One of the ultimate cult figures in cinema and theater. His movie 'El Topo' is considered to be the first midnight cult movie, and a riot broke out in reaction
to 'Fando y Lis'. His cinematic repertoire boasts only 6 movies in the first 35 years, practically each of which is accompanied by a fantastical story, and his
most famous movies were held back by a vengeful partner for 30 years, forcing them into the underground until their eventual widespread release. He also has many
aborted projects involving figures such as Salvador Dalí, and his followers Marylin Manson and David Lynch, the most infamous aborted movie being the original
version of Dune which was supposed to be a 12-hour movie. In addition to movies, he was very active in theatre, being a founding member of the anarchistic
avant-garde Panic Movement, as well as in Zen Buddhism, opening his house to disciples and to the study of Zen koans and 'psychomagic' (a combination of spiritualism
and psychology), and he also created a series of graphic novels.
His movies make heavy use of the bizarre, the grotesque, the obscure allegory (often religious in nature), religious symbolism, surrealism, many deformed humans,
dwarves, and amputees as well as numerous non-sequitur events and striking props for jarring effect. His movies are striking and even artistically or intellectually
stimulating but mostly they feel like the work of an intellectual lunatic on drugs. At times his visuals feel like a Zen koan with the hidden meaning just out of reach,
sometimes you may grasp the meaning and feel awed by the artistic genius, but more often than not, the meaning is trite, and disappointing new-age nonsense, or you
realize that your mind is just forcing meaning onto bizarre information that could mean anything to anyone. Thus, comprehensible and stimulating scenes are often
drowned out by self-indulgent cult intellectualism, artistic nonsense or pointless Dadaism. His movies may work as striking visual pieces, however, if you are
looking for a unique provocative experience or are under the influence of drugs and are easily influenced by all things 'spiritual' and 'mystical'. Despite the nonsense,
however, there is much to extract from his movies, if only for the challenge and stimulation, as well as the visual experience. His most telling quote was regarding
El Topo: "If you're great it's a great picture, if you're limited El Topo is limited"... which sounds too much like a paraphrase of the tailor's statement in The
Emperor's New Clothes, except that it basically means that you get out of his movies what you arrived with.
His only movie not listed here is 'Tusk', a mainstream film about a relationship between a girl and an elephant in India mixed with some action and slapstick.
Jodorowsky's strange imagination is pulled slightly down to earth by Dario Argento's involvement, and the result is something that we can sink
our teeth into. The story (yes there is one this time) involves a group of circus performers, the main characters being a fat, knife-throwing
strong-man, his aerialist and religious cult leader wife, his tattoed lady lover, his magician son who loves a deaf-mute girl, a midget and a
few clowns. After a very violent, traumatic episode in the boy's life involving his jealous mother attacking the lovers with acid, getting her
arms cut off and his father committing suicide, we follow the grown up magician through various stages of insanity, and an obsession with his mother who
controls his arms and forces him to kill women. This is all very Freudian-heavy and dark and is comparable to Psycho at times, but the real star
of this movie is Jodorowsky's bizarre visuals and symbolism, and the plot only ties it all together to keep us interested until the final surprise
denouement. We are treated to such striking images such as a bleeding elephant and its funeral in a huge coffin, a huge bodybuilder woman that the
little magician challenges, mongoloids being entertained with a whore, haunting female corpses covered with white clown paint, and many carefully
choreographed duets where a woman with no arms uses her son's arms as if they were her own. The only flaw is that at times it's too twisted just for
shock value but the story comes together very well and the visuals never leave you.
First short movie by Jodorowsky acted purely by mimes. A man tries to woo a woman who plays hot and cold with him and who seems to like and
dislike different aspects of him. He tries different neckties, hats... and heads. A local woman runs a store for new heads, keeping spare
heads on display, and changing them for customers on the fly. The problem is, the targeted woman is too picky and heads and bodies don't
always see eye-to-eye.
Cravate, La (The Severed Heads)
After a 23-year hiatus from films during which time his movies were released from their commercial 'prison' and gained a much more widespread audience,
Jodorowsky finally produces one that didn't evaporate into smoke. Although this seems to start as an autobiography with Jodorowsky guiding
his own child-self through a difficult upbringing, the movie soon turns into a dance of unreality and another journey of Jodorowsky psychomagic,
with the reality of his past morphing into a fantastical and grotesque story in order to tell another Jodorowsky tale of the search for meaning and self.
His bosom-heavy mother sings all her lines as if in an opera and, together with a Theosophist, represents the magical and the religious side of his upbringing.
Except that she has an unhealthy psychological projection on her son derived from her father. His father is shown as an insecure macho-Communist who
represents the practical, the cold and the harsh. The child's own experiences start blending pleasure and suffering together, as death can often lead
to happiness and merge into one. As expected, amputees appear to represent the tough and deformed aspects of life which the child embraces. And so on,
all psychology-heavy, personal, surreal and symbolic, until the movie suddenly veers to tell a fictional-fantastical-symbolical tale of his father who went to kill
a dictator and got very lost on the way, losing his pride, strength and self through very colorful and bizarre Jodorowsky-adventures with saints, deformed wives,
absolute love of a horse, Nazis, amnesia and Christ, until he finally finds his way home. A fascinating movie with both interesting and laughably pretentious
elements, as well as the same old tired shock-tactics such as a scene of healing through graphic water-sports representing the channeling of godlike power.
Definitely another one-of-a-kind Jodorowsky experience, but much more personal, Freudian and psychological, rather than the mystical and visually striking
LSD experiences of the past.
Dance of Reality, The
A long allegorical, surreal western about a man in search for meaning (I think). The story starts with a gunfighter and his naked son
who takes down a colonel who is terrorizing the people. A victimized woman attaches herself to him, he abandons his son, she convinces
him to challenge the four wise masters of the desert, he defeats them all by cheating and finds he has gained nothing. She betrays him
and chooses a lesbian lover instead and he wakes up years later in a hidden cave of social rejects and deformed people. He falls in
love with a dwarf, tries to save them by digging a tunnel to the outside only to find a decadent and violent society on the other side.
Along the way we see such images like a man with no legs on the back of a man with no arms, a man forced to have sex with a dwarf in public,
bandits dancing with and sexually abusing four priests, an absurd showdown where they wait for a whining balloon to run out of air before
shooting, finding eggs in the sand between other people's feet and shooting rocks for water in a desert, etc. In other words, non-stop
symbolic and insane vignettes posing pretentiously as mystical, religious or satirical messages. It succeeds at rare times, and there is
some meaning to be extracted from this experience, but the shock-tactics, nonsense intellectualism and new-age pop-mysticism gloss win out in
Jodorowsky's first is also his most relatively accessible movie from that period, albeit a very surreal movie based on his work with Arrabal,
with graspable allegories and symbols as well as his usual impenetrable mysticism. Fando & Lis is a black and white, surreal, Freudian story
about an innocent young couple in search of a fantastical, Eden-like place called Tar. Along the way they lose their innocence and Fando
trips over his ego, parents, homosexual tendencies and other psychological barriers, growing more abusive and desperate as his dreams are
shattered, witnessing the exploitation of the poor, blind men drinking blood, and a living-dead society, often with religious overtones.
This is all portrayed symbolically and provocatively of course, but the heavy-handed psychology and pretentious symbolism become tedious
and aimless after a while. Evidently, the provocation and content in this movie were enough to cause a riot in Mexico.
Fando y Lis
The ultimate bizarre midnight movie. There are no words to describe this never-ending visual stream of the most creative and outlandish imagery
you could never imagine. Forget plot, forget descriptions and reviews; Just see it for yourself. The imagery includes things like a fool and his deformed
dwarf friend being used to create Jesus mannequins, an alchemist in a magical tower that converts excrement into gold, seven business-men representing seven
fantastical planets and various negative aspects of society, bizarre rebirth rituals, Tarot, occult and astrological symbols, a mystical journey to immortality,
a 'cemetery party', bizarre visions, and so on. But, as mentioned this doesn't even begin to describe the movie. The obscure symbolism and occult allegories
are impenetrable and full of crackpot pretentious 'wisdom', and the overall message ends up being quite trite, since after the journey through all of this
mysticism and false journeys, Jodorowsky merely brings us back to reality and tells us that the answer is within us. Except that we had to go through 2
hours of unintelligible madness to come to that conclusion. As a visual experience, however, this is a full-blown mescaline experience with grotesque
provocations and artistic direction that has no peers.
Holy Mountain, The
Compared to his earlier movies, this later offering by the lunatic is practically mainstream. But the use of some bizarre imagery, circus performers and
most of all, inpenetrable allegory, is still here. The plot involves an eccentric rich man who, among other things, feeds caviar to his dogs and bones to
his family, and hires a dozen whores to play with him. This man was supposed to leave his wealth to a crazed fool who shacks up with a thief in the sewers
and attempts to teach him the purpose of life while living off his thievery. This is by far his most pointless movie, but as with the others, your curiosity
is held throughout.
Rainbow Thief, The