Man Bites Dog
December 5th 2006 22:32
Man Bites Dog is a savagely pitch-black comedy, a blistering, scathing satire on filmmaking and killing. The snuff movie for when you don’t want to watch a real snuff movie. “A Killer Comedy” as the tagline states.
Sounds horribly cynical I know. But remember where you are; a dark alley called Urban Rage, in the shadows of a suburb called Black Comedy, in a noirish city I affectionately refer to as my Pleasure of Nightmares.
At the 1992 Cannes Film Festival three young Belgian filmmakers presented a mockumentary (fictional doco) to a startled and disturbed audience. Innocuously titled C'est arrivé près de chez vous (It Happened in your Neighbourhood), it became known internationally as Man Bites Dog, secured the Cannes International Critics Prize, and went on to win several other European and American awards.
The three filmmakers - Remy Belvaux, Andre Bonzel and Benoit Poelvoorde – shared the screenwriting and directing credits, with Poelvoorde acting in the central role, that of Ben, a witty, charismatic postal worker, who just happens to be a serial killer. Belvaux and Bonzel played the two eager documenters, capturing Ben’s daily routines.
During the course of the film the two filmmakers become inexorably embroiled in Ben’s vicious, uncompromising agenda, ultimately sacrificing their objectivity and their morality. This is guerilla filmmaking with fangs fully bared.
Man Bites Dog started as a student project, the filmmakers deciding on the cheapest, most effective way they could make a “calling card”. A black and white, faux cinema vérité film seemed the way to go. It took them two-and-a-half years to make, begging, borrowing, stealing, lying (Benoit’s grandmother is interviewed in the film with no idea her grandson is playing a psychopath).
The film ironically mirrors in many ways the filmmaker’s own plight: the story of a film crew dying to make a film. They even use their real names to add to the film’s authenticity.
Man Bites Dog is a ferociously intelligent movie. It single-handedly manages to both capture and criticize society’s obsession with violence and its own de-sensitization to it through the media. It also brings to the audience’s attention, in both objective and subjective ways, that those who watch violence without resisting it are complicit. And it pre-empts, in a most satisfyingly superior way, Oliver Stone’s bloated Natural Born Killers (1994).
It is, of course, a deeply manipulative film, that occasionally operates like a motor-mouth backseat driver, winding the audience up, sometimes delivering a nasty pay-off, and sometimes confounding them. It outrages and appalls. It’s a home invasion that ties you up and savagely tickles you. In retrospect it is almost like a precursor slap in the face to Lars Von Trier’s Dogma manifesto.
Man Bites Dog is pure film metaphor; a post-modern horror movie of the highest, most affecting order. It was originally banned in several countries, while in others (such as Australasia) it had a particularly controversial double rape-murder scene cut out.
Much of the film’s inky humour comes from killer Ben’s comments about the trials and tribulations of life, and his opinions on art and culture. He’s like a young Robert De Niro doing a perverse alternate take on Taxi Driver’s Travis Bickle. It’s a compelling performance which drives the film relentlessly.
So where can a film of such nihilistic intensity end up? Man Bites Dog finishes with a perfect denouement; it barks and barks and bites down hard.
* images on this page are courtesy www.phantasmogoria.nl
Sounds horribly cynical I know. But remember where you are; a dark alley called Urban Rage, in the shadows of a suburb called Black Comedy, in a noirish city I affectionately refer to as my Pleasure of Nightmares.
At the 1992 Cannes Film Festival three young Belgian filmmakers presented a mockumentary (fictional doco) to a startled and disturbed audience. Innocuously titled C'est arrivé près de chez vous (It Happened in your Neighbourhood), it became known internationally as Man Bites Dog, secured the Cannes International Critics Prize, and went on to win several other European and American awards.
The three filmmakers - Remy Belvaux, Andre Bonzel and Benoit Poelvoorde – shared the screenwriting and directing credits, with Poelvoorde acting in the central role, that of Ben, a witty, charismatic postal worker, who just happens to be a serial killer. Belvaux and Bonzel played the two eager documenters, capturing Ben’s daily routines.
During the course of the film the two filmmakers become inexorably embroiled in Ben’s vicious, uncompromising agenda, ultimately sacrificing their objectivity and their morality. This is guerilla filmmaking with fangs fully bared.
Man Bites Dog started as a student project, the filmmakers deciding on the cheapest, most effective way they could make a “calling card”. A black and white, faux cinema vérité film seemed the way to go. It took them two-and-a-half years to make, begging, borrowing, stealing, lying (Benoit’s grandmother is interviewed in the film with no idea her grandson is playing a psychopath).
The film ironically mirrors in many ways the filmmaker’s own plight: the story of a film crew dying to make a film. They even use their real names to add to the film’s authenticity.
Man Bites Dog is a ferociously intelligent movie. It single-handedly manages to both capture and criticize society’s obsession with violence and its own de-sensitization to it through the media. It also brings to the audience’s attention, in both objective and subjective ways, that those who watch violence without resisting it are complicit. And it pre-empts, in a most satisfyingly superior way, Oliver Stone’s bloated Natural Born Killers (1994).
It is, of course, a deeply manipulative film, that occasionally operates like a motor-mouth backseat driver, winding the audience up, sometimes delivering a nasty pay-off, and sometimes confounding them. It outrages and appalls. It’s a home invasion that ties you up and savagely tickles you. In retrospect it is almost like a precursor slap in the face to Lars Von Trier’s Dogma manifesto.
Man Bites Dog is pure film metaphor; a post-modern horror movie of the highest, most affecting order. It was originally banned in several countries, while in others (such as Australasia) it had a particularly controversial double rape-murder scene cut out.
Much of the film’s inky humour comes from killer Ben’s comments about the trials and tribulations of life, and his opinions on art and culture. He’s like a young Robert De Niro doing a perverse alternate take on Taxi Driver’s Travis Bickle. It’s a compelling performance which drives the film relentlessly.
So where can a film of such nihilistic intensity end up? Man Bites Dog finishes with a perfect denouement; it barks and barks and bites down hard.
* images on this page are courtesy www.phantasmogoria.nl
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Comment by Cibbuano
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Comment by katyzzz
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Don't know what I'm doing here, just keeping an eye on you, I'm overworked, another post?
katyzzz....calmer days have to be coming.
Comment by KylieW
Celebrity Obsession
Great review. I have heard of this film, but haven't ever seen it. I'm going to have to hunt it down and watch it. I now have a list of movies that I must now watch based on all your recommendations. I'm taking some time off work in a week or so....perhaps I will spend a few days educating myself by watching a myriad of movies.
KylieW.
Comment by JohnDoe
Film & TV on DVD
Man Bites Dog is a funny film that has something to say and isnt afraid to use a sledgehammer because being delicate hasnt got through. I liked it a lot.
Have you seen Julian Richard's The Last Horror Movie (2003) yet Bryn?
A british film that takes Man Bites Dog one step further and is also impossible to take your eyes off while making you guilty for giggling like a it was Tom and Jerry. Im sure you will find things to like about it.
Comment by Bryn
Horrorphile
JD, cheers my man! And, no I haven't got to Last Horror yet, although funnily enough I got home from a dj gig tonight and saw a title in the shop that I thought was possibly one you'd recommended, but wasn't quite sure, and wasn't prepared to take the risk ... so got Derailed instead. It was called something like The Last Great American Snuff Movie ... ??
Comment by LaurenD
LaurenD
Comment by Bryn
Horrorphile
Cheers Lauren ... have you seen the movie? And if not, will you hunt it down?
Comment by LaurenD
I commented about it in your 'Shawn of the Dead' post... best scene is the two camera crews meeting... both following killers.
BTW, I got 100% on your werewolf test. Snarl.
LaurenD
Comment by Bryn
Horrorphile
Ahh, yes, so you did! And that is a great scene!
100%, huh? I forgot to add the scoring, and I can't seem to modify my post at the moment which is really frustrating! GRRRRRRR!!! (werewolf snarl!)
Comment by suitably*wounded
Eternal Days; Author: Illness, M.
But if you keep up writing like this ( "....that occasionally operates like a motor-mouth backseat driver, winding the audience up, sometimes delivering a nasty pay-off, and sometimes confounding them. It outrages and appalls. It’s a home invasion that ties you up and savagely tickles you. In retrospect it is almost like a precursor slap in the face to Lars Von Trier’s Dogma manifesto." ), I'll be forced to simply move to NZ, become an even more devoted groupie than I already am and never, ever see the light of day again.
After all, who needs any sunshine??