Imagine my surprise, looking at the beatniks in this film and seeing no difference whatsoever to the hipsters of today. Damn, some things just don’t change, do they? A bearded revolutionary poet eating organic wheatgermwhatever? Admittedly, nowadays it needs to be gluten-free. If you even occasionally hang out with artists and the like, I urge you to watch this film, it’s hilarious. And macabre in a nice kind of way.
Taking from 1953's House of Wax, yet unlike that film it's still modern in its telling (even if it's unfussy,) as well as Corman's critique of the art world that's very on-point. Miller makes art that makes him the next huge thing for the beatnik hipsters. But his pieces are superficial, thus his praise is unwarranted, and therefore, it attacks the soullessness of pop culture and the low worth of sheep herd fads.
Le serveur d'un bar beatnik décide, pour s'intégrer au milieu artiste qu'il côtoie, de se mettre à la sculpture. Ses premières oeuvres sont lamentables. Mais, un jour, énervé, il tue son chat par accident et pour s'en débarrasser le couvre d'argile. C'est immédiatement le succès. Il décide alors de fournir des statues de taille humaine. Une bienheureuse curiosité ! www.cinefiches.com
That poor cat Walter, his ambitions grand but talent minimal. But what is talent if not the farting of the masses in uniformed approval! Damn now I can't tell what's good and what's bad and if a damned democracy is even a feasible concept. All these hip cats pointing and laughing without realising the joke's on all of us!
A slight twist on the bodies-in-the-wax-museum trope that's also a beatnik pastiche, a send-up of art-snob culture, a tale of unrequited love, a desperate, hopeless attempt to achieve status and acceptance, and a bit of a crime-noir with a shadowy back-alley chase. It's a shame Dick Miller never got another starring role. He really turned in a fascinating performance here.
Regardless of budgetary limitations this send up of beatnik culture and the superficiality of the art world is an enjoyable romp. Busboy, played in rare leading man mode by Dick Miller, is thrust into the spotlight when a macabre creation of his is appreciated and those around him unknowingly drive him to kill to 'create' additional art. Good script that realizes brevity can be a virtue. Legendary quick shoot.
That a film written in a day, shot in 5 on more or less the same number of sets is not boring, terribly acted and neither insufferably campy is a minor miracle of Corman. A good (exaggerated) satire about beatniks and hungry artists in general with some great moments that would no doubt be a praised Twilight Zone episode.
Proof that a micro-budget, reused sets and economic delivery does not assume a lesser product, Corman’s first foray into black comedy horror captures the beatnik culture of the 50’s whilst tackling artistic integrity at a broader level, an interesting, almost ironic notion considering Corman’s B-movie heritage. Its memorable lead personally evoked memories of the fragile psychology of Lynch’s...