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Un-Comfortably Numb
Thursday 14 June
Rampart, 15 Rampart Street, London E1 2LA
6:45pm – 12 midnight
film night at Rampart and fundraiser for Core Arts
www.rampart.co.nr
tube: Whitechapel/Aldgate East bus: 15
MUSIC AND POETRY INTRO BY FRANK (CORE ARTS MEMBER)
FILM SHORT FROM LENNY LEE (15mins)
LILITH D.Robert Rossen 1964
An ambitious reworking of the legend through the emotional involvement of a trainee therapist (Beatty) with a schizophrenic girl (Seberg). Stylistically, the framework of Lilith is established by the ironic contrasts of the two walks that Vincent (Beatty) completes: the first, a purposeful one towards the asylum, and the last, a desperate zig-zag through the various corridors and stairways of the asylum itself, out into the gardens, and finally winding up where the first one began, with an exhausted and curiously childish plea for help. The irony is extended even to the cry for help, since the same social worker (Hunter) had, in the first instance, politely enquired if she could help him. It is within this framework that Rossen develops the shifting relationship between Vincent and Lilith, beginning as patient and guide, and ending as beguiler and beguiled.
REPULSION D.Roman Polanski 1965
Still perhaps Polanski's most perfectly realised film, a stunning portrait of the disintegration, mental and emotional, of a shy young Belgian girl (Deneuve) living in London. When she's left alone by her sister in their Kensington flat, she becomes reclusive and retreats into a terrifying world of fantasies and nightmares which find murderous physical expression when she is visited by a would-be boyfriend (Fraser) and her leering landlord (Wymark). Polanski employs a host of wonderfully integrated visual and aural effects to suggest the inner torment Deneuve suffers: cracks in pavements, hands groping from walls, shadows under doors, rotting skinned rabbits, and - as in Rosemary's Baby - the eerie, ever-present sound of someone practising scales on a piano. And despite the fact that the girl's manically destructive actions derive from a terror of sexual contact, Polanski never turns his film into a misogynist binge: the men she meets are far from sympathetically portrayed, and we are led to understand her fear and revulsion by the surreal expressionism used to portray her mental state. All in all, one of the most intelligent horror movies ever made, and certainly one of the most frighteningly effective.
CLEAN SHAVEN D.Lodge Kerrigan 1994
Kerrigan's feature debut is an edgy, engrossing, intelligent study of schizophrenia, formulated as an impressionistically fragmented variation of the hunter/hunted road thriller. Right from the start, we can see that Peter Winter (Greene) is falling apart at the seams; his reaction to a small girl bouncing a ball against his car, coupled with reports of murder on the radio, suggest that he's probably also homicidal. At any rate, he sets off across a bleak landscape, visiting his far-from-welcoming mother and searching for the daughter whose company he's been denied; meanwhile, a detective is on his trail, checking out murder locations and contacting Winter's estranged wife for clues as to his likely whereabouts and intentions. What lifts the film out of the rut is its use of expressionistic sound design (there's little dialogue, let alone plot) and occasionally disturbing images to reveal Winter's wretched, hallucinatory perceptions of the world around him; few movie portraits of the paranoid experience have been so detailed or, for that matter, so harrowing.
ENTRANCE> SUGGESTED DONATION OF £3, MORE IF YOU CAN AFFORD IT!
ALL PROCEEDS TO GO TO CORE ARTS, SO PLEASE TELL YOUR FRIENDS AND COME ALONG AND GIVE THIS YOUR SUPPORT.
please contact the organiser, kim@vision for more information about this event: 07932 003957 kim@visionmusic.co.uk
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