freakboy on film: TERMINAL DEGENERATION: The Films of Jon Moritsugu

I had never heard of Jon Moritsugu until opening an email from Vinegar Syndrome, which has become my back-alley film fix destination.  Three things peaked my interest.  First, I instantly found the funky-indie-cool cover of the blu-ray box set very appealing.  Second, the description of one of the films as a DIY version of BEYOND THE VALLEY OF THE DOLLS more than intrigued me.  Third, the crazy trailer for the box set secured my desire to learn more about this writer/director. 

What did I learn about Jon Moritsugu? 

I learned MY DEGENERATION (1989) really is, in its own way, a DIY version of BVD, by way of David Lynch and Gregg Araki.  Three young women form a  rock band, achieve success (thanks to the meat industry) and then struggle with the pitfalls of fame, drugs and love of what appears to be a pig’s head.  MY DEGENERATION is a bizarre and amusing introduction to Jon Moritsugu.  Also, I love the music and the out there audio effects!

I learned HIPPY PORN (1991) is neither about hippies nor porn.  If you enjoy allegedly nihilistic, pseudo-intellectual young adults whining about the existential nothingness of their disenfranchised lives, then HIPPY PORN is the film for you.  This was the hardest for me to sit through because it feels tediously overlong and self-indulgent, but the “Accentuate the Positive” musical moment is rather brilliant.  HIPPY PORN also made me almost regret this purchase because the opening scene involves a dead animal, which hopefully wasn’t killed for the purpose of this film.  Watch at your own risk. 

I learned TERMINAL USA (1993) is Jon Moritsugu’s CITIZEN KANE.  Funded by and airing on PBS (the “Sesame Street” network), the story focuses on one very strange day in the life of an Asian-American family, culminating in a household full of cheerleaders, skinheads, a drug dealer and an alien.  Freaky, funky and funny, TERMINAL USA may be the best in this box set and must have inspired Gregg Araki’s NOWHERE (1997). 

I learned MOD F**K EXPLOSION (1994) is another Gregg Araki-style film about two oddball gangs out for a clash and the young woman stuck in the middle, who just wants a leather jacket.  Low-key weird, occasionally hard to follow and inappropriately funny, MOD F**K EXPLOSION is definitely happening in the same universe as TERMINAL USA, but doesn’t quite reach its surreal symmetry.  Still totally worth watching though!

I learned FAME WHORE (1997) might be my favorite Jon Moritsugu film.  The Gregg Araki/David Lynch vibes have fallen away to reveal a quirky, funny and strangely touching look at the danger of notoriety, the desire for success and the damage of loneliness.  After a catchy theme song, we are presented with three interesting characters.  A tennis pro dealing with scandalous (at the time) gay rumors, a young woman (Moritsugu’s wife & collaborator Amy Davis) who fancies herself a Jill-of-all-trades in the entertainment industry and a young man working alongside an imaginary friend (a giant mascot dog) at an animal shelter never meet, but in some indescribable way seem connected in their separate stories.  FAME WHORE surprised me, made me laugh and even broke my heart a bit. 

I learned SCUMROCK (2002) is ironic.  After so many films with a Gregg Araki vibe, a Gregg Araki actor (James Duval) FINALLY appears in a Jon Moritsugu film, but it’s the least like a Gregg Araki film.  Two stories, briefly connecting in the middle, revolve around a young woman trying to make a name for her rock band and a young man trying to make his first film.  SCUMROCK is slow-paced, but amusing, with a sort of happy ending that feels true.

I learned PIG DEATH MACHINE (2013) isn’t as horrifying as the title suggests.  It’s a goofy story about the strange side effects a ditsy blond and a dishwasher experience after eating bad pork at a restaurant.  The ditsy blond’s IQ rises and the dishwasher can suddenly hear plants talking.  My only complaint is I don’t understand why the dishwasher never tries to talk to the plants who are talking to her.  In the end, PIG DEATH MACHINE is an amusing finale to this box set, especially with the surprising and fun stop-motion animation sequence! 

In conclusion… 
Overall, I’m glad I learned about Jon Moritsugu and his eclectic films.  They are very DIY.  The acting is not always great.  The characters are not always likable.  However, much like an Andy Milligan film, there is an honesty underneath the weirdness and absurdity.  Yes, even in HIPPY PORN, including in that tough to watch opening scene.  So, if you are into ultra low-budget, seriously indie cinema, then TERMINAL DEGENERATION: The Films of Jon Moritsugu may be the box set for you! 
Thank you for reading or listening to my half-blind words.

Freak Out, 
JLH 

P.S.  In case you missed my latest video for The FreakOptic Files… 

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My books & blogs…  
http://thejlhcollective.blogspot.com/2018/03/the-collective.html

freakboy on film: TRUST (1990)

 

TRUST is essentially a story about two lost souls finding one another at the right time and place.  Will this make a perfect Valentine’s Day gift?  

Well…

Maria is a pregnant teen who just quit school and may have slapped her father to death.  Matthew is a young man who just quit a computer manufacturing job and pissed off his father again.  These two complicated people form a complicated bond that leads to, well, complications involving abusive parents, a stolen baby and a hand grenade.  

Writer/director Hal Hartley creates memorable characters with severely direct dialogue.  Seriously, has anyone ever talked like anyone in this film?  Adrienne Shelly shines in a sullenly inquisitive way as Maria.  Martin Donovan emits edgy rebelliousness as Matthew.  Both Maria and Matthew are often abrasive, and possibly unlikable, but I find them sympathetic and relatable.  This is probably because I’m drawn to emotionally damaged characters.  Plus, there is a piece of dialogue exchange that has become one of my favorite scenes from any film.  

MARIA: “Did you mean it, would you marry me?” 

MATTHEW: “Yes.” 

MARIA: “Why?” 

MATTHEW: “Because I want to.” 

MARIA: “Not because you love me or anything like that, huh?” 

MATTHEW: “I respect and admire you.” 

MARIA: “Isn’t that love?” 

MATTHEW: “No, that’s respect and admiration.  I think that’s better than love.” 

MARIA: “How?” 

MATTHEW: “When people are in love, they do all sorts of crazy things.  They get jealous.  They lie.  They cheat.  They kill themselves.  Kill each other.” 

MARIA: “It doesn’t have to be that way.” 

MATTHEW: “Maybe.” 

I first experienced TRUST on IFC back in the 1990’s and even recorded it on VHS.  Oh, there was a constant search later for a DVD, but somehow I missed its Region 1 release, which is out of print and pricey.  Thankfully, I found a Region 4 copy for $8 on Amazon and it was worth it.  (Kneels in gratitude for my region-free player.)

In conclusion…

I respect and admire this film and now it takes me back to the ‘90’s indie film movement, which makes me feel both happy and sad.  I’m reminded how great these films are, but then I begin feeling wistfully nostalgic for that time period.  Ugh, enough of my sloppy sentimentality!  If someone special in your life enjoys character driven drama with sly humor and a romance that doesn’t make you wanna wretch, then TRUST may be the perfect Valentine’s Day gift! 🖤

Thank you for reading or listening to my half-blind words. 

Freak Out, 

JLH 

P.S.  Click the pic ⤵️ for more emotionally damaged characters…

freakboy on film: FLESHPOT ON 42ND STREET (1973)

 (written & directed by Andy Milligan)

I could slip on my Mad Scientist Glasses and take photos of the TV screen or just look up a program schedule online, but my sister was already checking listings on the onscreen cable guide last Friday.  So, I inquired as to what was airing on Turner Classic Movies overnight.  When my sister mentioned FLESHPOT ON 42ND STREET, I asked in a most incredulously curious tone, "What is that about?"  When she uttered the words, transvestite roommate, I knew for certain I'd be waking up in the middle of the night to catch this TCM Underground flick. 

FLESHPOT ON 42ND STREET (or, as it's also known, The Girls on 42nd Street) is about a worldly New York woman of the 1970's named Dusty.  Dusty is three months into shacking up with a guy and she's tired of listening to him bitch about her not having a job.  The final straw breaks when he asks her to tidy up the apartment while he's at work.  Dusty lulls his anger through seduction, and promises to do so.  Then, once he leaves, she tidies up the place by robbing him blind. 

Dusty takes the hot property to a less than reputable (is there any other kind?) pawn shop.  The owner offers her $30 for the TV and jewelry, but Dusty wants more.  The classy owner offers her $50 if she joins him in the back room.  She does, they do and they leave the pawn shop.  He heads off to fetch lunch for the two of them, while Dusty claims she is going to use a phone booth across the street.  Instead, she breaks into the shop to steal more money and a nice broach.  Even hustlers need to look glamorous.

Speaking of glamorous, our ever-resourceful heroine lands on the doorstep of Cherry, a transvestite hustler with a sharp tongue and tricks to spare.  Her clientele are strictly men and when a weekly appointment spots Dusty, Cherry generously steps aside, but the trick makes it clear that he will be back next week for some Cherry.

With all of Dusty's recent influx of income, she and Cherry go out on the town.  They end up at a bar where they spot Bob.  Bob, despite his Norman Bates demeanor, is a nice guy from Staten Island.  To nobody's surprise, Dusty goes home with Bob.  What is surprising is Dusty likes Bob so much that she doesn't accept money from him and doesn't want to rob him blind, even though he gave her keys to his home. 

Will Bob be the fairy tale ending for Dusty, our hustler heroine?  Will Cherry ever afford a less grandmotherly wig?  Will I give away the ending that, quite literally, comes out of nowhere?  I seriously considered it, but decided to leave you satisfied, but wanting more, like a good hustler should. 

As for the acting, there is a natural 1970's feel to it.  Honestly, the performances are better than they should be.  Same goes for the dialogue.  The words are brazen, shocking and probably offensive to 21st Century ears, but there is honesty there.  Especially when Dusty doesn't want Bob to stare too deep into her eyes and when Cherry waxes tragically realistic about being an aging transvestite hustler.  I found it easy to feel compassion for these characters despite some of their horrible behavior. 

SIDE NOTE: While researching this film on IMDb, I was shocked to learn that Harry Reems, the notorious DEEP THROAT actor, played Bob!  Actually, the three leads all used assumed names.  Laura Cannon played Dusty and Nell Flanagan played Cherry.  Further research revealed what I watched on TCM was an R-rated cut of an X-rated film, which explains a lot. 

In conclusion, if you dig obscure, gritty, indie films from the 1960's & 1970's, then FLESHPOT ON 42ND STREET may be the trick for you.  I have no regrets waking up to watch it at 1:30 am, and I would do it again.  Mainly because the DVD is out of print and is crazy expensive. 

Thank you for reading or listening to my half-blind words.

Freak Out, 

JLH 

P.S.  A different post about a different obscure film I watched in the middle of the night...

https://freakboyzone.blogspot.com/2019/01/freakboy-on-film-butcher-baker.html 

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My books & blogs...

http://thejlhcollective.blogspot.com/2018/03/the-collective.html