Black Gate

It’s relatively unusual for me to watch a movie that I know going in is not good. But every so often, and usually at Fantasia, something bizarre comes along that looks bad but also in its way promising. So it was that for my third film of July 16 I settled in at the De Sève Theatre for a screening of the rare 1976 TV-movie sequel to Rosemary’s Baby: an opus directed by Sam O’Steen titled Look What’s Happened to Rosemary’s Baby. Star Stephen McHattie was in attendance, and would stick around to take our questions after the film.

(I had actually seen Rosemary’s Baby for the first time in preparation, and I was surprised how much I did not care for it. It was well-shot, and Rosemary’s isolation was captured well in the second half of the film. But it was difficult to believe in that isolation after we’d already seen her at a Christmas party with her friends. Atmosphere stubbornly resisted being evoked. The gothic material almost uniformly fell flat, and the Satanist coven came off as an unthreatening group of busybodies. I did not understand what was supposed to be scary in this movie, or what beyond craft was supposed to make it a classic. Disappointed as I was, I think now this viewing unwittingly set me up to be receptive to Look What’s Happened as a kind of unwitting satire, ruthlessly if unintentionally pointing out the weaknesses and absurdities of the original.)

The movie was introduced by Phlippe Spurrell of Montreal’s Cinéclub Film Society. He noted that the 35mm print came from the personal collection of Fantasia co-director Mitch Davis, and 7 or 8 hours had gone into the inspection, cleaning, and mounting of the film on a single reel. He warned us that some material was faded, but promised us surprises (which turned out to be period commercials inserted into the original commercial breaks of the film, for things like K-Tel albums and “newfangled Pringle’s Potato Chips”). Spurrell observed that O’Steen was the editor of Rosemary’s Baby, and John A. Alonzo was director of photography for both films. Ira Levin, writer of the original novel, was not involved, nor was Roman Polanski (who had scripted his adaptation as well as directed). Instead Look What’s Happened was written by Anthony Wilson, veteran TV writer and creator of shows like Banacek and one of the developers of the Planet of the Apes TV spin-off. (He also wrote what I thought was a fine episode of the original Twilight Zone, “Come Wander With Me.”)

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For my second movie of July 15 I went to the Fantasia screening room to watch the Cambodian film The Prey. Directed by Jimmy Henderson from a script by Henderson with Michael Hodgson and Kai Miller, this is a film that traces its narrative lineage back to Richard Connell’s immortal “The Most Dangerous Game.” In this case, the game’s played in the wilds of Cambodia, and the rules turn out to be surprisingly complex — and the number of players surprisingly large.

Xin (Gu Shangwei) is an undercover Chinese cop with Interpol trying to bust cyber-criminals in Cambodia, despite a significant language barrier. Swept up in a raid by the local police force that nets the criminals he’s hunting, he ends up on the wrong side of a warden (Vithaya Pansringarm) of an isolated prison. Along with a few other malcontents, he’s handed over to a hunting party who’ve paid the warden for a day’s amusement: the criminals will be released into the jungle, the heavily-armed hunters will track them down, whoever gets the most kills wins. But of course it doesn’t quite work out that way.

Rather than keep a narrow focus on a deadly game with one victim and one hunter, the film starts with groups of each — but as they get winnowed down, more characters enter the fray. Xin’s Interpol colleagues come looking for him. The warden and his men take a hand. And it turns out there are locals who live in the playing field. The interplay of the different factions effectively builds a considerable amount of suspense, giving the story more heft than a straightforward action story.

Which is not to say the action’s lacking. There’s a goodly amount of it, executed quite well. There’s some hand-to-hand combat, but also a lot of gunplay and general explosions. The fights are well-planned and well-choreographed, building to a suitably brutal conclusion. Effects are largely practical; there’s a low-tech ethos to this film, the firearms notwithstanding, that plays well. The fight scenes are focussed on telling the story, not on cool moves (though there are cool moves). It’s paced well, not lingering on any given situation. Characters do not wear out their welcome, and the movie does not shy away from racking up a body count very quickly. You do more-or-less know how long each character will last, but there are some surprises in how they play out their parts. It’s familiar without being generic or even all that predictable.

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I have fond memories of Bruce McDonald’s rock n’roll road movies from the 1990s, specifically Roadkill, Highway 61 Revisited, and Hard Core Logo. It had been a while since I’d seen one of his films (one drifts away from artists, sometimes, like friends we once knew), but I began July 15 at Fantasia in the De Sève Theatre getting reacquainted with McDonald’s art by way of his new movie Dreamland, at Fantasia presented as Bruce McDonald’s Dreamland.

Written by Tony Burgess and Patrick Whistler, the movie takes place in a European city in which politically powerful aristocrats live in a walled palace while gangsters and assassins roam the streets below. Johnny (Stephen McHattie) is a hitman working for a small-time crime boss, Hercules (Henry Rollins, excellent and electric) who wants to send a message to a trumpet-playing jazz Maestro (also played by McHattie). If his drug addiction doesn’t kill him, the Maestro will be performing for the Countess (Juliette Lewis) who rules the city; her brother, a vampire, is getting married to an unwilling and very underage girl, kidnapped and sold to him by Hercules. Trafficking in young girls is a line Johnny always refused to cross. What will he do now?

I’ve seen reviews criticising the movie for being over-dreamy and not especially linear. I do not understand this. In many ways it struck me as a straightforward story with a few surreal elements — the setting and the vampire, in particular, as well as the dual-casting of McHattie. The plot’s solid, even workmanlike, as characters make moral choices and move the story along to the wedding that marks the big finish of the film. There’s absolutely nothing wrong with any of this, but I wouldn’t call the violent noirish crime plot especially bizarre.

I would say it’s done well. The story moves nicely, and mixes a range of genres with no obvious sense of strain. Oddly, for a film in which crime and horror elements dominate, it’s remarkably light if never exactly cheerful. It is witty, and unpredictable, and entertaining. McHattie alone makes the film worthwhile, playing both the guarded, sharp, and somehow beaten-down Johnny, and the bitter, ruthless Maestro. Scenes in which the two characters meet come off perfectly.

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My fifth and last movie of July 14 brought me back to the Hall Theatre. I had not seen two consecutive movies that day in the same cinema; no two films had come from the same country. It was in retrospect a good day at Fantasia, and it was ending with a bang: the latest film from Zhang Yimou, Shadow (also known as Ying, 影). Written by Zhang with Li Wei, it’s a tale of historical battles and political machinations told with visual dynamism and a distinct colour sense, fitting nicely alongside previous works by Zhang such as Hero, House of Flying Daggers, and Curse of the Golden Flower.

(The movie was preceded by an animated short, “Modern Babel,” written, directed, and animated by Lin Zhao. It follows a woman on an increasingly hallucinatory shopping expedition, as she must struggle against crowds and sinister black birds, while she and the rest of the world descend into violence and madness. It is expressionistic and indeed nightmarish, the design sense a little like Peter Kuper’s comics. It’s black-and-white, and does effectively create an oppressive visual atmosphere. I found it a bit bare, or perhaps a bit elliptical, in terms of story.)

Shadow opens with exposition. Long ago, in the 3rd century AD, two countries in what is now China battled for control of a city. The country of Pei lost when its general Ziyu (Deng Chao) was defeated in a duel with the unbeatable general Yang Cang (Hu Jun) of the kingdom of Yang. The king of Pei (Zheng Kai) is therefore annoyed to learn, as the movie opens, that Ziyu’s challenged Yang Cang to a rematch; the king has his own schemes to recover the city, which involve marrying off his sister (Guan Xiaotong). But all is not what it seems. The man everyone knows as Ziyu is in fact a double; the real Ziyu, gravely wounded by Yang Cang, has hidden himself away, operating through this double — his shadow, a man named Jingzhou. But has Ziyu’s wife Xiao Ai (Sun Li) developed a new kind of technique that will give Pei victory in battle?

This is a complex story, with various subsidiary characters contributing to the machinations. But it always remains clear, building almost mathematically to an explosive set of final battles. There is an operatic feel to the film, in its grandeur, its self-conscious seriousness, and, inevitably, its body count and tragedy. It’s a tone familiar from Zhang’s previous work, and so this feels a logical extension.

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