Well, I've finally found the film that can possibly chase the high of watching Dead-Alive. Unfortunately it's also made me somewhat dread rewatching Dead-Alive.
A masterclass via film, of the candid and free-associative stream of insights I'd like to see more of outside of self-conscious essay films, this provided a rare instance of listening to an artist, eliciting genuine interest from me for their knowledge and approbative nods for their aesthetic observance (hilarious Friedkin using Swedish-conforming pronunciation of Ordet repeatedly), while feeling it reflects very little in the film itself (and I've come to appreciate The Exorcist more in recent years). Obviously a maverick…
As a series of disparate musings on industrial decay, structural rot, civic mismanagement, teenage agency, death, loss, family, all these as self-fulfilling prophecy, and a genre morality ideated through finessed genre tropes and personal philosophy, this is very disparate, but so much as to be the survey and the total, untempered internalization of the filmmaker's carefully bred artistic personality (that is, "aesthetic personality") that it is. Hooper has always been something of a "shaggy dog" filmmaker, even when putting forth…
"It's much more complex than it seems. I tried to establish some kind of motif that carries throughout the show - sometimes that's actually more important than what you're actually showing. This has a lot to do with lights and shadows: it takes place in a single night, from dusk to dawn. And all the characters bring with them some sort of history, they're not just cardboard characters walking into a slaughterhouse." - Tobe Hooper
I'm no longer convinced of…