Friday, August 4, 2017 at 5 a.m.
Jodo and friend
At 88 years young, the rebel-shaman filmmaker Alejandro Jodorowsky has led an eclectic life and enjoyed a provocative career not easily encapsulated. His 1970 acid western, El Topo, crowned him godfather of the midnight-movie craze. His phantasmagoric 1973 masterpiece, The Holy Mountain, was ripped off by Kanye West for the design of his Yeezus tour. His impossibly ambitious, unfinished Frank Herbert adaptation was anecdotally chronicled in the Cannes-vetted doc Jodorowsky’s Dune. And that’s just within cinema — “Jodo” has also been a playwright and a novelist, a writer of comic books and a musician, a Tarot scholar and the inventor of “psychomagic” therapy. He once was a mime who studied with Marcel Marceau.
Jodorowsky began to unpack his origins and his emotional baggage in 2013’s The Dance of Reality (the first in a proposed pentalogy of autobiographical magic-realist fantasies), which concerned his melancholic 1930s childhood in Tocopilla, Chile, under the roof of his Stalin-obsessed, authoritarian papa, Jaime (played, via Freudian stunt casting, by his real son Brontis), and ever-coddling mama, Sara (opera singer Pamela Flores, who serenades every line of dialogue as an ironic corrective to his real mother’s unrealized dream of being a vocalist). Dance was a welcome return after the director’s 23-year filmmaking hiatus: playful, perverse, occasionally profound, yet frustratingly uneven in its conspicuous budget constraints and self-indulgent longueurs.
You need not have seen that film to delve into its spectacular follow-up,…
click here to read more.