ and the curtain finally falls with an examination of Donald Cammell’s infamous psycho-sexual “Swinging Sixties†drama in ‘The Performance that Achieved Madness!’
Savage satire, scandalous extrapolation and scurrilous cartoon reportage from people who certainly love their movies – if not the shallow, flawed, nasty and just barmy army of self-appointed geniuses who shot them – make this a book not everyone can enjoy, but for those adults who are sincerely seduced by Silver Screen gems and love their comics, this might well be the most enjoyable book of the year.
© 2013 Sophie Cossette. All rights reserved.
For further movie madness and even more sordid pictorial portraits check out http://sophiecossette.blogspot.ca/