Martin (Romero, 1976) & Ganja and Hess (Gunn, 1973): Roxy Bar & Screen, London Bridge, 7pm
Savage Cinema is a new collective based in London celebrating some of the most breathtaking examples of transgressive, alternative cinema. They begin with a double-bill of two of the most celebrated American
independent genre films of the 1970s: George A. Romero’s gritty,
self-reflexive yet haunting classic MARTIN (1977),
the director’s favourite of his own films; and the UK premiere of the
director’s cut of Bill Gunn’s spellbinding, formerly ‘lost’
blaxploitation/avant-garde film GANJA & HESS (1973). Here is the film club's Facebook page.
Time Out review of Martin:
'A dazzling opening sequence (not for the squeamish) as a teenage
vampire of today (Amplas) satisfies his bloodlust in a railway sleeper
compartment. Thereafter, Romero plays fascinating games with myth and
reality as he balances traditional vampire lore against medically
certifiable psychosis. Fundamentally a quite serious movie, relevant to
contemporary personality problems and stresses, but shot through with a
wicked streak of black humour. It doesn't always come off, but Romero
makes stunning use of his Pittsburgh locations to create a desolate
suburban wasteland, and at its best it is rivetingly raw-edged.' Tom Milne
Here is the trailer
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Time Out review of Ganja and Hess:
'Gunn's film maudit was the most
ambitious 'black movie' of its day and a milestone for indie film-making
in the US. Opening captions explain that academic Dr Hess Green (Jones,
Night of the Living Dead) has been invulnerable and addicted to
blood since being stabbed (in a parody of Catholic dogma) with a dagger
from 'the ancient Black civilisation of Myrthia'. Affluent and (thanks
to discreet raids on a local blood-bank) comfortable, he avoids
murdering for sustenance until stuck with a new assistant (Gunn), who
turns out to be a suicidal alcoholic. Deliberately fragmented and
punctuated with disquieting cutaways to art works, the film charts his
growing sense that he is afflicted with a curse, across his marriage to
his assistant's widow Ganja (Clark) and his provision of a stud-victim
to feed her 'hunger'. Theological musings jostle with sexual-visceral
imagery in a mix which is still very potent.' Tony Rayns
Here is an extract.
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