Anger…and Other Deadly Sins
Shadowplay guest blogger and part-time benshi film describer David Wingrove, who writes as David Melville, reports on Kenneth Anger’s appearance – or should one say MANIFESTATION? – at Dundee Contemporary Arts. Read it up!
On a grey and rainy August afternoon (in Scotland, that is not a contradiction) two friends and I took a train to Dundee to meet Kenneth Anger. He is a…well, I could say ‘living legend’ but that hardly seems to do him justice.
At four years of age, Anger played the Changeling Prince in Max Reinhardt’s 1935 film of A Midsummer Night’s Dream, still Hollywood’s most purely intoxicating blend of Art and Kitsch. He is one of several distinguished survivors from that film – others include Mickey Rooney and Olivia de Havilland – and Warner Brothers’ failure to recruit one (if not all three) of them to do a commentary on last year’s DVD must count as a Crime Against Celluloid Memory. More than 70 years on, Rooney and Anger remain pals. Olivia may still be fuming at that snapshot of her in black lace lingerie (!) that Anger slipped into Hollywood Babylon II.
Either Dundee Contemporary Arts, or David Cairns Associates.
No wonder we felt a tad nervous, trudging through a downpour towards Dundee Contemporary Arts. (If the Great Beast didn’t come and get us, the wrath of Miss Melanie very well might.) So it’s a pleasure to say that, in person, Kenneth Anger is a joy. Gentle, soft-spoken, immaculately tanned, he looks a good two decades younger than his 78 years. In the bar after the show, he shared his enduring love of Shakespeare, commedia dell’arte and Marcel Carné’s Les Enfants du Paradis. “Not long ago, I went to Paris for a showing. My God, have you seen the state of the print? It was so horrible I hid my eyes and ran out of the theatre.”
Kenneth Anger, in Dundee.
Judging from that night in Dundee, Anger’s own work has been strikingly well preserved. Lucifer Rising (1981) gave us Marianne Faithfull as Lilith, Mother of All the Demons – looking eerily beautiful with her face painted blue. Invocation of My Demon Brother (1968) had a soundtrack by Lilith’s old flame, Mick Jagger. Cheekily, Anger cuts in a few near-subliminal shots of the Rolling Stones and their court, in between the all-male orgies and the Black Mass. Rabbit’s Moon (1950), with its lovelorn Pierrot lost in a moonlit wood, is an achingly gorgeous evocation of both Shakespeare and Carné. It has the wistful and fragile beauty of a Verlaine poem.
Mouse Heaven (1992) is Anger’s celebration of the original Mickey Mouse drawn by Ub Iwerks – a subversive, anarchic little imp – before Walt Disney turned him into an icon of all-American cuteness. One of the most purely joyous pieces of cinema I have seen, Mouse Heaven sparked a ferocious copyright row with Disney. The wounds, for Anger, are still raw. He confided his long-cherished ambition to blow up Disneyland. “If it really is ‘the happiest place on earth’ as the ads say, why do so many children come out looking disappointed? Just look at their faces! Kids know when they’ve been cheated.”
Anger’s more recent films, shot on digital video, bear witness to his enduring love of the male form. My Surfing Lucifer (2007) shows a gold-haired beach boy riding the sort of waves that, in Southern California parlance, are called ‘tubular’. Foreplay (2007) spies on a soccer-team as they stretch and limber up before a game. The sight is numbingly normal to the players themselves, yet richly homoerotic to Anger and his camera. Once the official programme was through, Anger invited the whole audience up to the gallery for a ‘private’ showing of I’ll Be Watching You (2007) – a piece of hardcore gay erotica. Two cute French boys make love atop a parked car, while a third cute boy watches on CCTV and…er, enjoys it too. This may be the sexiest film ever made by a man old enough to be your granddad.
But the highlight of the late work was the not-yet-officially-premiered Ich Will (2008). A chilling yet weirdly erotic montage of documentary footage of the Hitler Youth. (The title translates from German as “I want!”) Starting with idyllic Sound of Music-style gambolling amid the lakes and mountains of Bavaria, it builds up to a full-scale Nazi rally that evokes the nightmare world of Leni Riefenstahl and Triumph of the Will. Its menace is underlined, brilliantly, by the ominous tones of Anton Bruckner’s Ninth Symphony.
Invocation of my Demon Brother?
It’s not often one can go from Disney to Riefenstahl – from the Magic Kingdom to the Third Reich – with barely a hiccup in between. That is perhaps Anger’s unique gift. It was only on the dark, wet train ride back to Edinburgh that I got to pondering how similar these three artists really are. Walt Disney, Leni Riefenstahl, Kenneth Anger. All three create images that bypass our conscious mind and enter, direct and perhaps unbidden, into the depths of the id. We are aware, with other filmmakers, of a voice and a vision beyond our own. Disney, Riefenstahl, Anger…they speak from within.
The official premiere of Ich Will is set for the Imperial War Museum in London on 29 October. (All Souls Night, as Anger points out gleefully.) One shudders to think what the invited audience of elderly war veterans will make of it. Still, as Anger freely admits: “I’ve always enjoyed being a bit controversial.” That may or may not go down as the greatest understatement of the 21st century. But it will do very nicely for the first decade.
Thanks to the Amazing Dr. Anger, to Yvonne Baginsky and Fiona Watson – who shared the experience – and to the fabulous staff at Dundee Contemporary Arts.
Special thanks to David for being there and writing it down.