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Paul Morrissey

Paul Morrissey

Mention Paul Morrissey and movies about transvestites, heroin addicts, and other varieties of lowlife are likely to come to mind; but the director of such films as Flesh (1968) and Heat (1972) holds very different views than one might assume from a first impression of these films and from his professional association with Andy Warhol. “Staunchly conservative, Morrissey still frowns upon the moral and artistic state of America today,” writes Steve Ryfle, who interviewed the filmmaker in 2000. Rather, Morrissey’s vintage films reflect his view that “modern American life was going down the toilet.”1 David Bahr of The New York Times writes:

Paul Morrissey disdains rock music, abhors recreational drugs and thinks even less of liberal politics. When asked his views on sex, he pauses for a moment, looks his inquisitor in the eye and says: “I’m Catholic. I’m with Rome 100 percent.”

Such sentiments may seem surprising coming from a director whose films luxuriate in the libertine lives of heroin users, masturbating transvestites and polymorphous-perverse male prostitutes. Yet Mr. Morrissey – who from 1966 to 1972 directed more than half a dozen movies produced by Andy Warhol, discovered the avant-garde rock band the Velvet Underground and once saw a court label his work “obscene, vulgar and profane” – believes he’s misunderstood, to say nothing of misrepresented.2

Morrissey situates his work outside the counterculture and characterizes it instead as his disapproving reaction to the general collapse of morality as it occurred around him:

There’s something I realized years later, after I had made all the films, although I probably realized it at the time even though I wasn’t conscious of it. At that time, there was this idea that was just coming in – the media was just getting hold of it, and the music world was just screaming its lungs out about how great it was – saying you could do whatever you want. That was really idiotic, and stupid and foolish and silly, unbelievably stupid.

People, by the late sixties, were doing whatever they felt like, and nobody gave a damn.

“I understood that these people were good story material, good subjects to show where life had gotten to, and how pathetic it was,” Morrissey explains.3 Blood for Dracula (1974), for instance, imagines a future-shocked traditionalist vampire (Udo Kier) who despairs of finding virgin blood to drink in the sexually free and easy 1970s, while Trash (1970) depicts the boredom of heroin dependency. “So much of the culture glamorized drugs at the time,” remarks frequent Morrissey leading man Joe Dallesandro. “Paul wanted to show the seedier side, where it all led to.”4 Women in Revolt (1972), which utilizes a cast of transvestites for satirical purposes, mocks the increasingly noisy and confrontational feminist movement of the day. “I thought it would be funny if they were playing women who were converted to lesbianism by the women’s lib movement,” Morrissey says. “The whole women’s thing was so ridiculous. ‘We don’t need men,’ and all that.”5

The director envisioned his Madame Wang’s (1981) as a satire of nonexistent American values and the decline of Western Civilization:

The huge Masonic Temple was a Greek temple, it represented past culture, and it was abandoned and lived in by derelict female impersonators. That was my take on Americans, especially Southern California Americans. They couldn’t care less about anything, except maybe getting up in drag or doing a punk rock show and screaming and throwing themselves on the floor. And the poor Russian agent comes from East Germany and says, “I’ve got to meet Jane Fonda, we’re taking over this country one day, and we have to have all of our operatives in place and I’m one of them.” And everyone says, “great, so what?”6

Morrissey gives the following explication of his comedy flop Spike of Bensonhurst (1988), in which his “pain in the ass” protagonist (Sasha Mitchell) “treats everybody like dirt, and does whatever he wants”:

The little switcheroo, which I thought was the point of the story, was that finally when someone disciplines him it turns out to be the best thing that happens to him. The idea that there are some standards and a sense of order in the world somewhere […]7

Like so many avowed conservatives in American politics, however, Morrissey’s work reveals his complicity in the projects of the culture destroyers even as he professes traditionalism. The mundane drugs-and-drag depravity of his classic oeuvre, while successfully illustrating the emptiness of the revolutions in sexuality and consciousness that had been engineered during the 1960s, also serves to normalize the ascendant dysfunction.

“Life is so second rate now,” Morrissey assesses.

And that idea that life has degenerated to a second rate position was part of the story to all those movies. I still don’t see that as a story element in any other movies – the obvious fact that life today is so much poorer than it was before. And I don’t think you can tell that story unless you’re aware that there’s a difference now. Most people don’t even know there’s a difference between today and before.8

Rainer Chlodwig von Kook

Endnotes

  1. Ryfle, Steve. “Life Is a Toilet: The Films of Director Paul Morrissey”. Shock Cinema 17 (Fall-Winter 2000), p. 18.
  2. Bahr, David. “Conservative Bard of the Demimonde”. The New York Times (February 27, 2000): http://www.nytimes.com/2000/02/27/movies/film-conservative-bard-of-the-demimonde.html?pagewanted=all
  3. Ryfle, Steve. “Life Is a Toilet: The Films of Director Paul Morrissey”. Shock Cinema 17 (Fall-Winter 2000), p. 18.
  4. Bahr, David. “Conservative Bard of the Demimonde”. The New York Times (February 27, 2000): http://www.nytimes.com/2000/02/27/movies/film-conservative-bard-of-the-demimonde.html?pagewanted=all
  5. Ryfle, Steve. “Life Is a Toilet: The Films of Director Paul Morrissey”. Shock Cinema 17 (Fall-Winter 2000), p. 20.
  6. Ibid., p. 21.
  7. Ibid.
  8. Ibid., p. 19.

canyons poster

Paul Schrader (Hardcore; Cat People) delivers a characteristically decadent study with this, his eighteenth film as a director. Scripted by Bret Easton Ellis of Less Than Zero and American Psycho fame, The Canyons is at once tawdry, elegant, and meanspirited, and one of the most notable films of the year.

An extremely frank narrative revolves around repulsively spoiled trust fund wastrel Christian (James Deen), who whiles away his days corrupting the people around him and manipulating them like so many toys. So as to satisfy his father that he has an occupation, he dabbles in movies as a producer, which brings him into indifferent contact with handsome, aspiring actor Ryan (Nolan Gerard Funk). Christian professes to like to keep his openly open marriage with slut wife Tara (Lindsay Lohan) comfortably “loose” and “complicated”, but finds more complication than he probably desires when he discovers that seemingly wholesome Ryan has a previous history with Tara.

A constant doom hangs over The Canyons, its title both geographically and thematically descriptive of this sun-baked but gloomy experience. Punctuating the film are images of the empty marquees and ruined interiors of once-glorious, now abandoned movie theaters serving at once as commentary on an industry and on the characters’ inner desolation. Hollywood’s stories about itself, from Sunset Boulevard, In a Lonely Place, and The Bad and the Beautiful through Day of the Locust, The Player, and Hollywoodland, have tended to be downbeat affairs, and The Canyons continues in that tradition – less gothically or spectacularly, perhaps, than the more grotesque entries in the genre, but no less despairing by any measure.

Classy in execution if totally tacky in subject matter, The Canyons is well worth seeking out. James Deen is perfectly detestable as Christian, Nolan Funk’s male beauty is appropriately vapid, and luscious but fading Lindsay Lohan is exquisitely cast as jaded but sympathetic hussy Tara.

4.5 stars. Ideological Content Analysis indicates that The Canyons is:

5. Anti-drug. “Why are you drinking tequila at noon?” The danger of date rape drugs receives mention.

4. Anti-gay. Homosexuality appears as a predatory symptom of personal and cultural decadence.

3. Class-conscious. Inherited, unearned wealth like Christian’s gives rise to degeneracy and arrogance.

2. Technology-skeptical. Y appears as a generation rotten in inception and already gone to seed, at once precocious and empty-headed, and incapable of conversing over drinks without texting or sexting simultaneously. One suspects that Schrader holds handheld and streaming technology to be at least partly to blame for the murder of those stately old movie houses. Technology, too, has contributed to these young ones’ flippancy with regard to sexual morality. “Nobody has a private life anymore” and “We’re all actors, aren’t we?” Identity theft also looms as a threat in the world of online everything.

1. Crypto-traditionalist/anti-slut. For all its blatant depravity, male frontal nudity, and other marks of deceptively casual nihilism, The Canyons views its characters through a detached but quietly tragic, judgmental, and conservative lens. “I’m just sick of the old school shit about fuckin’ propriety, etiquette, and all that crap [. . .] It’s like when you’re at your family dinner on Sunday and everyone’s just lying, lying . . .” Christian explains – and he and his peers suffer to the degree that they deviate from the outmoded norms. Christian’s name speaks for itself as a sarcastic commentary on an utterly godless generation given to hedonistic materialism and soulless egoism. The only thing missing from The Canyons is the compounded case of venereal pestilence these little horrors would (hopefully) catch if they lived as depicted for very long.

Homosexuality has for a number of years been more or less accepted by the mainstream media – and, following them, the public – as an “alternative lifestyle”, its victory in the war for equal footing with heterosexuality so sure, such a fait accompli, that, had Oscar Wilde been caught with his velvet trousers down a mere number decades later, he would, rather than having entangled himself unnecessarily in a humiliating legal debacle and been branded with the mark of Victorian ignominy, have been lauded as a cultural hero and offered his own lightweight daytime talk show.

The ascendancy of the forces of sexual egalitarianism has been so crushingly complete, in fact, that, having overrun and occupied their enemies’ fortifications, they now seek not only an unconditional surrender on the part of the ex-establishment, but punitive reparations, permanent privileged status, and immediate implementation of an array of social experiments on the scale of collectivization under Stalin, calling for the totalitarian indoctrination and regimentation of future generations in the service of their cause.

It is not enough for homosexuality to be tolerated. It must be embraced and celebrated, endorsed in the public schools, be subsidized and pampered and have its leaky asshole licked. Gays, if a baker refuses their business when they want him to make them a wedding cake, no longer have to endure the harrowing inconvenience of locating another bakery, but immediately turn to the ACLU for social retribution. Fast food chains must champion sodomy or else face the wrath of the overlords of “progress” in markets like Chicago and Boston. Ideological Content Analysis has no moral objection to homosexuality in itself, but does demur when a movement pretending to advocate mere tolerance turns instead toward de facto coercion.

It is not sufficient for gays to be gay; everybody and everything must be gay in the new Socialist States of America. Statesmen and judges and fry cooks and basketball players must be homosexual allies, as must the Boy Scouts and even the clergy. In Europe, where cultural Marxism is even more firmly entrenched than in America, gay “rights” have already mutated into a means to authoritarianism, with priests in Denmark ordered by the government to perform homosexual marriage ceremonies on demand.

Now the pedophiles want their turn. NAMBLA, the North American Man/Boy Love Association, remains a largely reviled fringe lobbying group, though not without its shadowy following. In recent years, however, a movement toward compassion for those afflicted with the pederast’s compulsion is emergent. Not many years after molesting the young star of his horror film Clownhouse, director Victor Salva was welcomed back into the fold of the Hollywood mainstream and allowed to direct youth market films like Powder and Jeepers Creepers. A sympathetic 2004 film, The Woodsman, follows a child molester’s attempt at redemption after serving a prison sentence. More recently The Atlantic published a candid personal narrative by sexual degenerate David Goldberg, “I, Pedophile“, in which the author panhandles for sympathy on account of his I-can’t-help-it complicity as a patron in the child pornography industry.

These examples are arguably innocuous; but if the normalization of pedophilia that is plainly afoot follows the same trajectory as the now triumphant gay “rights” movement, then what, one wonders, does organized pedophilia have in store for western civilization? That open promotion of pedophilia may be the next major civil “rights” crusade is suggested by the most intensely repugnant trailer of this or any other year, that for Jackass Presents Bad Grandpa, the latest bid by MTV Films and Paramount Pictures for the imperiled soul of America: a naked campaign ad to pervert and subvert everything that tentatively remains decent in America.

The trailer, which features a little girl in a talent contest stripping off her costume to reveal adult lingerie underneath and who then performs a pole dance as the grandfather, with masturbatory enthusiasm, flings dollar bills at her, militates against the culprits, MTV Films and Paramount Pictures (assets of Zionist-run Viacom, Inc.), receiving any further business from moviegoers with any lingering sense of the good and traditional. Your humble reviewer, for one, certainly will not be patronizing their product, and a full-scale boycott of these corporations’ anti-American output may be in order if the scheduled release (as of a biological warfare agent) of Bad Grandpa proceeds as planned.

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