Storyline: The disintegration of a poor family at a time when all society is trapped in its pursuit of affluence. The young son of the family is ambitious to escape his social rut, establish his independence and live out life’s adventures but his efforts soon give place to disillusionment.
Storyline:Shûji Terayama’s film is avant-garde filmmaking at its finest. So often surrealist cinema can come across as little more than a procession of incongruous imagery aimed at pretentious beret wearing intellectuals (and many may say this film is aimed at the same audience), but this is a deeply personal story resulting in a surprisingly powerful experience. The film, based semi-autobiographically on Terayama’s early life, is a phantasmagorical exploration of childhood, and most importantly the subjective memories of that period, and how it informs and shapes who we are. Filmmakers have repeatedly mined their own childhood for artistic gain (perhaps most startlingly in Tarkovsky’s The Mirror) yet Terayama’s approach is wholly different. At first his depiction of adolescence is idealised (although not without a dark undercurrent) yet in a bold second act twist he directly addresses this nostalgic dishonesty by introducing his adult self into these memories of childhood. Pastoral then becomes a film within a film as an adult director (not played by Terayama, which adds a further layer of subjectivity) interacts and is challenged by his 15-year old self. If the opening half of the film is hard enough to grasp this self-reflectivity adds an entirely new interpretation to the surreal imagery we have already witnessed.
The film openly challenges our perception of memory and attempts to directly reconcile with those memories and personal demons. Yet whilst it tackles familiar themes in regard to childhood (a sexual awakening, breaking away from possessive adult control and a desire to discover what lies beyond our own insular world) Terayama has even loftier ambitions. Set just after World War II, not only is the boy at the centre of the story in a state of transition but so is the country he inhabits. On the outskirts of his small village are train tracks and a circus full of freaks and depravity. It symbolises the fear and attractiveness of the new whilst the tracks provide the possibility of escape and national progress.
The film contains too many moments of striking brilliance to detail here but suffice to say it is a work of real visual beauty. Utilising coloured filters and bold staging, the film looks utterly unique. It is a film that regularly drifts from a dreamy and nostalgia-fuelled idyll to a near-nightmarish depiction of adolescence; skirting the line between beauty and vulgarity but always finding the perfect balance.
Pastoral: To Die in the Country is impossible to convey in words. It is a film that must be experienced first hand to understand its power, potency and downright strangeness. However, it is a film that is impossible to recommend unreservedly. There will be more people out there that hate the film than love it, such is the nature of its uncompromising direction and surrealism. Yet if you like to be challenged and enjoy experimental filmmaking (Jodorowsky is a decent reference point) then I urge you to seek out Terayama’s bewitching and unforgettable film.
Les Chants de Maldoror (The Songs of Maldoror) is a poetic novel (or a long prose poem) consisting of six cantos. It was written between 1868 and 1869 by the Comte de Lautréamont, the pseudonym of Isidore Lucien Ducasse. Many of the surrealists (Salvador Dalí, André Breton, Antonin Artaud, Marcel Duchamp, Man Ray, Max Ernst, etc.) during the early 20th century cited the novel as a major inspiration to their own works.
Les Chants de Maldoror is a poem of six cantos which are subdivided into 60 verses of different length (I/14, II/16, III/5, IV/8, V/7, VI/10). The verses were originally not numbered, but rather separated by lines. The final eight stanzas of the last canto form a small novel, and were marked with Roman numerals. Each canto closes with a line to indicate its end.
It is difficult to summarize the work because it does not have specific plot in the traditional sense, and the narrative style is non-linear and often surrealistic. The work concerns the misanthropic character of Maldoror, a figure of absolute evil who is opposed to God and humanity, and has renounced conventional morality and decency. The iconoclastic imagery and tone is typically violent and macabre, and ostensibly nihilistic. Much of the imagery was borrowed from the popular gothic literature of the period, in particular Lord Byron's Manfred, Charles Robert Maturin's Melmoth the Wanderer and Goethe's Faust. Of these figures, the latter two are particularly significant in their description of a negative and Satanic anti-hero who is in hostile opposition to God. The last eight stanzas of the final canto are in a way a small novel dealing with the seduction and murder of a youth.
At the beginning and end of the cantos, the text often refers to the work itself. Lautréamont also references himself in the capacity of the author of the work. Isidore is recognized as the "Montevidean". In order to enable the reader to realise that he is embarking on a "dangerous philosophical journey", Lautréamont uses stylistic means of identification with the reader, a procedure which author Baudelaire already used in his introduction of Les Fleurs du Mal. He also comments on the work, providing instructions for reading. The first sentence contains a "warning" to the reader:
God grant that the reader, emboldened and having become at present as fierce as what he is reading, find, without loss of bearings, his way, his wild and treacherous passage through the desolate swamps of these sombre, poison-soaked pages; for, unless he should bring to his reading a rigorous logic and a sustained mental effort at least as strong as his distrust, the lethal fumes of this book shall dissolve his soul as water does sugar.
Les Chants de Maldoror is considered to have been a major influence upon French Symbolism, Dada, and Surrealism. Several editions of the book have included lithographs by the French symbolist painter Odilon Redon. Surrealist painter Salvador Dalí also illustrated one edition of the book. The Italian painter Amedeo Modigliani used to carry a copy around in Montparnasse and quote from it. The outsider artist Unica Zürn was also influenced by it in writing her The Man of Jasmine. William T. Vollmann mentioned it as the work that most influenced his writing.
Marudororu no uta - Les chants de Maldoror
1977
Shûji Terayama
Short Movie
Comte de Lautréamont was the pseudonym of Isidore-Lucien Ducasse (4 April 1846 – 24 November 1870), an Uruguayan-born French poet.
His only works, Les Chants de Maldoror and Poésies, had a major influence on modern literature, particularly on the Surrealists and the Situationists. He died at the age of 24.
Situationist founder, film-maker, and author Guy Debord developed a section from Poésies II as thesis 207 in The Society of the Spectacle. The thesis covers plagiarism as a necessity and how it is implied by progress. It explains that plagiarism embraces an author's phrase, makes use of his expressions, erases a false idea, and replaces it with the right idea. His fellow Situationist Raoul Vaneigem placed considerable importance on the insights of Latréaumont, stating in the Introduction to The Revolution of Everyday Life that: “For as long as there have been men — and men who read Lautréamont — everything has been said and few people have gained anything from it.”
The writers Jean Paulhan and Henri Michaux have both counted Lautréamont as an influence on their work.
Kenneth Anger claimed to have made a film based on Maldoror, under the same title.
In recent years, invoking an obscure clause in the French civil code, modern performance artist Shishaldin petitioned the government for permission to marry the author posthumously.
John Ashbery, an American poet influenced by surrealism, entitled his 1992 collection Hotel Lautréamont, and the English edition notes that Lautréamont is "one of the forgotten presences alive" in the book.
Brazilian author Joca Reiners Terron depicts the character of Isidoro Ducasse as one of the seven angels of the Apocalypse in his first novel, Não Há Nada Lá. Ducasse's character becomes obsessed with an edition of Les Fleurs du mal in the novel, while taking a trip by train through Europe.
Isidore Ducasse is the given name of the fashion creator in William Klein's 1966 movie Who Are You, Polly Maggoo?
Portuguese rock band Mao Morta presented a musical performance / theater based on the Chants de Maldoror, that was performed, by the first time, in 2007.
