The Exile: An Interview with Marjane Satrapi

Marjane Satrapi is the author of the acclaimed autobiographical novel “Persepolis” and the co-director of the feature film adaptation, which secured a well-deserved Oscar nomination for Best Animated feature. I interviewed Marjane Satrapi early in December for the Seattle P-I. I had a generous 25 minutes with her – it was her last interview of the day – and only a tiny portion of the interview was used in the final piece, “A Moment With Marjane Satrapi.”

Here is the (mostly) complete interview. Note that Ms. Satrapi speaks (at least) three languages. English is her third language. Maybe her fourth?

My review of the film can be found here at the Seattle P-I.

I read your graphic novels about a year ago and saw the film at Toronto. I thought it was remarkable how faithful the movie is to the character of the art and style of the original novels, and yet so fluid and creative in its use of the animation medium. What was the biggest challenge in moving from the static panel of the graphic novel to the medium of animation?

The first thing was to understand is that it is not the same narration, so we had to forget about the book and really start to make a new narration but with the same material. And that’s why, as you say, the book and the movie, they are very similar and at the same time they are very different and that is the whole paradox. In the relationship that reader, as with the comic books, and the viewer with the movie, to start with that, is not the same. Unlike literature, when you read a comic book, you are very active as a reader because between two frames you have to imagine the movement yourself. When you are watching a movie you are passive because you see the images. We’ll start with that. Then you have things like the sound, the music, etc., so if there is a feeling that I have to describe with one word or draw something in a comic, for example, I can count on the music to get this feeling. So it’s not the same medium. The whole danger of this project was to do exactly what everybody thought I would do, to take a camera and take it from the frame, one after the other, and think that we will get a movie. Since we knew this danger, we tried to avoid it as much as possible. And we thought about it as a movie, not even as an animated movie. We made it like a movie, the only thing is that it was drawn. People talk about animated movies as if it was a style. It’s not a style, it’s just a technique. It’s like comics. “Comics” is not a style, it’s not just superhero stories, it’s a medium. Animation is the same thing. So we approached it this way and just tried to make a movie.

Marjane Satrapi
Marjane Satrapi

Did you ever consider making it as a live action film?

Not at all because for a subject like that and for the purpose we had, me and Vincent, we wanted the story to be much more universal. I didn’t want it to become a political or historical or sociological statement, because I’m not a politician and I’m not a historian and I’m not a sociologist. I’m one person and I believe that there is only one thing that is important and that’s the human being, the individual. Individualism is the basis of democracy, without individualism we don’t have any. As soon as you make a movie in a geographical place with some type of human being, then it becomes the story of the Middle-Eastern, far from us: “They’re not us, they’re foreign.” There’s something about the abstraction of the drawing that everybody can relate to because drawing is the first language of the human being, before writing, before even the use of the language. We have so many different kinds of narration in the movie. We have the scenes of normal life, we have the puppet things that are the historical scenes, we have the more realistic scenes, meeting with the guard and all these scenes of the war, etc. The animation became an obvious choice, because otherwise we would have done something do vulgar going in the other direction. And that helped a lot.

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New reviews: ‘Persepolis,’ ‘How She Move’ and Children’s Film Festival Seattle 2008

My review of Persepolis, the Oscar-nominated animated feature from Marjane Satrapi, is in the Seattle PersepolisPost-Intelligencer:

A memoir in the form of an animated feature, “Persepolis,” adapted by Marjane Satrapi from her acclaimed graphic novels, is a remembrance told not with anger but disappointment.

The film unfolds as a flashback, the quiet color of the uncertain present giving way to the graphic boldness of black-and-white memory. The narrator shares the experience of coming of age in Iran in the wake of the Islamic revolution. At the same time she leads us through her developing perspective as she grows up from little Marji — a girl who adores Bruce Lee and rocks out to Iron Maiden — to empowered young woman Marjane (voiced by Chiara Mastroianni). Marjane quickly finds that her artistic ambitions and personal desires are constrained under the oppressive laws of her country.

Satrapi and co-director/co-writer Vincent Paronnaud embrace the comic-strip style of line drawing from her books, and find an evocative richness in the austere and seemingly simple form. Every hand-drawn line has character and personality, and creative flights of animated fantasy are used sparingly and subtly…

Read the rest here.

Also reviewed is the new urban dance drama from Canada, How She Move, and I preview the Children’s Film Festival Seattle 2008.

The third incarnation of the Children’s Film Festival Seattle opens with Lotte Reiniger’s magnificent 1926 animated classic “The Adventures of Prince Achmed.” Subsequently the festival will offer five feature films and more than 70 shorts (collected in nine separate programs) over the next nine days.

Reiniger’s adaptation of “The Arabian Nights” tale is the oldest extant feature-length animated film, and it is accomplished entirely in delicate, intricately designed cutouts silhouetted against a tinted backdrop. This is not animation as we think of it today but a shadow play of the figures like lace miming the most elaborate magic lantern show ever crafted. It’s magical, mesmerizing and absolutely unique, and will be shown with an original live score composed and performed by Seattle area musicians Nova Devonie and David Keenan (who perform as the musical duo Miles and Karina).

You can read the rest here. You can find the complete schedule at the Northwest Film Forum site.

A Moment with Marjane Satrapi

A kind of “highlights reel” of my interview with Marjane Satrapi, author/artist of the “Persepolis” graphic novels and co-director of the film, is featured in the Seattle Post-Intelligencer today. My review of the film will run in Friday’s paper.

Marjane SatrapiBorn and raised in Iran, Marjane Satrapi grew up in the aftermath of the Islamic revolution, where she watched the idealism in the wake of freedom from the shah’s rule give way to an oppressive culture of religious extremism. She left for Paris in 1994, when she was 26, and has been an exile ever since. “You become a stranger everywhere,” she said, “but in a way you are also an insider everywhere.”

Satrapi first told her story in the autobiographical graphic novels “Persepolis: The Story of a Childhood” and “Persepolis 2: The Story of a Return.” Now she brings her story to the screen in the richly realized animated feature “Persepolis.”

She talked about her memoir, her film and her life on a recent visit to Seattle.

On why she chose the graphic novel/comic book medium for her story.

I have a brain that functions with text and images so this is it. It’s funny … nobody would ask a writer, “Why did you write a book and why didn’t you dance?”

On adapting her graphic memoir into an animated feature:

People talk about animated movies as if it was a style. It’s just a technique. It’s like comics. “Comics” is not a style, it’s not just superhero stories, it’s a medium. So we approached it this way.

On animation over live action:

As soon as you make a movie in a geographical place with some type of human being, then it becomes the story of a Middle Easterner: “They’re not us, they’re foreign.” There’s something about the abstraction of the drawing that everybody can relate to, because drawing is the first language of the human being, before writing or language.

Read the rest here.

My complete interview will run here sometime this weekend can be found here.

Oscar Snubs: They Shoulda Been a Contender

It’s an open question whether the red carpet, the stargazing, the invariably overlong ceremony with its record of misjudged entertainment set pieces, and the obligatory afterparties will be present, but to paraphrase one of this year’s big nominees: There will be Oscars.

Zodiac - Where’s Robert Downey Jr.’s nomination?My annual Oscar report card is up at MSN. There are a lot of good nominees. I list a few choices that I think would have been better. Everyone’s a critic…

For the most part, it’s a classy bunch, but there’s always room for complaining. There is no shortage of deserving artists who didn’t make Oscar’s cut and we’re not shy about sharing our opinions on where the academy went wrong. So here is our report card on Oscar’s slights and oversights. Call it: They shoulda been a contender.

Best Picture

The five Best Picture nominees are a worthy — if fairly dark — class this year, lightened only by the inclusion of the indie-ish comedy “Juno.” I adore the film, I confess, and find it far more interesting and alive than last year’s token quasi-indie “Little Miss Sunshine.” But I’d prefer to see Sean Penn‘s “Into the Wild” — the glaring omission of the category — in its place. This sprawling, ragged human epic throws the audience headlong into the romance of an odyssey across America, living in the moment and in the buzzing thrill of the quest for something that may not exist. Carved out of primal imagery, raw emotion and pure passion, Penn’s ambition may exceed his grasp but only by degrees.

Read the rest here.

Into The Wild - Director Sean Penn shoots Emile Hirsch

DVD of the week – ‘4 by Agnes Varda’

4 by Agnes Varda Agnes Varda, a key director of the French Wave, never belonged to the group proper. By her own admission she had seen less than two dozen films before she embarked on her own first feature, La Pointe Courte (1954), a study of a marriage on the rocks starring Silvia Monfort and Philippe Noiret. Instead she remained – and remains – happily on the fringe following her own muse and defying expectations with glee. Her debut feature debuts on DVD in new Criterion box set 4 by Agnes Varda, along with three of her best and most well known features. From the easy rhythms and delicate naturalism of Cleo From 5 to 7 (1961), her first critical success, to the rosy romanticism of the controversial Le Bonheur (1965) to the harsh beauty and alienation of Vagabond (1985), Varda shows herself a hard director to peg. Where Cleo, the story of a ninety minutes in the life of a flighty pop singer (Corinne Marchand) as she awaits the results of a cancer test, gives us rounded, vivid characters in the bustling real world of Paris, Le Bonheur, a lovely tale of a tragic love triangle, offers archetypes in a sun-drenched Eden, an impossibly idyllic world where even tragedy is transformed into a happy ending. The immediacy of Cleo becomes distanced in Le Bonheur and reaches its apex in Vagabond, where Varda’s removed observations chart (in flashback) the lives touched on by Sandrine Bonnaire’s drifter, who seems incapable of actually connecting with anything around her. Where Cleo suddenly clings to the life she sees with different eyes while awaiting news of her cancer test results, Bonnaire’s vagabond seems to skip along the surface, alienated from everything and everyone around her. Even the playful techniques so effective in Cleo (intertitles marking off and punctuating the scenes) and Le Bonheur (flashcuts, out of focus portraits, visual wordplays) are stripped away for the sobering drama of Vagabond. What ties these films together is a richness of detail and a consistency of style – a compelling form created for each individual film.

It’s featured on my MSN DVD column, along with other highlights this week. The John Frankenheimer Collection offer the DVD debuts of The Young Savages and The Train along with previously released discs The Manchurian Candidate and Ronin.

“The Young Savages” (1961), his sophomore theatrical feature, is a social drama produced by and starring Burt Lancaster as a passionate district attorney who investigates the racially charged murder of a blind Puerto Rican gang member by three Italian teens. Lancaster also produces and stars in the World War II resistance drama “The Train” (1965), a gritty, vividly directed thriller about a resistance leader (Lancaster) who reluctantly risks his agents and civilian hostages to stop a Nazi officer (Paul Scofield) from looting French art treasures during the German retreat from France.

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New reviews: ’27 Dresses’

New review in the Seattle Post-Intelligencer: 27 Dresses

The movie is like Jane’s perfect wedding: it delivers everything you expect on a timetable you can predict to the minute. It’s filmmaking as a cross between a carefully choreographed dance and an elaborate pageant, where we all agree to pass off Heigl, the dream girl of “Grey’s Anatomy,” as the plain sister.

Read the rest of it here.

Also new this week: my review of Jerzy Skolimowsli’s 1971 Deep End, recently revived and shown in a newly-struck print. The review is on this site. See below or click here.

Deep End – Caught in the undertow

deependposter_0823200709181.jpgDeep End (1971)

directed by Jerzy Skolimowski

An unearthed classic of early seventies cinema, Jerzy Skolimowski’s darkly satirical psychological drama of young lust, sexual callousness, obsession, and fantasy is a different kind of coming of age film. 15-year-old Mike (John Moulder-Brown) gets his first job, as an attendant in the Men’s private baths of a dreary, clammy public swimming pool in suburban London. His tips, however, come from the middle-aged women in the other section, who pay generously for him to (in the words of his gorgeous co-worker Susan, played by Jane Asher) “just go along with the gag, that’s all they want.” All Mike wants is Susan.

Polish director Skolimowski is a curious cult director without a cult, the creator of another weird and creepy film deserving resurrection – the 1978 psychological mind game The Shout – who last had limited arthouse success in 1982 with Moonlighting, starring Jeremy Irons. He’s arguably had more popular success as an actor (most recently in Eastern Promises) than as a director, where his themes are reminiscent of the early work of his Polish film school comrade, Roman Polanski.

Deep End combines Skolimowski’s own darkly psychological interests with a perfectly British sensibility rubbed raw. He punctuates the veneer of social realism with cheeky sexual metaphors, from the red he injects into the film like a flush of lust and desire to the goopy spurt of an ineffectual fire extinguisher, which serves as the final punctuation of a scene of frustrated coitus. Cat Stevens sings a few songs with the group The Can, but they’re a lot darker that those he did for Harold and Maude, another film about a young virgin in a relationship with an older woman.

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DVD of the Week – ‘The Naked Prey’

Cornel Wilde’s The Naked Prey is not the first survivalist drama of man hunting man, but it is arguably the definitive, most visceral and primal example of the genre. Part Run of the Arrow (the story is inspired by a real event in American history but shifted to turn of the century colonial South Africa) and part The Most Dangerous Game, director/star Wilde strips the set-up to the essentials. There are no names in the safari crew and all we know of the Man is that he wants out of the safari biz and return to his farm, and that he has a wedding ring. You can’t miss the influence of the film on Mel Gibson’s Apocalypto, which trades the searing austerity and matter-of-fact savagery of the African veldt and jungle for the lush South American rain forests and adds complications, but otherwise charts the escape of a captured man from warriors hunting him down, first as sport, and then as vengeance.

I reviewed the new Criterion disc in my MSN DVD column and you can find the review here:

The film is notorious for the tortures unleashed upon the captured hunters for tribal sport and spectacle, but the blunt slaughter of elephants is as grotesque as any of the cruelties faced by the humans. Wilde so effectively matches his beautifully shot film with the wildlife footage of the animal food chain in action that the most telling difference is the contrast in film grain. The restored digital transfer looks great and the color balance helps match the otherwise disparate film sources.

[Note: click on titles for the complete review; click on DVD cover to find it on Amazon]

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Seattle Film Critics (a small, disorganized group of them, anyway) pick their top films of 2007

There is no more “Seattle Film Critics Awards,” and no formal body to put their stamp on the year in review as a group. But there are still many fine Seattle film critics and they like to make lists. I do too, but even more, I like to talk about movies, so I have an annual ritual where I invite a small group of colleagues (those who are both friends and film critics, and who like to engage in friendly but passionate debate) to offer their lists and their reasons. And then we debate the night away.

Here are the results of the Axman’s Tenth Annual Seattle Film Critics Top Ten Party, an unofficial, purely personal event that in no way stands in for the critical consensus of the Seattle Film Critics at large, merely those few critics that I prefer to spend a few hours arguing with. This year, those few included: Jim Emerson, Kathy Fennessy, Robert Horton (unable to attend but sent his list), Richard T. Jameson, Dave McCoy, Kathleen Murphy, Jeff Shannon, Tom Tangney, Andy Wright (unable to attend, sent his list), and me, Sean Axmaker.

What follows is the compilation list of films. There is no “weighting” of points (as in the Village Voice list), merely a simple hierarchy: a first place pick receives 10 points, a second place pick 9, and so on to a tenth place pick of 1 point. Ties are weighed accordingly, assigned two spots on the list and then the added points split between them. This has no official standing or bearing on anything. It’s just interesting to see the critical mass of this particular gathering. And the critical mass – in 9 of 10 lists – is weighted overwhelmingly toward…

no_country_for_old_men_coen.jpg1) No Country for Old Men (87 points, 9 lists, 8 “Best Film” picks)

2) (tie) There Will Be Blood (39 points, 5 lists, 1 “Best Film” pick)

– Zodiac (39 points, 6 lists)

4) The Assassination of Jesse James by the Coward Robert Ford (27 points, 5 lists)

5) Away From Her (26 points, 4 lists, I “Best Film” pick)

6) Into the Wild (25 points, 4 lists)

7) Once (23 ½ points, 5 lists)

8.) I’m Not There (21 points, 3 lists)

9) Inland Empire (19 points, 3 lists)

10) Grindhouse (18 ½ points, 3 lists)

11) 4 Months, 3 Weeks, and 2 Days (17 points, 2 lists)

12) Margot at the Wedding (16 points, 3 lists)

No other films appeared on more than two lists. The top films that appeared on two lists follow:

Eastern Promises and Superbad (12 pts), 12:08 East of Bucharest (11 pts), Exiled (9 ½ pts), Breach, The King of Kong, Atonement (8 pts). The Wind that Shakes the Barley and Lust, Caution placed highly on a single list apiece for 8 pts.

The following lists are as presented and adjusted for ties – the list is 10, no more, no less, unless the person stacked multiple titles in the “10” spot and split the votes accordingly.

Continue reading “Seattle Film Critics (a small, disorganized group of them, anyway) pick their top films of 2007”

Top Ten of 2007 – My Final List

I’ve contributed Top Ten lists to four different organizations already: MSN, IndieWire, the Village Voice/LA Weekly 2007 Film Poll, and Senses of Cinema (not yet published as of this writing). The process has remained fluid throughout, and not just due to differing rules for the different groups. I’ve allowed myself to challenge my own evaluations, and the reasons behind them, for each list, shifting films up and down the list, swapping out different titles in the final spots, rethinking what it is that makes a “best film,” and understanding what I want to represent as “cinema” with such a list.

That ends with this, my final list, the one that I prepare for my annual “Top Ten” event, a small party/debate that I have been hosting for a few film critic friends of mine for ten years now. It’s by design a small gathering of people I enjoy talking to and arguing with, who take movies seriously and are articulate enough to make a discussion not just lively, but invigorating and challenging. The results of that event will follow in a later posting. Here is the list I presented at the event, supplemented with notes, comments, runners-up, and links to reviews and other writings (where available).

1. No Country For Old Men (Ethan and Joel Coen)
A model of simple, strong, evocative storytelling pared down to the bone and character and meaning radiating from every image, every movement, and every moment, “No Country” is cinema in every sense of the word. Part of the thrill is the feeling that it’s all spinning out of your grasp, it’s rushing out of control, in a film that refuses to rush anything. You never feel it’s out of the control of the Coens, whose methodical deliberateness tracks every detail of the story, and Roger Deakins delivers simple and stark images, a desert that sometimes feels like it’s lawless frontier. As the film unfolds, it becomes clear that Josh Brolin’s Llewelyn Moss may seem smart, but is just smart enough to outrun the trouble dogging his trail, a minor league talent in a major league showdown. The Coens don’t offer that comforting sense of cosmic justice or thematic completeness that most crime movies provide, even those films about chaotic situations where the violence spills out of the confines of the protagonists. And that’s the point. There are no random elements, just those details we don’t know, and that’s far more dangerous. Tommy Lee Jones’ character, Sheriff Ed Tom Bell, retires because, he says, no longer understands the kind of violence and characters that he faces with the explosion of the drug trade through the borders. The Coens (and McCarthy’s story) remind us that it’s not the violence that’s changed, only the players.

My Seattle P-I review of No Country For Old Men is here.

2. Into the Wild (Sean Penn) Continue reading “Top Ten of 2007 – My Final List”

Kick the Bucket – New reviews

The Bucket List may not be the worst film of 2007 (2008 for Seattle), but it is easily the worst film coming from such a pedigree: Jack Nicholson and Morgan Freeman star and Rob Reiner directs (okay, Reiner hasn’t been a sign of quality for years now; really, what happened?). The film is a dying wish fantasy with two old men (only one of these old men is grumpy) facing terminal illness, and one of them (the grumpy one, of course) a conveniently placed billionaire to fund the whole deal.

Chambers (the reflective mechanic played by Morgan Freeman) inadvertently reviews the film in a remarkably prescient comment lobbed at Nicholson’s tiresome character: “Edward, I’ve taken baths deeper than you.” He could have been talking about the lukewarm bath of a film he found himself in.

As Chambers reminds us, the bucket list — an inventory of things to do before you kick the bucket — is “supposed to be a metaphor,” but this is a film that takes everything literally. Cole uses his unlimited checkbook to make Chambers’ dreams come true with a barnstorming world tour by private jet of the wonders of the world. They are spectacularly un-wondrous scenes, no thanks to conspicuously indifferent computer effects to match the film’s glib insincerity.

These two cutely eccentric movie oldsters verbally parry, philosophize and bond over dinners in Paris and motorcycling across the Great Wall of China. And for all Cole’s spiritual apathy — strange in itself considering his library of inspirational literature — that old cliche rears its familiar head: Just as in foxholes, there are no atheists in American movies about terminal illness.

The review is at the Seattle Post-Intelligencer here.

Also this week: capsule reviews of the documentaries War Made Easy and Billy the Kid and the surprisingly endearing Japanese juvenile romantic drama Honey and Clover, co-starring Yu Aoi of Hula Girls and Hana and Alice.

The gentle conflicts and easy rhythms and small triumphs over personal adversity are low-key almost to a fault, and the smitten stares and unrequited crushes and creative crises suggest high school melodrama as much as young-adult drama, but that restraint also is part of its comfortable charm. It’s cute and sweet without getting saccharine and avoids the contrived complications of American stories of students charging the emotional and sexual minefields of adult relationships and responsibilities (no one here even makes out, let alone sleeps together).

All three capsule reviews can be found here.

Rebels Without a Cause: The Wild Angels

Roger Corman’s The Wild Angels took the outlaw culture of the biker movie into nervy, nihilistic territory. Heavenly Blues (Peter Fonda) presides over a chapter of Hell’s Angles, a gang of disaffected drop-outs and scruffy road rats who live to ride in packs and parade their colors (black leather, mostly, adorned with swastikas and Iron Crosses) as a show of defiance to the establishment.

The film branded Fonda as a counterculture icon, but his lanky aloofness and arrogant disdain for the establishment masks an alienated, empty soul flailing at every authority figure just to provoke some sort of sensation. Nancy Sinatra’s thigh-boots were made for straddling a chopper and she is all hipster attitude as Blues’ chick, Mike. Sinatra is a wooden actress, but there’s a nervousness and fear of abandonment behind her vague expression which puts Fonda’s cool posturing into perspective.

Real members of the Venice chapter of Hell’s Angels fill out the gang and provide the stunt riding, which helps give the film its rough and ready character, but it’s the anarchy of this gang and the chaos they leave in their wake that makes it so memorable.

They are truly rebels without a cause, a tribal gang that we watch devolve into primitive savagery in the wake of the death of their beloved brother, the Loser (Bruce Dern in a swaggering performance of breezy disobedience). It’s not malevolence that makes them dangerous, but apathy and amorality. They just don’t care who gets hurt in their search for the next thrill.

“We wanna be free!,” demands Blues in a rambling eulogy turned incoherent (anti-)statement of purpose. “We wanna be free to do what we wanna do. We wanna be free to ride. We wanna be free to ride our machines without being hassled by The Man! And we wanna get loaded! And we wanna have a good time. And that’s what we’re gonna do. We’re gonna have a good time. We’re gonna have a party.”

The empty eulogy becomes an epigraph for a defiant anti-establishment rebellion fallen into decadence and anarchy and Heavenly Blues proceeds to preside over the desecration of a church and the systematic trampling of every boundary of decency that Corman could push past censors in 1966. The Wild Angels becomes a portrait of emptiness and hostility, a social revolution spiraling into narcissism and self-destruction.

Director/producer Roger Corman was more than a B-movie legend. From 1955 to the late ’60s, he was America’s most prolific low-budget director, and he grew more ambitious and more inventive throughout the decade. The eight features in this box set, on four two-sided flipper discs in four thinpak cases, collect many of his best films, two of them making their DVD debut here. The most notable is Bloody Mama (1970), his wickedly weird twist on the “Bonnie and Clyde” outlaw gangster picture, with Shelley Winters as Ma Barker, who loves her demented sons so much she sometimes sleeps with them. Don Stroud and Robert De Niro are two of Ma Barker’s boys, and Bruce Dern, Pat Hingle and Diane Varsi co-star. Previously released but even more essential are Corman’s notorious biker classic The Wild Angels (1966) and the quintessential 1960s head film The Trip (1967), written by Jack Nicholson and starring Fonda as a burned-out TV director who drops acid under the protective watch of Dern and Dennis Hopper. The trippiest film of the bunch is Corman’s hippy apocalypse Gas-s-s-s (1970), a groovy satirical road movie set in a future where everyone over 25 is killed by an experimental weapon, and a group of peace-loving hippies goes looking for utopia amidst the fashionable fascists that have taken root. It was his last film for his longtime studio home, AIP, because it (along with “The Trip” and “Bloody Mama” before it) was re-edited behind his back.

The DVD pictured above is actually out of print, but you can still get it on a biker double feature with Hell’s Belles and in the 5-disc, 10-film Roger Corman Collectionbox set, an odd collection that includes Corman’s other great counter-culture classics The Trip and Gas-s-s, his perverse take on the Ma Barker story Bloody Mama, and his great black comedy A Bucket of Blood.

I reviewed the box set for MSN.

Read the entire review here.