The Criterion Collection, a continuing series of important classic and contemporary films presents The Man Who Stole the Sun.
Junior high school teacher Makoto Kido attacks a nuclear power plant to steal a plutonium capsule and then succeeds in building an atomic bomb by himself in his apartment. Calling himself “Number 9” and claiming to be a new nuclear power of his own, Kido extorts the government with demands for uninterrupted baseball games and a concert by the then-banned Rolling Stones, even going so far as to appoint his own negotiating partner, hardened police inspector Yamashita. Pitting rock icon Kenji Sawada with legendary tough guy Bunta Sugawara, Kazuhiko Hasegawa’s celebrated Japanese cult film explores the nation’s growing generation gap and the proliferation of nuclear power with black comedy, stylistic invention, and a heavy, controversial premise.
- New high-definition digital restoration with uncompressed monaural soundtrack on the Blu-ray edition
- The Legend is Lebon Video Testimony, an 84-minute documentary on the making of the film, with interviews and on-set footage
- Walking With the Movie, a tour of the film’s locations with Japanese singer Masaki Ueda
- Enthusiasm, Talk, Talk, My “Man Who Stole the Sun,” a 35-minute interview of director Kazuhiko Hasegawa by actor Masatoshi Nagase and special effects director Shinji Higuchi
- 11 p.m. “Wonderful!! Is Julie a Strong Guy Like Genbaku?!,” a 20-minute edited version shown prior to the film’s theatrical released on September 20, 1979
- English subtitle translation supervised by screenwriter Leonard Schrader
- PLUS: A new essay by Japanese film scholar Tony Rayns
The final day of the Saskatoon Fantastic Film Festival opened with Matthew Rankin’s The Twentieth Century (2019), a fictionalized portrait of Canada’s weirdest, longest-serving, and middlest-of-the-road Prime Minister, William Lyon Mackenzie King. The film side-steps Mackenzie King’s secret spiritualism and instead creates a broader, stranger fantasy of Canada at the dawn of a new era. Rankin’s prerecorded introduction for the film described it as “nightmarishly Canadian” and his words were apt. The Twentieth Century is an Eraserhead/Isle of Dogs-esque imagining of Canadian history and culture, one obsessed with maple walnut ice cream, the scent of fresh timber, passive-aggressive manners, Indian leg wrestling, and medicinal “puffin cream.” Inspiration was taken from the Prime Minister to-be’s personal diary and Rankin connected with Mackenzie King’s tendencies toward vanity, repression, self-righteousness, and self-pity. Played by Dan Beirne with petulant primness, Mackenzie King struggles to achieve his maternally prophesied political and romantic aims (and sublimate his dominating shoe fetish), and the film traces his misadventures through the brutalist interiors of Rideau Hall, the frozen utopia of Quebec, a sunny and freshly logged, new age Vancouver, and a baseless and fetid Winnipeg.
A former Winnipegger himself, Rankin carries on the prairie post-modernism of Guy Maddin and John Paizs, and like his predecessors, Rankin finds ways to make a hard earned dime look like an eccentrically spent dollar (or loonie). Hand-painted and animated in sections by Rankin himself and utilizing a palette that evokes the colours of Canadian banknotes, The Twentieth Century’s stunning production design recalls earlier film eras with its intertitle chapter cards while it also embraces the fresh Canadianness established in the aesthetics of Group of Seven painters like Lawren Harris and York Wilson and the modernist designs of Expo ’67. Rankin even loads his historical subject with a gleeful perversity and a shameless phallocentricism that would do Ken Russell proud – watch out for that ejaculating cactus and that narwhal horn! The Twentieth Century is an acid trip-take on peace, order, and good government and it is staunchly glorious.
Oscilloscope Laboratories has picked up the rights to Rankin’s brilliant film and we can only hope that its eventual hard media release will not only include The Twentieth Century but also many (if not all) of Rankin’s short films including Negativipeg (2010), the most Winnipeg-ish thing I’ve ever seen committed to film.
After packing in 200 or so people for the Saskatoon Fantastic Film Festival’s second annual Saturday Morning All You Can Eat Cereal Cartoon Party, Day 5 was all about director Joe Dante, actress Belinda Balaski, and a trio of features film celebrating their work. Screenings of The ‘Burbs (1989), Gremlins (1984), and The Howling (1981) were each introduced by Dante and followed by a Q&A session. All three films looked great on the big screen and Dante and Balaski were open and affable with the SFFF audience, answering questions and recounting stories. Dante discussed working as a consultant to an upcoming animated Gremlins prequel and briefly acknowledged that his long desired project about Roger Corman, The Man with Kaleidoscope Eyes, was being produced by SpectreVision and should see production in 2020. Balaski recounted a popular story about how the designers of Gremlins’ Gizmo obtained Steven Spielberg’s elusive approval of the creature when she recommended that they take inspiration from the King Charles Cavalier Spaniels Spielberg had recently acquired. When asked which of their films they felt deep-diving fans should explore, Balaski cited Mark L. Lester’s youth culture/crime drama movie Bobbie Jo and the Outlaw (1976) while Dante nodded at his under-seen (and unfortunately prescient) political satire The Second Civil War (1997). The pair were generous with their time, even sitting down on the Broadway Theatre’s stage floor to sign programs and badges for remaining diehards, and they proved to be excellent guests for the SFFF’s landmark 10th year.
The banner event for Day 4 of the Saskatoon Fantastic Film Festival was the Drunken Cinema screening of Wes Craven’s A Nightmare on Elm Street (1984), described by Drunken Cinema‘s attending creator Serena Whitney as “the scary one.” Audience members had rules to follow, glow sticks to shake, and themed cards with personalized drinking rules to enhance their interaction and to get soused in the process. The event seemed an ironic success considering that nearly all the screenings at the SFFF are licensed and the Broadway Theatre’s concession stand was ready to make every screening drunken if patrons were so inclined. Still, the appeal of endorsed booze and rowdiness cannot be underestimated and Saskatoon movie fans can expect to seen more Drunken Cinema events between now and the next SFFF.
The second day of the Saskatoon Fantastic Film Festival leaned into bad behaviour, mostly by men, mostly among (supposed) friends. The program started light with Brent Hodge’s Who Let The Dogs Out (2019), an MMC! favourite of this year’s Calgary Underground Film Festival. Hodge, Alberta-born and in attendance at the SFFF, has found a niche with his self-described “comedy documentaries” like Freaks and Geeks: The Documentary (2018), I Am Chris Farley (2015), and A Brony Tale (2014), and Who Let The Dogs Out further confirms Hodge’s mastery of the subgenre. Devoted to the Baha Men’s 2000 hit “Who Let The Dogs Out,” its myriad authorship claims, and its various legal battles among friends and stranger alike, Hodge distills Ben Sisto’s eight-year exploration and three-hour lecture on the track into a tight, enthralling 62-minute doc. Sisto acts as the song’s scruffy biographer, travelling the world’s music studios, courtrooms, and high schools to trace the origin of the song’s ubiquitous catchphrase. This BOSUD (a “biopic of someone undeserving,” to use Dennis Bingham’s terminology) is a definite crowd-pleaser, being far more fascinating that its novelty subject matter should allow for. The SFFF was the last festival stop for Who Let The Dogs Out as it now transitions to cable and streaming platforms. Look for it on Crave in Canada!
The 2019 Buried Alive Film Festival wraps up this weekend at the 7 Stages Theatre in Atlanta, Georgia, and there’s plenty of great features and shorts to see. Over the next two days, BAFF offers five feature films and five short film blocks, plus a Troma-themed burlesque show! With a wealth of cinematic riches, MMC! is here to point the way with ten films to watch out for this Saturday and Sunday!
Check the BAFF schedule for program information to plan your burial and MMC!’s Letterboxd list for the Fest for more reviews!
1. J.R. “Bob” Dobbs and the Church of the Subgenius (Sandy K. Boon, 2019)
One of MMC!’s BAFF favourites, Sandy K. Boon’s J.R. “Bob” Dobbs and the Church of the Subgenius examines the countercultural religion of “two self-proclaimed weirdos in Ft. Worth, Texas” and their crusade against normalcy. This documentary features wonderful interview subjects, including Richard Linklater, Penn Gilette, and Nick Offerman, as well as an array of Bob followers providing thoughtful reflection on 40 years of protecting their slack against the conspiracy. Subgenius is an intriguing companion to another popular 2019 portrait of an alternative religion, Penny Lane’s Hail Satan?, as both the Subgeniuses and The Satanic Temple embrace an absurdly theatrical image, however Boon’s film offers a mature reflection on cult’s complicated history that contrasts Lane’s earnestly sanitized presentation of the Temple as it searches for legitimacy. Preserve your slack and check out J.R. “Bob” Dobbs and the Church of the Subgenius at 2:00 on Sunday!