The Devils

The Real...

Elgar: Fantasy of a Composer on a Bicycle


            
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The Music Lovers

Mahler

Savage Messiah

Lady Chatterley

Altered States

The Boy Friend

Tommy

Prisoner of Honor

Salome's Last Dance


            This probing and multi-layered investigation of love, sex, and commitment plays off China Blue's, Bobby's, and The Reverend's situations against each other. This probing and multi-layered investigation of love, sex, and commitment plays off China Blue's, Bobby's, and The Reverend's situations against each other. Each's sexual frustrations are extrapolated to the larger and symbolic factors of American life. China Blue is the woman in search of sexual fulfillment that includes love, but in her disappointment, she becomes a prostitute by night, career woman by day. Bobby's marriage has mutated into sexual frustration that is also shown as lack of honesty while husband and wife struggle with commitment gone sour. The Reverend is partly a symbolic representation of Christian confusion about sex and love and partly a representation of China Blue's confused and disappointed search for an authentic man/woman relationship. The story is not that simple, however, as it contains searing inditements of Christian salvation methods, the mixture of frustrated sexual longings and Christian condemnation of sex, and society's confusion about sex, marriage, and authentic loving relationships. As the prostitute, China Blue, that character is complex in her dual life, her unlikely opening of herself to a client (Bobby), and her brutal accessments of human sexual nature while leaving open the hope of "true love." The story will not resolve into these simplifying statements, however, because all the relationships are multi-dimensional.
For example, the hard bitten China Blue is tender and understanding in the strong scene where she is hired to give a dying man a last sexual thrill. That scene rises way above this description because of honesty of the ill man's pain and of China Blue's sensitivity to that pain. In another scene, China Blue is picked up in a limo by a "Wall Street" couple who dally with her while discussing a business deal, equating the couple's removal from real feelings and substituting money games. Her encounters with several male clients explore sexual domination and submission, especially with one (censored*) scene which graphically shows the brutality of a policeman-customer with Blue, but it must be taken as a larger contextual condemnation of violent sex as rape. Bobby appears a typical American male, frustrated in his marriage, longing for honesty, and trying hard to emerge from his teenage ideas into maturity. The price of divorce paid by the children is also referenced in a brief scene; thus, Bobby's divorce is with a large price, and he admits that and other dimensions. The story does not allow any easy or pat answers.
The Reverend is the most difficult character because he appears to harbor genuine caring for China Blue, but has his own twisted sexuality and confused idea of applying his Christianity to contemporary sexual mores. That he is made into a mad man, wanting to kill China Blue with a sharpened dildo, may push the story into horror elements that jar with the rest of the depictions. The final scene where he is killed by China Blue has to be taken symbolically (what will happen when the real police arrive?) in its brutality and unreality, although it does allow China Blue to throw over her "China Blue" life symbolically and be able to bond with Bobby.
Overall, the story is a search for authentic feelings and relationships in a world significantly corrupted by lack of trust and confused Christianity and inauthentic sexuality.I wrote more but the web site lost the rest.
    

Crimes of Passion

The Rainbow


            This flamboyant extravaganza tells the scandalous tale of superstar composer Franz Liszts (Roger Daltry) hedonistic life of groupies, sex and music, as well as his rivalry with the scheming Richard Wagner (Paul Nicholas). After enjoying the fruits of his celebrity, Liszt tries to find true love with one of his mistresses, Princess Caroline. The Pope (Ringo Starr) forbids their marriage and Liszt attempts to adopt a monastic lifestyle. The vampiric Wagner marries Liszts daughter, Cosima, and then battles for world domination by unleashing the Viking God, Thor (Rick Wakeman), and his troupe of robot Nazis. The only way to save the world is through Liszt and all of his mistresses in a rocket ship to destroy the resurrected Wagner who has now become the Nazi Antichrist. A freewheeling, outrageous and over-the-top look at the life of the worlds first pop superstar.
    

Lisztomania


            Angus Flint [Peter Calfoldi] is an archeologist come to dig at the Bed & Breakfast inn run by the Trent sisters, Mary [Sammi Davis] and Eve [Catherine Oxenberg. Flint discovers some Roman coins and a strange skull, and he learns the local legend of how the D'Ampton family slew the white "worm", actually a snake or dragon. Legend also has it that the lair of the white worm is in Stonerigg Cavern, where the watch of the Trent sisters' father shows up a year after both he and wife disappeared near the Temple Mansion. When Lady Sylvia Marsh [Amanda Donohue] moves into the Mansion, people begin to disappear. Agnus, Mary, Eve, and their friend Lord James d'Ampton [Hugh Grant] search the canyon; Sylvia abducts Eve and prepares to sacrifice her to the worm, whom she calls the God Dionin. Angus and Mary save Eve and sacrifice Lady Sylvia instead. Unfortunately, Angus was bitten by Sylvia and the antidote he took turns out to be for arthritis.
    

The Lair of the White Worm


            Through her half-sister Claire Clairmont [Miriam Cyr], Mary Godwin [Natasha Richardson] and her future husband Percy Shelley [Julian Sands] came to know Lord Byron [Gabriel Byrne]. During the summer of 1816, Lord Byron invited them to stay for a while at his Villa Diodati in Switzerland. There they met Byron's physician friend Dr John Polidori [Timothy Spall]. On June 16th, while a storm raged outside, the five of them amused themselves by telling ghost stories and revealing private skeletons. From Mary's previous experience of miscarriage came the desire to raise her child from the dead which led to the creation of the Frankenstein monster. From Polidori's homosexuality, suicidal thoughts, and fascination with vampires came the story "The Vampyre".
    

Gothic


            Liz (Russell) is a Los Angeles prostitute the audience first sees attempting to get a customer on a busy downtown street near a tunnel. She addresses the audience directly on her life and problems throughout the film. When a van stops by, she gives it the brush off, recalling the last time she serviced a man in a van: it turned out there were several other men in the van, who gang-raped her and left her for dead. A passer-by (Jack Nance) helps her to the hospital, and even pays her bill there. She sends him a thank you note.
Liz isn't merely attempting to get a customer, however: she is attempting to escape her pimp, Blake (Benjamin Mouton). Blake is a well-dressed, businesslike and extremely controlling man who catches up with her at a convenience store. He demands money, and Liz has no choice but to agree though she gives him the finger as he leaves.
As Liz stops off at a strip club for a drink, she explains how she ended up as she did: she was a small town girl, who married a violent drunk named Charlie (Frank Smith). Though they have a child together, she can no longer take it and leaves him, taking her son with her, as he's sleeping it off. She takes a job on the graveyard shift at a diner, and when a customer offers her more money to have sex with him, she decides, given her rather low pay, to take it. She does this independently for a time until she meets Blake, who takes her to LA. Though Blake does do some things for her (including getting her tattooed), he is ultimately as cruel as her husband, so she decides to escape from him.
A local homeless person/street performer named Rasta (Antonio Fargas) decides to treat Liz to a movie. Though Rasta is a bit scary (his act involves walking on broken glass), Liz agrees. At this point the scenes of Liz and Rasta at the movie are intercut with Blake explaining his life to the audience, giving the impression that Liz and Rasta are watching Blake's soliloquy.
After the movie, Liz talks to the audience about her son, whom she clearly loves, though he's now in foster care. She finally gets a customer and services him. He has a heart attack, and Liz panics, trying to give him mouth to mouth resuscitation, without success. Blake happens along then. He takes Liz's money and tries to rob the dead customer. When Liz tries to stop him, Blake tries to strangle Liz and threatens her son. Rasta comes to the rescue, killing Blake. A grateful Liz gives her thanks and walks away.
    

Ken Russell

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