Many moons ago when I was at boarding school, there was a patio restaurant across the main drag from campus that had a detached building containing the restrooms. In the short hallway between latrines, there was a poster for a horror flick I had never heard of, entitled Screams of a Winter Night. After some research using 2004-era internet access (no small feat, to be honest), I found that the movie had been filmed in and around Natchitoches, Louisiana (where my boarding school was located) by college students in the late seventies. They made three prints of the film and took them to drive-ins in the nearest cities, where Screams was discovered and picked up for nationwide distribution. Although it’s my understanding that the film has since found a home on DVD, it took some time to locate a pirated VHS copy of the movie at that time; although it has a certain nostalgic appeal for me, it’s not a very good movie, being largely amateurish in its narrative cohesion and poorly filmed in general, with lighting that renders much of the film impossible to see at points. Maybe I’ll get around to reviewing it for the site one day, but this is really just a preamble to discuss today’s selection, another cheap regional production, 1970’s Mark of the Witch, which, unlike Screams of a Winter Night, is actually a lot of fun and definitely worth seeking out.
As is the case with virtually every project that has Charlie Kaufman’s fingerprints on it, Anomalisa is an insight into the writer/director’s particularly idiosyncratic worldview and plethora of neuroses. The film tells the story of a lonely, mentally ill man (voiced by David Thewlis) who travels to Cincinatti to present a keystone speech at a customer service convention. Every person that he encounters along the way has the same face and speaks with the same voice (Tom Noonan), including cab drivers, his wife and son, and even the former lover with whom he attempts to reconnect on his single night in town. When she revels how emotionally and irrevocably devastated she was by his departure, he finds temporary succor in the arms of a shy woman named Lisa (Jennifer Jason Leigh), whose face is scarred and who is attending the conference with her more extroverted and attractive BFF Emily. Although he contemplates leaving his family for her, in the light of day, she moves from anomalous to anonymous as she takes on the face and voice of everyone else. His presentation goes awry when he has a mental breakdown on stage, and he returns home as empty and incomplete as he was at the film’s outset.
Although it’s a fairly paint-by-numbers historical pic, Hidden Figures stands out as a moving and impressive film, and the Academy has taken notice: Figures has picked up multiple Oscar nods this year in both behind-the-scenes and before-the-camera categories. This is important for a number of reasons, not least of all that it demonstrates that the #OscarsSoWhite backlash has put the old guard on notice. Additionally, it’s worth noting that the current political climate is anti-science, anti-progress, anti-women, and anti-minority, and while this film doesn’t exactly stand in that gap and hold the door, it does serve as a reminder of how far we’ve come and how far we have left to go.
Welcome to The Late Great Planet Mirth, an ongoing series in which a reformed survivor of PreMillenialist Dispensationalism explores the often silly, occasionally absurd, and sometimes surprisingly compelling tropes, traits, and treasures of films about the Rapture. Get caught up in it with us!
As the end of the world approaches, it’s time to get back into the swing of things with a look at more premillenialist dispensational fearmongering with Future Tense. I thought about moving on to the older tetralogy of Rapture flicks that I remember from rainy recesses at Christian school, starting with 1972’s Thief in the Night, but those films are harder to track down, so I went with this 1990 half-hour evangelism video instead. Tense was produced and distributed by Mars Hill Productions shortly after that ministry’s 1988 split from their parent organization, Youth for Christ/Houston, following the division’s formation in 1977. The plot, such as it is, concerns newly born again student Michael Cummings (A.J. Merrill), who joined the Christian faith after leaving his atheistic home for college. His attempts to share this good news are rebuffed by his parents, so he records a tape in order to
preach at them without interruption tell them about his newfound Savior and warn them about a spooky metaphorical dream he had about the Rapture, and how they can avoid being left behind.
A forewarning: this list is incomplete. As an annual list, it necessarily excises films that I haven’t managed to see this year but I am certain could appear here if I had: Moonlight and Loving are foremost among them, although I also missed Kubo and the Two Strings while it was in theatres and The Edge of Seventeen seems to have flown by with little fanfare, although I thought it looked like a lot of fun. I’m also almost positive that Hail, Caesar! would be on this list, but my friend group has a bit of a procrastination problem, so we missed that when it was in theatres as well.