The most madcap of Cronenberg films and the most beholden to analog technology. I remember as a 17-year-old trying to get my A-level drama class to adapt it into Artaudian theatre. I find it odd to find such a scuzzy, dirty film so likeable (which is not generally how I feel about Cronenberg's filmography) - but there we go! Eminently quotable, of course. My therapist is watching it for the first time this week!
Uma experiência absolutamente deslumbrante. Videodrome é uma afirmação quase profética, antecipam-se por largas décadas questões atuais. Condensado numa narrativa sublime o pesadelo, num formato de interface, assusta qualquer um. As suas parafilias digitalmente amplificadas orbitam num plano de entretenimento sádico, alucinatório, grotesco e, ultimamente, atual.
Cronenberg's attempts to cover up the fact that he's not a great writer didn't work on me. Felt like a very insincere movie. Videodrome becomes more and more a mockery of its chosen topic and essentially itself as it carries along. Great film for "discourse" and outdated media theorists to cry prophetic and not move on to better things such as Black Mirror series.
As a statement, it may be the most prescient social-political commentary in a film of all time. Part-observational, part-crystal gazer foreshadowing of media's smokescreen of manipulation and over-stimulation. It also has never been stronger as now in this computer age. As a film, it's less character driven, thus not pulling you into its mindfuck-surrealism, and making its creativity incredibly sterile in emotion.
Released 35 years ago, Videodrome finds an alarming resonance in nowaday's world, with most of the world population absorbed in/by their phone. The violence we all nurture to various degrees finds its shape in amazing hallucinatory scenes where James Wood is becoming prey to his hidden demons. Disturbing and sinister, with B-movie twist which makes the film a fascinating viewing. And Debbie Harry...
I love David Cronenberg. Who would think to vilify and fetishize video as a medium, and in such a quirky, Canadian way? Deborah Harry completes a character arc in one note. It's interesting to study how our threshold for pain (our own and others') connects to our capacity for evil. Was there salvation? What is transfiguration? Weird body memories.
o James Woods é um merdas porque vê a porra de um buraco na barriga e vamos ao médico? não, vamos meter a porra de uma arma lá dentro. foda-se mano tinhas um BURACO NA BARRIGA CHAMAVAS O 112 NINGUÉM TE ENSINOU NADA AI SE FOSSES MEU FILHO CARALHO. melhorava 1000% se o filme fosse só a Debbie Harry a falar para mim de uma mini TV
Cronenberg does McLuhan (and Baudrillard, and a little Foucault...). An orgiastic hour and a half of (literal! visceral!) immersion into media theory - media as extensions of the body; biopower; spectacular realities... Debbie Harry's lips... Beware the temptation to take this as any sort of straightforward moralizing; it's so much more delightful than that. Smart and hilarious. Long live the new flesh!
With body-horror in particular, Cronenberg does more of a sophisticated approach with an original, let alone visceral style of the genre, exploring in depth people's fears of bodily transformation or personal struggles based on physical defects. With his masterpiece and satire "Videodrome," the main character becomes sexually engaged with his television; televised media having an arousing, intimate effect on people.
Rides 100% on the power of its metaphorical manifestations of Mcluhan's ideas, making for a fairly cerebral horror comedy. It could probably use more in the way of individual characterization (if the lead evokes the symptom of sex melding with violence, he kinda melts into some of the other characters). Plus the conflict could use tightening; but overall it's a fair film from Cronenberg.