Taxidermia
June 21st 2007 15:33
I haven’t seen György Pálfi's first film Hukkle (2002), but if Taxidermia (2006) is anything to go by it would be safe to say Mr Pálfi’s got a fairly twisted and powerful imagination. It’s one thing to have gleefully vulgar and perverted thoughts that simply wallow in your mind, but it’s another to have them so audaciously, and brilliantly, executed in a movie.
Director Pálfi’s Taxidermia is quite possibly the most unique movie experience I’ve ever had the perverse pleasure of indulging in (thankyou Sydney Film Festival). Pálfi’s screenplay drew inspiration from the short stories of Hungarian author Lajos Parti Nagy. Imagine the late Roald Dahl brainstorming with David Lynch and David Cronenberg while Peter Greenaway and John Waters look on and you might start to get an idea about the fiercely imaginative and fastidious intensity that is behind this Hungarian triptych.
One of the most purely visceral films of recent years, it has the raw power of genuine repulsion seldom seen in cinema, but constantly poked with a searing black humour. It’s comedy from the gutter that spits on your nice shoes, a kind of wickedly funny Salo (1975) for the Y-Generation. At 91 minutes it moves at a fair cracking pace through three generations of swine, er ... men.
In the first part set in a remote military post a handsome young soldier with a harelip is tormented by a cruel lieutenant. The private has developed dysfunctional masturbatory techniques, including spouting fire from the end of his dick (how utterly novel!). Eventually the private resorts to bestial porcine measures in order to get off. The consequences are tragic.
In the second part we follow the career of the lieutenant’s son (whom we see born with a pig’s tail at the end of the first segment) who has become a champion speed-eater in proud communist Hungary. His paramour is the canning factory champion, she cheers him on. Later they indulge in dual champion caviar consumption (in a scene guaranteed to put you off it for life!). But the question on the trainer’s lips is when will the IOC recognise this glory sport …?
In the third segment our legendary speed-eater is a massive middle-aged … er … blob, with head. His son, skinnny and uncutous, is a professional taxidermist with wealthy customers wanting unethical requests. Super-obese papa feeds monstrous cats, plumping them for competition, while son feeds father an unending supply of chocolate bars (wrapping and all). It’s all a bit overwhelming, really.
The taxidermist son realises he needs to take drastic measures in order to preserve the family legacy. And so embarks on the most novel and mesmerizing scene of body horror ever committed to celluloid (Cronenberg would be suitably impressed, I’m sure!)
With its stunning use of composition and production design, sensationally spot-on casting, and a fantastic soundtrack from electronic maverick Amon Tobin, Taxidermia reaches … and retches (yes, there is some truly astounding sequences of projectile vomiting, I must warn you). It’s a relief to see talented directors using CGI intelligently in the context of a film. When prosthetics will do the job well, they use them, when mechanical effects won’t look convincing enough they use CGI, and excellently done too. I must say, some of the special effects are astonishing.
Another curious note; it seems Hungary has to follow the same censorship laws as Italy, where it’s okay to show an erect penis, even penetration it seems, as long as the schlong in view is a fake. I can kinda understand the moral statement; that actual sexual activity and real violence will not be tolerated on-screen, but the sex angle is entirely arguable. But I digress …
Yes, the film is very graphic in places and animal lovers may find a couple of scenes distressing. It reminds me of so many films, mostly fellow boundary pushing cult Euro flicks; La Grande Bouffe (1973), Monty Python and the Meaning of Life (1983), Delicatessen (1991), Leolo (1992), to name a few. Taxidermia is pure cult cinema, a guttural, gastro-sexual delight for the transgressively jaded.
In other words, if you like to watch misfits and freaks committing disgusting acts in the name of love, honour, family, career … and country, filmed with colour, style and acerbic wit, then Taxidermia is the most deliciously unsavoury dish for you.
But do keep in mind this is an acquired (dis)taste, and just as Inland Empire (2006) and Ex Drummer (2007) are utterly indulgent, but helmed by undeniably clever filmmakers, Taxidermia demands you leave your intolerance at the door.
For those game here's an excerpt from the first segment (warning - contains spoilers and graphic violence):
Director Pálfi’s Taxidermia is quite possibly the most unique movie experience I’ve ever had the perverse pleasure of indulging in (thankyou Sydney Film Festival). Pálfi’s screenplay drew inspiration from the short stories of Hungarian author Lajos Parti Nagy. Imagine the late Roald Dahl brainstorming with David Lynch and David Cronenberg while Peter Greenaway and John Waters look on and you might start to get an idea about the fiercely imaginative and fastidious intensity that is behind this Hungarian triptych.
One of the most purely visceral films of recent years, it has the raw power of genuine repulsion seldom seen in cinema, but constantly poked with a searing black humour. It’s comedy from the gutter that spits on your nice shoes, a kind of wickedly funny Salo (1975) for the Y-Generation. At 91 minutes it moves at a fair cracking pace through three generations of swine, er ... men.
In the first part set in a remote military post a handsome young soldier with a harelip is tormented by a cruel lieutenant. The private has developed dysfunctional masturbatory techniques, including spouting fire from the end of his dick (how utterly novel!). Eventually the private resorts to bestial porcine measures in order to get off. The consequences are tragic.
In the second part we follow the career of the lieutenant’s son (whom we see born with a pig’s tail at the end of the first segment) who has become a champion speed-eater in proud communist Hungary. His paramour is the canning factory champion, she cheers him on. Later they indulge in dual champion caviar consumption (in a scene guaranteed to put you off it for life!). But the question on the trainer’s lips is when will the IOC recognise this glory sport …?
In the third segment our legendary speed-eater is a massive middle-aged … er … blob, with head. His son, skinnny and uncutous, is a professional taxidermist with wealthy customers wanting unethical requests. Super-obese papa feeds monstrous cats, plumping them for competition, while son feeds father an unending supply of chocolate bars (wrapping and all). It’s all a bit overwhelming, really.
The taxidermist son realises he needs to take drastic measures in order to preserve the family legacy. And so embarks on the most novel and mesmerizing scene of body horror ever committed to celluloid (Cronenberg would be suitably impressed, I’m sure!)
With its stunning use of composition and production design, sensationally spot-on casting, and a fantastic soundtrack from electronic maverick Amon Tobin, Taxidermia reaches … and retches (yes, there is some truly astounding sequences of projectile vomiting, I must warn you). It’s a relief to see talented directors using CGI intelligently in the context of a film. When prosthetics will do the job well, they use them, when mechanical effects won’t look convincing enough they use CGI, and excellently done too. I must say, some of the special effects are astonishing.
Another curious note; it seems Hungary has to follow the same censorship laws as Italy, where it’s okay to show an erect penis, even penetration it seems, as long as the schlong in view is a fake. I can kinda understand the moral statement; that actual sexual activity and real violence will not be tolerated on-screen, but the sex angle is entirely arguable. But I digress …
Yes, the film is very graphic in places and animal lovers may find a couple of scenes distressing. It reminds me of so many films, mostly fellow boundary pushing cult Euro flicks; La Grande Bouffe (1973), Monty Python and the Meaning of Life (1983), Delicatessen (1991), Leolo (1992), to name a few. Taxidermia is pure cult cinema, a guttural, gastro-sexual delight for the transgressively jaded.
In other words, if you like to watch misfits and freaks committing disgusting acts in the name of love, honour, family, career … and country, filmed with colour, style and acerbic wit, then Taxidermia is the most deliciously unsavoury dish for you.
But do keep in mind this is an acquired (dis)taste, and just as Inland Empire (2006) and Ex Drummer (2007) are utterly indulgent, but helmed by undeniably clever filmmakers, Taxidermia demands you leave your intolerance at the door.
For those game here's an excerpt from the first segment (warning - contains spoilers and graphic violence):
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love that vomitorium scene, it totally rocks...Great review as always!
Take care,
Nick
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