Heads Up, Ears Down

This blog accurately identifies depictions of violence and cruelty toward animals in films. The purpose is to provide viewers with a reliable guide so that such depictions do not come as unwelcome surprises. Films will be accurately notated, providing a time cue for each incident along with a concise description of the scene and perhaps relevant context surrounding the incident. In order to serve as a useful reference tool, films having no depictions of violence to animals will be included, with an indication that there are no such scenes. This is confirmation that the films have been watched with the stated purpose in mind.


Note that the word depictions figures prominently in the objective. It is a travesty that discussions about cruelty in film usually are derailed by the largely unrelated assertion that no animals really were hurt (true only in some films, dependent upon many factors), and that all this concern is just over a simulation. Not the point, whether true or false. We do not smugly dismiss depictions of five-year-olds being raped because those scenes are only simulations. No, we are appalled that such images are even staged, and we are appropriately horrified that the notion now has been planted into the minds of the weak and cruel.


Depictions of violence or harm to animals are assessed in keeping with our dominant culture, with physical abuse, harmful neglect, and similar mistreatment serving as a base line. This blog does not address extended issues of animal welfare, and as such does not identify scenes of people eating meat or mules pulling plows. The goal is to itemize images that might cause a disturbance in a compassionate household.


These notes provide a heads-up but do not necessarily discourage watching a film because of depicted cruelty. Consuming a piece of art does not make you a supporter of the ideas presented. Your ethical self is created by your public rhetoric and your private actions, not by your willingness to sit through a filmed act of violence.

2 or 3 Things I Know About Her

2 or 3 Things I Know About Her (2 ou 3 choses que je sais d'elle). Jean-Luc Godard, 1967.
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Edition screened: Criterion DVD #482, released 2009. French language with English subtitles. Runtime approximately 87 minutes.

Summary: No depictions of violence or harm to animals.

You can feel stupidity draining out of your body while watching this film. Thank you Jean-Luc Godard.

An indistinct pinball machine at 25 minutes, and side views of several unidentified cabinets starting at 59 minutes.



1911

1911 (Xin hai ge ming). Li Zhang and Jackie Chan, 2011.
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Edition screened: Well Go DVD, released 2012. Mandarin language with English subtitles. Runtime approximately 121 minutes.

Summary: No particular depictions of violence or harm to animals.


The Coffin Joe Collection

The Coffin Joe Collection. José Mojica Marins, 1964-1978.
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Edition screened: Anchor Bay 5-DVD box set, released 2009. Portuguese language with English subtitles. Collective runtime approximately 754 minutes.

Summary: Some simulated, some real, animal murder in various titles. Details provided in the linked entry for each film.

Director José Marin’s persona of Zé do Caixão, loosely translated as ‘Coffin Joe,’ is a small-town Brazilian undertaker, womanizer, bully, occultist, and existential philosopher. The earlier films are strongly plot-based then become more exploitive, yet also increasingly chatty and moralizing, as the years go by. This set includes eight feature films:

End of Man (1970)

The first two, At Midnight I'll Take Your Soul and This Night I Will Possess Your Corpse, establish Zé do Caixão’s philosophy that belief in religion or other superstition is contemptibly weak and will prevent any personal advancement. He uses that platform to intimidate others, steal wives and commit murder, acts that understandably put him at odds with the locals. Zé’s frequent soliloquies indicate his search for a Perfect Woman, pure of intellect, aware of his superiority, and worthy of bearing his child, but he also just enjoys humiliating, bullying, and killing those who don’t admire his philosophy. These first two titles in the set are somewhat charming low-budget horror films with some admirable homemade special effects. They also have better audio and video quality than the later titles.

The Strange World of Coffin Joe and Awakening of the Beast each tell several short stories rather than a single narrative. Strange World showcases three tales of moral weakness, while Awakening focuses on drug use as the door to sexual depravity and worse in a notorious series of exploits. The varying quality of the vignettes in both films sometimes is eclipsed by Zé do Caixão’s long-winded philosophical ramblings. These redundant barrages of vaguely intellectual hypothetical musings start out slightly funny, quickly becomes trite, then settle right into unbearably long and boring.

The third pair, End of Man, and Strange Hostel of Naked Pleasures give Zé do Caixão opportunity to focus primarily on the evil that comes from the love of money. He specifically targets a flawed medical structure in which emergency care is available only to the privileged, presumably a serious problem in late 60s urban Brazil. End of Man stars the director as an amoral nekked messiah wandering the city streets, while Strange Hostel casts him as a hotel keeper specializing in travelers who need to be taught a lesson. The unrelated 10-minute opening of Strange Hostel is a dance number featuring eight or so rough Brazilian ladies in harem outfits who awaken Zé from his coffin. The routine apparently was developed and rehearsed in the van on the way to filming. Strange yes, Hostel indeed, Naked only a little but still too much, Pleasures not really.

The last two films suggest that the Coffin Joe vein is running dry for director Marins. Hellish Flesh is a limp revenge drama starring the Zé do Caixão character as a cuckolded scientist. Hallucinations of a Deranged Mind is mostly clips and outtakes from previous Coffin Joe films, strung together with a premise that we are seeing phantasies of a mental patient who believes Coffin Joe is real. Hellish Flesh is horrible. Hallucinations is surprisingly entertaining and constitutes a decent Zé do Caixão’s Greatest Hits.

The Anchor Bay box set also includes the 65-minute 2001 documentary Coffin Joe: The Strange World of José Mojica Marins by André Barcinski and Ivan Finotti. It is better than some high budget director bio pieces, and made me feel some compassion and understanding for Marins as a person, such that my overall regard for the Coffin Joe films was elevated a bit.

@ BL


At Midnight I'll Take Your Soul

At Midnight I'll Take Your Soul (À meia-noite levarei sua alma). José Mojica Marins, 1963.
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Edition screened: Included in Anchor Bay 5-DVD set The Coffin Joe Collection, released 2009. Portuguese language with English subtitles. Runtime approximately 82 minutes.

Summary: Depiction of crushing a bird.

Details: A woman is holding a pet bird in her hand while bing attacked. Her grip tightens in the suggestion that the bird is being crushed, 44:02-44:08. The dead bird is picked up and then dropped, 44:42-45:02.

















This Night I Will Possess Your Corpse

This Night I Will Possess Your Corpse (Esta noite encarnarei no teu cadáver). José Mojica Marins, 1967.
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Edition screened: Included in Anchor Bay 5-DVD set The Coffin Joe Collection, released 2009. Portuguese language with English subtitles. Runtime approximately 108 minutes.

Summary: Depicted crushing of a white rat.

Details: A rat seems to be crushed under a stone suspended by a rope, 48:22-48:42. The stone is lifted and we see something meant to depict the crushed body, 48:50-48:58.

















The Strange World of Coffin Joe

The Strange World of Coffin Joe (O Estranho mundo de Zé do Caixão). José Mojica Marins, 1968.
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Edition screened: Included in Anchor Bay 5-DVD set The Coffin Joe Collection, released 2009. Portuguese language with English subtitles. Runtime approximately 80 minutes.

Summary: No particular depictions of violence or harm to animals.

The Strange World of Coffin Joe is a portmanteau of three short films, The Dollmaker, Obsession, and Theory. Theory is translated as Ideology in the subtitles for this film, won which your excellent non-ungrammar award for movies made in not your country.

The Dollmaker (18 minutes) is a straightforward Tales from the Crypt-style horror narrative. Weak and badly acted, it is the most enjoyable of the three.

Obsession (28 minutes) tests one’s patience. About half of the running time is devoted to several stagnant medium shots of the crippled balloon seller hobbling across a room in a crypt. It is worth noting that Hollis Frampton’s continuous loop of a close-up of a lemon is a compelling viewing experience, while Obsession’s necrophilia, fetishism, and grotesque morgue imagery might challenge even the most easily titillated to remain awake.

Theory (34 minutes) casts director Marins not in his Coffin Joe persona, but as a professor of philosophy who illustrates his thesis by presenting a carnival of sadistic horrors. 

The three shorts are unified somewhat by themes macabre, but more so by shamefully poor subtitle translations and audio tracks so noisy and garbled that even a Portuguese speaker would be doggy paddling. Such spine-tingling deviations from normal communication contribute significantly to the sense of mystery and torture.

Awakening of the Beast

Awakening of the Beast (O Ritual dos sádicos/O Despertar da besta). José Mojica Marins, 1970.
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Edition screened: Included in Anchor Bay 5-DVD set The Coffin Joe Collection, released 2009. Portuguese language with English subtitles. Runtime approximately 91 minutes.

Summary: No depictions of violence or harm to animals.

Awakening of the Beast is a series of vignettes illustrating the link between drug use and depraved behavior. Most scenes are introduced or bookended by thin “can you beat this” discussions between sociology professor types. There is a travelogue-like feeling to the film, and Marins may have been influenced by ‘seedy tourism’ films like Miller’s Primitive London and London in the Raw.

The first scene involving a heroine-using stripper given a gift by a small group of ogling men might be the sexiest and most interesting segment of the film. A scene beginning with a woman leading a donkey into her house is effective and startling, and the orgy ending in accidental death is tightly filmed and shocking. Awakening of the Beast is an interesting viewing experience, banned for decades not so much for sexual content but more for exposing that drug abuse with extreme consequences is real and common among all social classes rather than a vague threat among the disadvantaged.


End of Man

End of Man (Finis hominis). José Mojica Marins, 1971.
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Edition screened: Included in Anchor Bay 5-DVD set The Coffin Joe Collection, released 2009. Portuguese language with English subtitles. Runtime approximately 79 minutes.

Summary: No particular depictions of violence or harm to animals.

Strange Hostel of Naked Pleasures

Strange Hostel of Naked Pleasures (A Estranha hospedaria dos prazeres). José Mojica Marins, 1976.
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Edition screened: Included in Anchor Bay 5-DVD set The Coffin Joe Collection, released 2009. Portuguese language with English subtitles. Runtime approximately 81 minutes.

Summary: Electrocution of various animals.

Details: An apocalyptic montage includes a two-minute sequence in which animals are electrocuted, 1:04-35-1:06:28. We see several groups of insects, some mice, and a group of crabs standing on an electric mat that is first off, then turned on, and the animals quickly writhe and die. These 3-second scenes are intercut with typical end-of-times images.

Hellish Flesh

Hellish Flesh (Inferno carnal). José Mojica Marins, 1977.
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Edition screened: Included in Anchor Bay 5-DVD set The Coffin Joe Collection, released 2009. Portuguese language with English subtitles. Runtime approximately 82 minutes.

Summary: Animal experimentation.

Details: Chemicals are dropped on a seemingly dead caterpillar in a laboratory experiment, 15:49-16:13.

This plodding revenge story is dreadful even by ‘Coffin Joe’ standards. With varying degrees of success or entertainment, Marins’ earlier films combined elements that were ghoulish, sexy, exploitive, philosophical, bombastic, campy, and tedious. Marins does include views of a heavily decorated mid-70s upper-middle class Brazilian interior, the only entertainment offered in the film.

Hallucinations of a Deranged Mind

Hallucinations of a Deranged Mind (Delírios de um anormal). José Mojica Marins, 1978.
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Edition screened: Included in Anchor Bay 5-DVD set The Coffin Joe Collection, released 2009. Portuguese language with English subtitles. Runtime approximately 86 minutes.

Summary: Inappropriate handling of animals.

Details: From 1:06:35 through 1:11:23 we see five 2- or 3-second sequences of mice suspended by their tails or toads suspended by their bodies in front of a pair of breasts.

Hallucinations of a Deranged Mind tells the story of a man, an esteemed psychiatrist no less, who has fallen under the power of Zé do Caixão and believes that the fictional character is a real threat to his marriage and his sanity. The victim’s fellow psychiatrists are not able to help, so they call Zé himself to provide bedside consultation explaining the difference between films and reality. After much struggle, a breakthrough is reached and the mentally afflicted man comes to understand that it’s just a movie . . . I won’t ruin the surprise at the end, but it rhymes with Or Is It?

Marins’ films are a big coffin-shaped mixed bag. Recurring ideas tend to be more harangues than themes, visual concepts show both continuity and disregard of style, and macabre props and images often succeed in making the viewer think of hell and torture, one way or the other. The long hallucination sequences in Hallucinations of a Deranged Mind provide a 15-year retrospective of the Coffin Joe films, and this is accomplished in an effective, comparatively enjoyable way.

And Marins does not just provide clips. Film elements are remixed and rarified in bursts that suggest both nightmare imagery and the latin disco culture in which Hallucinations was made, often resulting in a superior aesthetic product. Such is the case with scenes of tarantulas crawling on the bodies of sleeping girls from The Strange World of Coffin Joe, more effective in 4-second bursts alternated with contrasting images than in the original longer sequence. Two early Coffin Joe films included elaborate Welcome To Hell sequences, quite costly and extravagant comparatively, but suffering from excessive length and poor acting. The edits of both Hell sequences in Hallucinations provide us with the best images diced into interesting montage recalling Kenneth Anger, rather than too-long parades of the damned around puddles of evil goo. With the preceding films fresh in my mind, I noticed that many elements in Hallucinations actually were outtakes or alternate shots, often in color when the source films were presented in B&W. Many other elements were not recognized by me, possibly deleted scenes or originating in films not in the Anchor Bay box set, or new to Hallucinations.

The big triumph in Hallucinations probably is Marins do-over of the opening dance sequence from Strange Hostel of Naked Pleasures. The presentation in Strange Hostel is mesmerizingly horrid with the adjective trouncing the adverb, due largely to an obvious lack of rehearsal. Big tough-looking Brazilian women in chiffon harem pants, looking at one another nervously, trying to synchronize their lunging and arm swinging. I think Marins realized that this could have been awesome but lacked polish even by his standards. The second effort in Hallucinations is far superior, somewhat awesome. The girls and costumes are more attractive, the choreography and sets are better, and there has been substantially more rehearsal.  It should be clarified that Harem Dance 2.0 is not the opening sequence for Hallucinations. That spot is reserved for a hunchback dwarf who strikes a drum while ceremonially circling an attractive bikini-clad woman.

Coffin Joe: The Strange World of José Mojica Marins

Coffin Joe: The Strange World of José Mojica Marins (Maldito: O Estranho mundo de José Mojica Marins). André Barcinski and Ivan Finotti, 2001.
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Edition screened: Included in Anchor Bay 5-DVD set The Coffin Joe Collection, released 2009. Portuguese language with English subtitles. Runtime approximately 65 minutes.

Summary: Condemnatory discussion by film crew members of a dog’s disappearance and probable poisoning.

Not glitzy bonus feature fodder, this director bio allows Marins to guide us through impoverished neighborhoods where he shot his films and tell the truth of his history in the industry. The discussion of controversy surrounding Awakening of the Beast (1970) is particularly interesting and suggests more generous reconsideration of many of his films.

Moby Dick

Moby Dick. John Huston, 1956.
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Edition screened: MGM DVD, released 2001. English language. Runtime approximately 115 minutes.

Summary: Whale hunting, killing, and butchering.

Details:
1) The first whaling sequence begins in earnest at 34:30 when the whalers ‘strike’ a whale, that is, drive spears into her back with ropes attached that will tow small boats along. The blood flows 45:08-45:35, followed by the shipboard butchering, 45:54-46:40.
2) The second whaling sequence has a strike and tow starting at 56:10, with real gore 56:30-57:58, then the whale is hauled back to the Pequod at 58:10.
3) The final hunt, Moby Dick himself is struck at 1:46:20. Captain Ahab becomes literally bound to the whale and stabs repeatedly and violently into him with a long harpoon, 1:48:35-1:49:00.

Hahahahah! They all die at sea except for stupid Ishmael, who appears to be rescued but probably dies from some injury.  Heeheehooha! Captain Ahab got dragged to Mickey Dolenz’s locker without knowing if he actually killed the Great White Whale or not.  Hardy har har, hoohoo!  Stupid Pequod rammed, smashed, and sank. Heeheeheeheeheeeeee!

Les Misérables (Bernard)

Les Misérables. Raymond Bernard, 1934.
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Edition screened: Included in Criterion Eclipse Series 4: Raymond Bernard DVD set, released 2007. French language with English subtitles. Runtime approximately 281 minutes.

Summary: No particular depictions of violence toward animals.

















The Roof

The Roof (Il tetto). Vittorio De Sica, 1956.
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Edition screened: Included on Arrow Blu-ray Miracle in Milan, released 2011. Italian language with English subtitles. Runtime approximately 91 minutes.

Summary: No particular depictions of violence toward animals.

I found this modest neorealist story most enjoyable.

















Miracle in Milan

Miracle in Milan (Miracolo a Milano). Vittorio De Sica, 1951.
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Edition screened: Arrow Blu-ray, released 2011. Italian language with English subtitles. Runtime approximately 97 minutes.

Summary: No particular depictions of violence toward animals.

This dual format release from Arrow also contains De Sica’s 1956 feature The Roof (Il Tetto).


Miller’s Crossing

Miller’s Crossing. Joel Coen, 1990.
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Edition screened: 20th Century Fox Blu-ray, released 2011. English language. Runtime approximately 115 minutes.

Summary: No particular depictions of violence toward animals.


Mildred Pierce (Curtiz)

Mildred Pierce. Michael Curtiz, 1945.
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Edition screened: Warner DVD, released 2005. English language. Runtime approximately 111 minutes.

Summary: No particular depictions of violence toward animals.


The Messenger: The Story of Joan of Arc.

The Messenger: The Story of Joan of Arc. Luc Besson, 1999.
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Edition screened: Columbia DVD, released 2000. English language. Runtime approximately 151 minutes.

Summary: Equestrian combat scenes, but no real harm to horses depicted.


Red Psalm

Red Psalm (Még kér a nép). Miklós Jancsó, 1971.
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Edition screened: Second Run DVD #061, released 2011. Hungarian language with English subtitles. Runtime approximately 82 minutes.

Summary: A dead dove.

Details: Beginning at 1:16:45 (the closing scene of the film) is a 10-second view of a dove that has been killed, along with the scattered bodies of peasants and weapons.

The Second Run DVD also contains Jancsó's Message of Stones Part III (1994).


Message of Stones Part III

Message of Stones Part III (Kövek Üzenete: Hegyalja). Miklós Jancsó, 1994.
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Edition screened: Included on Second Run DVD #61 Red Psalm, released 2011. Hungarian language with English subtitles. Runtime approximately 54 minutes.

Summary: No particular depictions of violence toward animals.

Message of Stones Part II

Message of Stones Part II (Kövek Üzenete: Máramaros). Miklós Jancsó, 1994.
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Edition screened: Included on Second Run DVD #24 My Way Home, released 2007. Hungarian language with English subtitles. Runtime approximately 50 minutes.

Summary: No particular depictions of violence toward animals.


Merci pour le chocolat

Merci pour le chocolat. Claude Chabrol, 2000.
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Edition screened: First Run DVD, released 2003. French language with English subtitles. Runtime approximately 99 minutes.

Summary: No particular depictions of violence toward animals.


Men in Black

Men in Black. Barry Sonnenfeld, 1997.
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Edition screened: Columbia Tristar DVD, released 2000. English language. Runtime approximately 98 minutes.

Summary: Computer animated bug squashing for comedic effect

Details:
1) A computer-animated dragonfly splatters on a truck windshield at 2:56.
2) Will Smith smashes computer-animated roaches underfoot to taunt a giant extraterrestrial roach, 1:24:56-1:25:40.

Melancholia

Melancholia. Lars von Trier, 2011.Edition screened: Magnolia Blu-ray, released 2012. English language. Runtime approximately 135 minutes.
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Summary: Depiction of a horse being beaten.

Details: Kirsten Dunst’s horse refuses to go any further, at which point she whips him with a crop until he lies down and Charlotte Gainsbourg makes her stop, 1:22:18-1:22:50.

From the opening scene in which a limousine ride demonstrates man’s unwillingness – not inability, but unwillingness – to function on the earth; through the technological value of a wire loop on a stick surpassing a Meade 127 Newtonian telescope; to the closing moments that show how we all die in Magic Caves of our own design, few films provide the wealth of discussion points proposed by Melancholia. Not content with continual symbolic content, von Trier also loads dialogue and tableaux with cultural meaning, often referencing obscure and delicious marginalia that make Melancholia quite different from a Tarantino-style pop culture trivia contest … All those Bettys at the wedding reception … and the spoons … and the ease with which Kirsten Dunst slips between her roles as Steelbreaker and Dealbreaker.

Since you get what you pay for, membership in the I Want That Two Hours of My Life Back! club is free, as always, at Amazon reviews. Alternately, quite a few people have something interesting to offer, including the tantalizing observations here.

I will truncate my thoughts to a brief admiration of von Trier’s expansion of a private golf course. We get several glimpses of a clearly-marked 19th hole throughout the film, presumably a costly bit of merriment planned by the wealthy host (Keifer Sutherland) for the amusement of guests at the lavish multi-day wedding reception. Perhaps he planned also to set up a bar at the end of the course in keeping with the traditional joke. Perhaps there were special 19-column score cards printed for the event. We never will know, as nothing comes of his endeavor. How, he must have thought, could anyone not notice? How could anyone just drive past in a golf cart and not see my work, not appreciate my effort? We see his wife doing just that. We even see him beg her to put two and two together, to notice – anything – when he asks slyly, “Hey, How many holes on our golf course?” But no nothing.

It is common for von Trier, in his outrageous and intentionally unreal films, to give us a thread just this hyper-realistic in both its portrayal and content. Here, a disappointment known to all good partners: To mistakenly think that your effort might be enjoyed or even noticed, and then to pour salt in the self-inflicted wound by hinting and prodding for acknowledgement. Von Trier presents this thread ingeniously, perfectly, by providing mere glimpses of the golf course contrivance, thus placing the viewer in the role of inattentive family member. He has packed Melancholia with two hours of such juicy berries. But how could we be expected to notice them when that time is so better spent wishing that we had it back?

See also, comments for Silent Running.

Meek’s Cutoff

Meek’s Cutoff. Kelly Reichardt, 2010.
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Edition screened: Oscilloscope Blu-ray #31, released 2011. English language. Runtime approximately 104 minutes.

Summary: No particular depictions of violence toward animals.


Medium Cool

Medium Cool. Haskell Wexler, 1969.
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Edition screened: Criterion Blu-ray #658, released 2013. English language. Runtime approximately 110 minutes.

Summary: No particular depictions of violence toward animals.

The Criterion Blu-ray of Medium Cool includes numerous bonus features (all animal violence free) that greatly enhance one’s understanding of this important film, including:

Look Out Haskell, It’s Real: The Making of ‘Medium Cool’ (Paul Cronin, 2001) - Cronin’s excellent film explains the content, methodology, and social context of Medium Cool, and is a crash course in documentary film making, in film theory, and in late 1960s American history. It manages to both magnify and expand Wexler’s original film, and in the process becomes a more enjoyable viewing experience than Medium Cool itself. Unfortunately, Criterion gives us only 53 minutes of the original 60 minutes, probably reflecting a contractual impasse over using a particular image or piece of music.

‘Medium Cool’ Revisited (Haskell Wexler, 2013) - Wexler’s 33-minute film about the Occupy Movement’s protest of the 2013 NATO conference in Chicago provides a saddening edification about the topics that Occupy tried to address, the occasional eloquence with which those concerns were expressed, and the media blackout of that reality. It is such a short time after the event, and already, all we know is Glenn Beck’s revisionist account of “those filthy America-hating scum”. As usual, there is, there was, no “liberal media” that might have, or could have, shown us the truth. We missed a lot through our Walmart-serving media’s enforced misunderstanding of this event. We missed the opportunity to align with people who actually wished to help us and instead cashed in that chip to hear advertisements for Food Insurance and gold bullion hucksters.

Sooner or Later (Paul Cronin, 2007) - There is much to be learned in the combined viewing of Wexler’s original film and Cronin’s 2001 Look Out Haskell … making-of documentary. One wake-up is Chicago’s late 60s’ ghetto of recently emigrated Appalachian mountain folk … Tenement blocks identical to those housing impoverished blacks, instead filled with illiterate white families from coal mining country. Sooner or Later locates Harold Blankenship, “hillbilly slum” resident and child participant in the original 1969 film, as he lives in 2007 having returned to impoverished rural life in West Virginia. 

McCabe & Mrs. Miller

McCabe & Mrs. Miller. Robert Altman, 1971.
😸 Edition screened: Criterion Blu-ray # 827, released 2016. English language. Runtime approximately 121 minutes.

Summary: No particular depictions of violence toward animals.


Match Point

Match Point. Woody Allen, 2005.
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Edition screened: DreamWorks DVD, released 2006. English language. Runtime approximately 124 minutes.

Summary: No particular depictions of violence toward animals.




@ BL

The Master

The Master. Paul Thomas Anderson, 2012.
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Edition screened: Starz/Anchor Bay Blu-ray, released 2013. English language. Runtime approximately 137 minutes.

Summary: No particular depictions of violence toward animals.


Master of the House

Master of the House (Du skal aere din hustru). Carl Theodor Dreyer, 1925.
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Edition screened: Criterion Blu-ray # 706, released 2014. English intertitles, no dialogue track. Runtime approximately 107 minutes.

Summary: No particular depictions of violence toward animals.

A caged bird is handled roughly during an argument, but comes to no harm.