‘Videodrome’ – Long Live the New Flesh
Just a few years into the 21st century, Olivier Assayas wrote in The Village Voice: “Cronenberg’s visionary Videodrome is the most important film of this generation. Time has only reinforced its audacity.” It’s been 25 years since David Cronenberg’s first masterpiece drilled its mutant images into the minds of unsuspecting audiences, and Videodrome is as contemporary and relevant as ever.
"Videodrome" - a slave to the signal
You can trace David Cronenberg’s meditations on technology, disease, addiction, and mutation in the body human all the way back to his earliest shorts (Stereo and Crimes of the Future) and features (Shivers and Rabid). Like George Romero before him, Cronenberg’s earliest films brought horror out of the past and into modern life, breaking taboos and barriers of good taste along the way. He makes his ideas physical and visceral, in a way that you can see and almost feel. It only becomes sharper and more resonant with his remake of The Fly, where he charts the transformation in gooey detail that looks like some diseased attack on the human body (it’s been called a metaphor for AIDS) and eXistenZ, a virtual reality game made flesh, where the line between fantasy and reality doesn’t so much blur as dissolve and overpowering artificial stimulus comes back to effect physical reality.
Even his most recent films explore the same ideas, only instead of some outside agent, he focuses on the way violence and emotion play upon our minds and our bodies. In Spider, the human mind creates a reality for its main character because the truth of his actions are too much to handle: psychosis as a kind of evolutionary fail safe, and this reality created from within is as real to him as the physical world. In A History of Violence, the past that the hero Tom wants to ignore and deny, his repressed history of violence, emerges like a dormant virus when he and his family are under threat. And it emerges without thought — it’s pure instinct, like a hardwired reflex kicked into action with the surge of adrenaline. An essential part of Cronenberg’s genius is making his concepts physical, visceral, alive. It’s what makes his ideas so powerful.
Videodrome is an evolutionary leap in Cronenberg’s filmmaking and ideas. His previous film, Scanners, had become a minor hit and a cult film, but it was a pretty straightforward approach to the idea of telepathy as a product of genetic experimentation, with a fairly conventional conspiracy thriller plot. Videodrome takes concepts of disease and mutation as evolution, and of the body’s physical and biochemical response to progress and technology changing too fast to really absorb and conquer, to a whole new level, and twists it in a plot that wraps around itself while it flirts with another central Cronenberg theme: the fascination with and the fear of sex.
Tags: David Cronenberg, Videodrome
What a year we’ve seen for domestic DVD releases. Marvelous special editions of 
1. Touch of Evil: The Ultimate Collection