Clive Barker, his genius demonstrate in Hellraiser!

One type of reading and film that I love more than anything, in fantasy or Science Fiction, is horror. And when we talk about horror, a name immediately comes to mind: Clive Barker.
I have a lot of time to write this article, three or four months. I wanted to write an article that pays tribute to this writer who I particularly like but, with the lessons and my extra-scholastic activities, I had not really had the time until then.
So I could have learned something positive from this confinement, I hope you enjoy it!
To show you his genius, I’m going to tell you about Hellraiser and his universe.
It all started with a book.

The Book:

I have always been fascinated by this fabulous story of puzzles from ancient times that, once resolved, open doors to hell. And then one day, a man contacted me to donate me a box from the merchant, an artifact that I had coveted for years.
Last night, fighting fear and envy, I performed the ritual deciphering the pattern of lamentation.


After so much research, I thought I knew the secrets of the Hellraiser well.
But the mechanism came to life, the box opened …
only then did I understand …

For this article, I thought it necessary to make a little warning.
If you are under 16, impressionable, or a stranger to artistic darkness, I kindly suggest that you avoid this article.
If on the other hand you cherish modern mythologies, the creation of universes and its hazards; if you are fascinated by horror and its symbols then be ready … For you are entering the most infernal cathedral in the fantastic galaxy: Hellraiser.

Before starting our descent into Hell, I would like to invite you to take the place of a creator of horror stories for a moment. As you are a demanding creative person, your secret ambition is to invent an original and detailed universe.
We will find memorable abominations, striking images, rich concepts and depth that will allow you the most incredible freedoms. An idea then comes to you and you open your notebook, contemplating the infinite possibilities:
We need protagonists with whom all will identify, but above all charismatic antagonists, with inhuman powers, with a legendary and terrorizing appearance.
Thus the work will mark minds, inhabit the nightmares of generations, and allow the world to dream and fantasize through your cathartic visions.

The twentieth century has seen a rich and complex horrific culture explode, with many iconic figures, many of whom have become classics.
So it’s hard to come up with totally new things … Especially since you’re in 1986, and the heyday of horror is at its peak. What else do you have left to create? How not to reproduce? How to shine brighter than the others in an already dazzling galaxy?
Now imagine that you are … Clive Barker.

CLIVE BARKER, IN A PORTRAIT PHOTO FOR HIS BOOK “EVERVILLE”, 1994

You are a fantastic young writer, full of ambition and talent. Your first collection, “Book of blood” has a good press and the great Stephen King himself, repeats to anyone who wants to hear it, that he saw the future of horror … and that his name is Clive Barker.
You feel it. You are at the threshold of your creative career and you are seething with crazy concepts and the desire to shape the refined nightmares that inhabit you. Besides, for some time now, a story has obsessed you. You feel that it is different, that it conceals a dizzying richness and glows with a black of darkness.


After a feverish and passionate writing, your novel finally comes out and is entitled: “The hellbound Heart”.
Even if the literary success is satisfactory, the world has not yet become aware of your history and its potential. Cinema would be ideal, but the studios have already approached you twice and what they have done with your story has disappointed you.
So if it takes a film for the world to know, it’s you or nobody.

The Film


This is how Hellraiser came out in 1987. Direct adaptation of “The Hellbound heart”, produced by Clive Barker himself. The 35-year-old has just arrived in Hollywood and intends to seize this opportunity to make an impression.
Passionate about the horrifying thing, Barker achieves a real tour de force. With a limited budget and no cinematic experiences, Barker easily invites himself into the pantheon of universal horror. All thanks to powerful concepts and creatures that are second to none in pure terror.
Thus the world discovers Hellraiser and its mythology, of which here is the almost perfect narrative invitation:

“There is a magic box in our world, carved out of wood and covered with gold … It is said to allow us to discover pleasures that the mind cannot imagine.
Unfortunately, for those who own it, the box is actually a key that opens direct access to hell. From this portal emerges the most sadistic creatures that hell has carried: the Cenobites. “

The film is a success because in addition to a striking and poisonous story, a recognized soundtrack and involved actors, it gives birth to a new icon of genre cinema, which the public will baptize Pinhead.


This man with a bluish complexion, wearing nails and adorned with dark leather joined without waiting the Freddy, Jason and other Leatherface at the table of our nightmares.
The film will even have the right to a direct sequel, Hellbound, of which Barker will co-write the screenplay. This quality sequel takes us to hell and shows us a little more of the cenobites.
On opus 3 and 4 Barker is only a consultant… and from the 5th to the 10th, B’arker is overshadowed by a franchise that will sink into the obscurity of dispensable films.

At the origin of this disintegration, the transfer by Barker of its copyrights to producers, and this from the first film. And very quickly the saga escapes him … to the point of making Hellraiser the biggest missed event in the history of horrific cinema. We are watching new releases, but more out of nostalgia for the first films than out of real hope.
Above all, we are watching, a little guilty, for the arrival of new cenobites, which even in a bad film, remain fascinating and unhealthy monsters.
Unfortunately, the films do not deliver many mythological elements and achievements without souls will end up killing the franchise.
But the good news is that beyond the film and the first novel, other books and comics give life to an extended universe.

The Extended Universe

So this is where our journey into the hell of Leviathan begins.
Any story of the saga begins with a mysterious box that one day ends up in the hands of a person.


But the box chooses such victims at random?
Before talking about this evil artifact, I must reassure you, the box does not arise randomly in your life … It only appears to have a certain number of profiles.
After having gone through all the stories of the saga, it is possible to identify large families of candidates for damnation, in order to understand what profiles are looking for recruiters from hell:

1 The explorers :
Who hasn’t dreamed of knowing more about the secrets of the world? Like Frank in the original story, explorers are looking for secret knowledge and forbidden pleasure.
It is therefore not surprising to find among our victims 2 journalists, a photographer, an explorer, a librarian or even a disillusioned detective.
Whatever the purpose of their research, it leads them into obscure corners of reality and reason. These profiles have in common the quest for a hidden truth and this thirst for knowledge implacably leads them to the box, when it is not she who comes to them.
It is often symbolic of the price to pay for those who seek what a human should not know.

2 Scientists :
Another family even more dedicated to empirical research into the unknown.
We thus find a doctor, a researcher in virtual reality, a virologist or even a researcher in physics. Either his jobs are close to death, or they raise moral and ethical questions which the box monsters are fond of.

3 The lost souls :
Even darker profiles. The box often arises in the hands of desperate people, either to shorten their suffering, or to quench their thirst for revenge … towards those they consider responsible.
We find there, a depressed woman who committed suicide in her bathtub, a regiment of ex-soldiers traumatized by the horrors of war. But surprisingly, the box appears twice in the hands of abused children, who without knowing it will invoke cenobites to suppress their toxic entourage.

4 criminals :
Despite the apparent glimmer of justice suggested by the latter two cases, the box often arrives in the life of the ill-intentioned who make up this family.
These candidates evolve in badly famed circles with often absent morals: bettor, delinquents, members of gangs or sexual predators and even serial Killers.
They are somewhere the most anticipated candidates in our traditional understanding of Judeo-Christian hell.

5 the leaders :
The family with the most members, bringing together all those who exercise and abuse power over others. It is fascinating to see that its elected representatives occupy different levels of society.
From the shady promoter, to the manager of a nightclub, to a tortured horse trainer and an unhealthy producer, one who abuses his position is one of the club’s favorite candidates.
The same goes for the authoritarian power exercised by a state or an administration: one thus finds soldiers, police officers and even a prison guard. This family also includes leaders, dictators, business leaders and a bloody tale from the Crusades.
Finally something that could seem incongruous, there are also several fundamentalist religious who think to invoke God only harvest Cenobites.

There is finally a last family, that of the creators but it is too early to evoke this strange specificity…

You would think that I have not yet revealed the Mythology of the saga, but we have just mentioned its heart: it is in the realm of human darkness that the Cenobites hunt. Their appearance is the crowning of a human life doomed to the dark side. Then resonate this quote from the author:

“Each of us is a book of blood. When we open it, everything is red ”

It is therefore not surprising to see in the tales of the saga direct references to dark periods in our history. From violent colonizations to fratricidal wars, from slavery to apartheid to Nazi horror, Hellraiser keeps reminding us that the darkness of his Cenobites has nothing to envy to that of humans.
With its fantastic charge, the saga could have gone headlong into the most uninhibited dark fantasy, but more often than not, stories are born on the contrary in very realistic contexts that reflect our world. This often puts us in front of what we would prefer to avoid …

Lemarchand’s box

Art by Nick-Percival on deviantart.

It’s time to tell you about the box.
Based on the movies, we know very little about this strange artifact: It’s a cubic shape with mysterious patterns. Regarding its origins, the film “Bloodline” reveals that in the 18th century, an architect versed in the occult arts would have manufactured it. His name was Philippe Lemarchand.
But, as we said, the films do not reveal anything about the magnificent and sophisticated complexity that gets impatient on other supports

Let’s retrace the journey of this mysterious engineer together to understand his role and his motivations … And since I was lucky enough to be able to go through it, I will give you the contents of his diary.

We are in 1740.
Philippe Lemarchand, architect and artist, worships the sacred and mysterious geometry of the Cenobites… Increasingly involved, Lemarchand embarks on a frantic quest for knowledge on this subject. He says he goes through the enigma of Albertus Magnus, devours the writings of Saint Thomas Aquinas, Agrippa or Pic de la Mirandole, all of which refer to the Cenobites. (The technique of credibility of mythology requires the convocation of historical figures and troubles.) At the end of his research, Lemarchand became obsessed with these legendary cenobites. Although he thinks that some of these writings are fabulous, the architect leaves the domain of reason.

He gradually slides towards the unhealthy by examining works of frightening anatomy and especially by devouring biographies of Gilles de Rais. This lieutenant of Joan of Arc committed such atrocious misdeeds that he became the inspiration for The Bluebeard, very present in our collective imagination.
He was accused during his trial of the murder of 140 children and Gilles de Rais is often mentioned as one of the first documented serial killers in history.

Gilles de Rais

In the diary of this sinister character, The merchant discovers that a cenobite would have guided the murderer in his low works, but especially that there is a box containing a magic formula which would make it possible to invoke the monster. Activating his occult networks, he manages to get it.
It was therefore not Lemarchand who invented the first box. On the other hand, he analyzes it until he understands its mechanism. His frustration runs away as he approaches supreme knowledge, with forceful sketches and calculations.
To complete his apprenticeship, he activated the mechanism one evening and finally invoked Baron, the famous cenobite who had dictated his actions to Gilles de Rais. The cenobite observes Lemarchand’s sketches and feels his obsession with order and symmetry.
Baron accepts that Lemarchand manufactures his own mechanisms to invoke cenobites. He thus becomes the first human to have the right to make boxes.


Let’s now enter the depths of myth.
First of all, it is no accident that brings up the box in your life. These are the cenobites who spotted you from hell and send you the puzzle, but we will come back to this point a little later …
For the boxes to be mythical and credible, it is therefore necessary to create a story for them, but also a striking appearance and operating concepts.
In terms of appearance, there are a multitude of different designs. The shape is overwhelmingly cubic but this look is not exclusive. To convince yourself, just browse the cursed pages of the Sigillum Diaboli, a work that lists the appearances and effects of all the boxes.
On the walls of this one, mystical symbols and shapes on which, certain precise finger movements must be applied, in order to activate the mechanism. All the inscriptions on the box draw references to Indian myths, to the Jewish cabbala, to the treatises on demonology or even to the Bible, as if the box were an overlap of several cursed knowledge, a key to darkness.

Once the puzzle begins, a music box melody is heard, which grows as the resolution progresses. The final click sounds, the box sets in motion, pivots on itself and metamorphoses, subject to a sinister logic. At the end a bell rings, like an infernal knell. You can hear the stone on the walls groan and fall apart as you approach the cenobites. Then the walls of the room move away and a bluish light shoots out of the darkness.
Ill shadows emerge, they are there. And unless there is a market or a miracle, they will leave with you to let you know hell.

Just before seeing what happens to the unfortunate elected officials, one last point on the magic boxes. While they are practical, they are not the only way to appeal to the Underworld.
By solving the boxes, we actually perform a geometric ritual called Configuration. In the movies, the magic formulas are hidden in these puzzle boxes, but far more amazing configurations have existed. Some may take the form of a pocket watch, others the appearance of an innocent music box. We also find a configuration in -400 BC which appears under the appearance of a stone table in front of which incantations must be pronounced … Even more surprising, Lemarchand has for example constructed buildings in which the dark ritual is hidden . This is the case for a leprosy treatment center, for an artist’s pension in Paris but also for a disturbing building. For the latter, it is the journey made with the elevator that gives life to the configuration.
But it also works with a guitar if the chords played follow a certain pattern. But the configurations can also be hidden in the cardboard pieces of a puzzle to be assembled, in a crucifix, a crossword puzzle, a novel or even in the way of harvesting a wheat field.
They seem like there are more highways to hell than stairs to heaven.

What happens after the cenobites are present?

Several scenarios can occur:
As long as you have a bad contact, the view can go wrong and the cenobites will make dozens of chains end with a hook that will spread you in a sheaf of blood.


If on the other hand, you manage to arouse their interest, the cenobites can be tempted by a market. For example, to bring them more candidates for hell and therefore to work for them in the real world.
Useless to want to double them or to play with them if not return to the first scenario.
Let’s assume that the cenobites save your life, that does not mean that they can leave empty handed. So you have to sacrifice someone for you.

Skinned

If on the other hand they consider that you are ready to leave with them in the lower kingdom, then the cenobites will carry out the weighing of your soul. Depending on the desires and impulses they discover there, they will reserve a spell for you which can vary, but in any case, rest assured that eternal suffering will be there.
If the infernal priests believe that your vices are sadly common then you will be just having fun and your destination is called the Well. There are other wandering souls like you, who have the common appearance of the skinned, who drag like a suffering herd on the desolate moors of the place.


This explains the presence of skinned in films. They are damned who managed to escape from hell with the help of a human, this is the case of Frank in the first opus or for Julia in the second. The sentence “Help me I’m in hell ”written in a letter of blood on the wall by the cutaway therefore takes on its full meaning.
To hope to become human again, they must kill people to recover their skin.
The population of skinned wells is subject to the yoke of cenobites who treat them like cattle and we will even see them rebelling against their masters.

The cenobites?

How does one become a cenobite? After a human life turned to darkness, you are called through the box and your future companions come to pick you up. This is followed by a very unpleasant phase, which takes place in a reconstruction room.

This room can take several forms: it is sometimes an iron virgin, a medieval sarcophagus filled with deadly peaks, other times a niche with walls similar to that of the box, but more often than not, it is a bare room to the medical atmosphere. There is a new kind of surgical instrument, but also repulsive tentacles that search your brain.
The machine recomposes your body into an abject and fascinating form, which generally adapts to your psyche, but still, your appearance breathes torture, suffering and unhealthy eroticism.
Once the operation is complete, you are officially a cenobite. Your goal now is to harvest souls for your God Leviathan, or recruit new cenobites from humans.
The demons of the order of the hack, also have a role of police of the hell because their goal and to catch the rare damned who manage to escape from the limbo. The cenobites evolve in a very hierarchical caste with well defined roles, as in a classic religious order.

Before talking about their laws and their motivation, let’s dwell on their appearance, which is beyond measure in the horrifying genre.

Cenobites have the distinction of being as repulsive as they are fascinating. It was in the original film that the cenobites first appeared. The make-up and the game of the cenobites have laid the foundations of their school, even if the comics will reserve the most decadent expressions for us.
The choice of black leather is not trivial.
When we look at the occurrences of cooking in the Cinema before the release of the first film in 1987, we are already in a fairly marked imagination: in addition to the black jacket of bad boys on motorcycles, leather is associated with domination, sex and to the interlope places. He’s the offender’s uniform, the murderer’s glove. Leather is the ideal choice to combine attraction and repulsion, eros and thanatos.
The design of the costumes, between religious clothing and keeping of sm dungeon creates a particular contrast. To this dark sexual aura is added the gashes.
Often the costume is mixed with the flesh. It is even often designed to provide permanent suffering to the wearer. What is disturbing about the cenobites is that despite the constant suffering they endure, they are cold, amused, calm and fanatical, worshiping the pain they present as ultimate refinement.
Pain is however what we have been fleeing from the dawn of time; so seeing creatures who have embraced it as a religion takes us into metaphysical malaise and makes them totally inhuman.

CENOBITES BY Legrande62 on Deviantart

Cenobites can have very different aspects and dress. Most of them are humanoid but some are more of an abomination, an indescribable chimera. The bake and piercing look is dominant in cenobite but the environment has its originals.
We can especially meet demons dressed in white and red canvas. One of the chiefs of the order is even dressed in a Prussian general’s costume, when another cenobite with facial scarification presents all the paraphernalia of the American soldier.
Others have a more monstrous physiognomy, the deformed facies, the skin of another color … There are also animals which accompany them and serve them like dogs or bees.
The cenobite therefore offers the creators who shape them a great creative attitude with regard to the form they can hear.

The same goes for their characters: the disparity of personality in cenobites very often reflects the humans they were. Some are rebellious and do nothing but lead, others are cynical, some even try to keep a part of humanity in their decision.
The cenobites are extremely innovative for me because they have in their way enlarged the spectrum of what the cinema monster can evoke. Their moral ambiguity, the luminous aura that accompanies them, their chilling calm and their infernal cynicism go beyond the terror of classic cinema to transform it into a venomous fascination.

One of the phrases used by Pinhead to introduce itself is as follows:

« Demons to some, angels to others. »

This contradiction is therefore assumed, to place these entities on more intellectual and psychological ground, to blur their motivations and make them unfathomable. And therefore the classic Manichaeism of our society which opposes good and bad is ineffective here, and this is one of the many genius traits of Barker on the saga. This is due to the underlying philosophy of the Notch order.
Indeed, cenobites do not read the actions of men under the specter of good or bad actions, but assess your actions according to whether they have generated chaos or order. And that makes their value system more complex. For example, a cenobite will not try a serial killer because he has killed people. but rather he will assess his motivations and the consequences of his actions. In a way, chaos is associated with man and his freedom, the unexpected and the impulses of life. In contrast, order and structure are associated with control, law, oppression and the system.
Besides in Hell, this balance is somehow personified by two strange deities called Chidna and Basilisk.


These two antediluvian entities recall the double helix of DNA and symbolize the necessary balance between darkness and light. A quote from the master clearly expresses this balance between two forces:
“Darkness has its role to play. Without them, how would we know we are walking in the light? When the ambitions of evil become too grand, they must be thwarted, disciplined, and even sometimes extinguished. Then they will reappear again as it should. ”

The order of the world is therefore a clever combination of chaos and order. If this balance is disturbed, then Chidna and Basilisk will fight, thus alerting the cenobites that they must repair this anomaly by changing destinies in reality.
Because the job of a cenobite is to select people who have power over the world, to tip them over, but a cenobite must also answer to its hierarchy.
If he has failed to manipulate the right way, then he will be tried in a trial. Each judged cenobite will have to tear out the heart so that it passed without a balance in front of the members of the order. Because let’s not forget that at the end of the chain of command is their supreme God, Leviathan.
Cenobites are therefore a form of police force in the service of a religion, with the whole oppressive and rigorous universe that such terms bring together. Pulling the threads of the spirit, they manipulate destinies to twist them in their interest …
Some cenobites have been assigned particular functions which make the myth even more profound.


This is the case of Sister Flagellum, who is called the police. Flagellum is plunged into a deep meditative sleep from which it is drawn if its God Leviathan feels a disturbance in the balance of forces. She will refer them to the cenobite teams so that they go to resolve the situation on the ground, much like a damnation task force.

There is another major role played by a cenobite, very symptomatic of the depth of the Barkerian narrative. But to evoke it it brings us back to the very beginning.
How do the boxes end up in the hands of their victims?
A box is always given, protected and recovered by a guard. In films, it’s always a strange individual who puts the box back is always the same: Initially a merchant, then an art seller, the guard appears most often in the guise of a homeless man with a beard unkempt and with crazy eyes, which seems to have a particular connection with the locusts.
Again, these are the comics that give us keys to understanding these famous guards. First of all they are shape-changers, they have the capacity to take the appearance that they wish to approach and seduce the target without it being suspicious. But how are these mysterious smugglers created?
Thanks to our famous cenobite with such a special role.


His name is Orno, and he has his own cabinet in the bowels of hell. To create a puzzle keeper, Orno chooses a damned that he calls “Raw Material”. He alters his soul by placing a bit of his own demonic spirit in it. He then returns his guinea pig to earth so that he can have sex with a woman. From this relationship will be born a child who Orno will take care to make orphan. Once he reaches 16 years of a life of sadness, Orno will reveal his true nature to him by offering him the box of which he will be the official guardian.

As a result, with the Hellraiser universe, we are witnessing a phenomenon which is after all quite frequent, which one could call “transmedia mythological development”. It’s the idea of ​​expanding a fictional universe to other media than the one by which he was born.
For Hellraiser, it’s a classic journey to Hollywood for a successful franchise: we adapt a book to the cinema, and if it is successful, we then develop comics or video games to tell new stories and spread the universe. And if the adaptations are sometimes soulless commercial moves, there are cases where this passage is extremely beneficial for a work. This is the case for Hellraiser.
Making a fantastic film is expensive and we are subject to regulations that limit what we can show. With a comic, no problem. The only limit is the talent of the artist and the imagination of the authors.

Hell

In the work, the hell that Barker describes is very different from the classic hell representations. Where we knew a hell of red and burning limbo led by Satan, we find here a blue and icy labyrinth dominated by Leviathan.
The first visual representation of the labyrinth of the underworld is delivered in the second film of the saga named Hellbound, during a sequence which literally convinced me that the saga hid an incredible mythological potential.
We see there for the first time a reconstruction chamber and the making of a cenobite, but, above all, we discover a landscape worthy of the most dizzying nightmares. Perspectives that are lost from afar, abundances of senseless architecture, bottomless precipices …

The main inspiration for this representation comes from the work of Piranesi, a brilliant Italian engraver who lived in the 18th century. The latter unwound one day to create 16 engravings that would present nightmarish imaginary prisons.
In this suffocating world, one enters a monumental architecture, with multiple dungeons, suffocating and dirty, with walkways that lead nowhere to spiral staircases. They are also intertwined with pulleys, chains and other instruments of torture.
If the labyrinth also reminds of the Minotaur’s labyrinth, it also summons the architectures of Escher. We can safely quote the artist since a plan of the film shows one of his works.


For Piranesi, The link is especially strong when we contemplate the bowels of the labyrinth with its multidirectional corridors, its abyssal staircases and its general function of prison of souls. The fact that Barker wanted to quote Piranesi to make hell a prison place and cold is of a strong originality, which moreover suits perfectly the cenobites.
On the top of the walls of this labyrinth, the cenobites can walk, meet and above all pray to Leviathan, who overlooks this gigantic area.
When one descends from the crests of the labyrinth to enter its entrails, one enters a dark and dense area, with stairs which intersect to serve the various places of torture and other hellish abominations. The depth of this place seems endless, like the torments that stand there.

Since the cenobites are ancient humans, it makes sense, after all, to keep activities from their previous lives. So do not be surprised to know that in the labyrinth there are archives of operating theaters, an armory, but also a bar, a theater, or even places for political meetings.
Finally above this Leviathan plane labyrinth.

Leviathan

This name originates from the Bible where Leviathan is described in several books as a multi-headed sea monster who revolts against God.
We can also make the link with the eponymous book by Thomas Hobbes. Hobbes uses Leviathan as a metaphor for the perfect state, ruled by an absolute sovereign who exercises total control over society. Written by Hobbes during the First English Revolution, Leviathan insists on the need for a strong and total social order to avoid society from sinking into a state of nature which, for Hobbes, is a chaotic war of all against all. This choice of name is therefore not trivial and its symbolism has its place in Hell.


In Hellraiser, this volume of depths is also designated as the God of Flesh, Hunger, Desire, or Lord of the Labyrinth.


It is complicated to create a God in a fictional work, especially if one decides to show it. What form should be given to an abstract idea? Barker opted, not for yet another hackneyed classic demonic abomination, but for a surprising and mathematical form, perfectly symbolic of the concepts of Order and Structure. Indeed, the god of cenobites is an octahedron whose walls recall the esoteric ornament of Lemarchand’s boxes. Leviathan gravitates, lonely, dominating hell. It has the power to launch rays of black light which infiltrates your soul to reveal your sins to you.

The origins of this entity are unknown, but several clues point to the fact that it has been present since time immemorial. It is even said that he could be the fallen angel of the scriptures, but above all, this strange god is the one who makes the cenobites. It has the capacity to transform any human being into a suffering monster and thanks to its reconstruction chambers and its tentacles, it has total freedom in the grotesque and terrifying form that it will want to give you.

Leviathan does not speak directly, and to be able to exchange with him, it is necessary to go in his entrails. You can enter it thanks to a wall that unfolds and reveals endless markets. Once inside, the cenobites must play hard an organic organ made of supliciaries of hell to hope to communicate with this God.
In the film, his only form of external language is a tetanizing foghorn which spells the word “GOD” in Morse code.
So here we are at the top of hell.

After this painful journey, we can already note that the only thing that equals the darkness of Hellraiser is its black aesthetics and its mythological sophistication.

A connection with the Bible?
In most works wanting to install a contemporary mythology, these almost systematically refer to Catholic mythology, whether it be the films Freddy and the relationship of his famous killer with hell, the game Bloodborn and his pantheon of Gods who seek to procreate or the manga Berserk and its multiple references to the Inquisition…

For Hellraiser, the least that can be said is that Clive Barker has a unique approach to the issue. Like the character, she is amazing and complex.
In an interview book with Peter Arkins, one of the great screenwriters of the saga, Barker writes on the question.
He immediately confesses to trying in his writings to find the rhythm of the Bible, which he says is his favorite. He also has a sort of fascination with the figure of Christ.
Conversely, his vision of the church and of dogma exudes the most dissenting rejection there is. The work translates very well this oscillation of the author between fascination for the verb and the biblical symbols and detestation of what the men of church made of God. And the saga is dotted with games with religious symbolism, often to return the values. The word cenobite itself refers to an existing order. In contrast to the hermit, who lives in solitude and contempolation, the Cenobite monk lives in community.
By thus making reference to an existing order, Barker can thus criticize religion while retrieving the lexical and symbolic fields.
Pinhead is a nickname but its real dominion is “Hellpriest”, and the monster even marries its gestures.
In addition, the cenobites despise the God of men. This phrase from cult Pinhead is a perfect example:

« Do I look like some one who cares what God thinks ? »

Barker’s vision of hell is therefore not made of horned demons who plunge us into the pot of lava, but of a religious, calculator based on suffering.

And if we wanted to go a little further, we might wonder if the cenobites in their concepts are not very close to the Catholic religion. Indeed, among Christians, the supreme act that launched religion is the crucifixion of a messiah, who became a martyr to save men.
One can almost say that this act of torture is the basis of the Catholic religion. To the point that the symbol worn by its followers is an instrument of torture.
Even if this is presented as an act of supreme love, the fact remains that this myth bases its genesis on the suffering and sin of men. Just like the cenobites.

It is also fascinating to see that the Christ figure has the same right to its rereading with the female figure of Morte Mamme.

In the Barkerian myth, she is the sister of Leviathan, who captured her in a stone tomb thousands of years ago. She is named priestess of chaos and the image she represents is no big mystery.
Yet another camouflaged anti-dogma by the author who tells us that Jesus is a woman, that she is the impulse of life and chaos and that her goal is the destruction of the cenobites. Impossible not to see a political dimension when we know the place of women in religions. Thus Clive Barker seems to be in the grip of a fascination for the original biblical stories and the symbolic power of these myths, while castigating the purely evil deviation of our modern religions. For Clive Barker, God is imagination and imagination is God.

He is He may be some of you who are not used to horrifying creations for whom this universe is undoubtedly dirty, shocking, depressing or repulsive. This prompts us to ask ourselves the question: how can we imagine such things?
Isn’t creation supposed to generate beauty, transcendence, a pleasure for the senses and the eyes?
And I, who am swooning in front of this universe, do I have problems? Am I a creepy person, feasting on the kind of metaphorical darkness?
It’s strange because I see the opposite.
Barker himself says that what is pornography for some is theology for others. Everything is therefore a question of point of view. As far as I’m concerned, I see in this work an incredible ode to creation. A declaration of love for the surreal adventure it implies.
Finally, I see in Hellraiser a reflection on the Artist’s sacrifices. After three months of living in this universe, I ended up thinking about it in my sleep. And one night, I dreamed of this cover of Comic:

We see a painter’s palette there. Brushes are blades and paint hemoglobin. And there I had the feeling to understand. Clive Barker explains that he writes as we paint, and that we only paint with his blood. No wonder, then, that we find our last family of damnation candidates here. The artists…

Inhabited by an intangible and devouring need, they are often visited by the cenobites in the saga. They come to find a young poet, a blind composer, two writers, a crazy painter … The work of a creator consists in deciding between structure and chaos, putting his soul into the configuration that is a work.
In Hellraiser but especially in life, Art is a sacrifice, an activity of a reclusive monk who would only have his imagination for God. It’s a life where places are scarce, where the waiting and learning are endless, where you have to undergo the opinion of people who rarely understand you …
The artist’s freedom is strewn with a thousand obstacles: how to earn something to eat? How to reach people? How to make a work that excites us ourselves? How to surprise yourself, surprise others and mark their hearts and minds? And how to survive a world that does everything to suppress the dream?
Barker is a free spirit, a man who fights daily against the idea of ​​death, a man for whom the imagination is the greatest mystery of humanity. For whom the imagination is God. A man, finally, who is not afraid to rub himself in the dark in order to draw resplendent jewels from it.

I don’t know if you’ve ever encountered a creator virtually. I am quick to marvel at multiple subjects, but feeling an intimate artistic shock in front of an artist’s mind is rare. And that’s what happened to me with this character that I’ve been contemplating from afar for years, without knowing anything about him.
On a sleepless night, I tried what I often balk at doing: knowing everything about the creator whose work I explore. For me the work is what interests me in the first place and I was sometimes disappointed when I discovered the person who was hiding behind. But with Clive Barker, the sensation was quite different, around 4am and after 20 interviews, I felt like I had found a mentor, an incredible model, someone I would like to count among my friends.

The sequence that touched me the most was an English interview where Barker faced a crowd of young people whose age was not so far from his at the time.

And all the questions from the public are curiously enough reactionary and suspicious. Hellraiser first of the name had just come out and everyone was suspicious of the singularity and the violence of the work. And Barker to enter into a soft, understanding and sensitive plea on the power and the necessity of the horror stories, on the strange beauty that they contain.
Seeing him justify himself in front of people who did not understand his sensitivity touched me in the messages they delivered, and his kindness confused me. So I often think back to his mantra:

“Be regular and orderly in your life, so that you can be violent and original in your work”.

One of the beauties of this saga is to see the ambition of its concepts, the creative and symbolic freedom that it contains. What an emotion to contemplate the birth of a world with its geography and macrocosm, to follow its emblematic heroes and demons struggling in an abyssal mythology, with so many readings.
If I was talking about the opening cathedral, it is because every detail of this universe is coherent, finely chiseled and that it allows 1000 things, not forbidding anything.
We recognize here the work of a goldsmith of horror, of a watchmaker of the imagination … who would take the bias of art to reveal things that life does not show. The work then becomes like a revelation that speaks to everyone, like a metaphorical vision of our world.

I would like to end, with a little heavy heart, this trip in the meanders of this total artist with one of the sentences of which he has the secret:

“All that is imagined will never be lost”.

Arrival, Monument of Science Fiction!

A few weeks ago, I was lucky to win a little film critic writing contest for a magazine. You had to write about what you considered to be the best film of the decade 2010-2020. The winners were published in a booklet and on the publication’s website a few days later in the form of a top 10 films to watch for containment.
I thought it might interest you even if the tone is … a little different from what I used to write!
^^ ’
I translated it and voila!

Good reading!


The wonderful thing about genre cinema is that it is infinitely renewed. Because if you tell the synopsis of “Arrival”, a priori, you will have the impression of having already seen this film a thousand times.

“Extraterrestrials arrive on earth but we don’t know what their intentions are… blah blah…”

“Close Encounters of the Third Kind”, “Contact”, “2001: a space odyssey”…
Yet “Arrival” is a film that was a breath of fresh air for me. An intimate film, with a mesmerizing staging that offers us a grand fable on inter-species communication and I would even say communion, and I am not talking about communion in the religious sense. “Arrival” is a film with a universal, timeless message that falls in almost none of the clichés associated with films of extraterrestrial invasions. And it’s rare enough to be highlighted. I say it right away, it was for me the best film of its last 10 years..

The story:

Overnight, mysterious extraterrestrial entities appear on Earth. For the moment, no sign of hostility in sight. Affine to decrypt the language of extraterrestrials to say the least enigmatic, The army calls on a linguist, played by Amie Adams who will try somehow to communicate with her beings of which everything remains to be discovered.

Even if Denis Villeneuve has already accustomed us to obscure films open to interpretation, “Arrival” is not a film which knocks you out with mathematical formulas or theories of quantum physics, as if to prove to you that it is a mature film, which must be taken seriously. Symbolism quickly takes over and the images speak for themselves.
This film is poetry.
Villeneuve purifies his staging to keep only the essentials, only what serves his purpose. Halfway between a blockbuster and an experimental film, “Arrival” enjoys an atmosphere that oscillates between light and shade. And you feel that disturbing strangeness from the first minutes, which makes it impossible to look away from the screen. I don’t think I have seen such an intoxicating film since Melancholia by Lars von Trier.

I do not intend to make a surgical analysis of this film, which as you can imagine raises a lot of subjects on different themes. I’ll only talk to you about what touched me personally. And it is so rare to have the impression that a film is addressed to us directly.

Because yes the aliens of “Arrival” speak to us, but what are their intentions?
Why are they there?

If the film takes its full interest when scientists enter the alien spacecraft, it is through the prism of the staging. In the era of triumphant digital, I think we all agree that even Hollywood studios have little to sell us when it comes to digital creatures, and it’s certainly not with glasses 3d that things will get better.
From “Jurassic Park” to “Avatar” or “Terminator 2”, our references are saturated with monsters always more detailed, imposing, always closer to the screen. And if there is one thing that forces my admiration for Denis Villeneuve, it is this knowledge of cinema, that which suggests more than it shows, in order to let our imagination fill the gaps, to keep us captive of its history. “Arrival” is Science Fiction in the noblest sense of the word.


Without speaking about the work on the architecture which is just breathtaking, the artistic direction of this film is in perfect adequacy with its story, and the arrival of its beings appears to each of us in a different way.
A spider, an octopus or simply a hand, a member, or simply an ink stain on a screen, the design of its creatures, rests only on abstract forms. This is a great idea that we owe to Denis Villeneuve. As Rorschach tests, it is up to you to decide what you see.


And there is a fine line between what can seem dangerous to you and what you think is very watchful. Everything is ambiguous in this film, until the end you never know how to interpret the actions of your creatures, and in my opinion, that is the main subject of this film.
We humans, the dominant species on this planet, we have created empires, civilizations. Master of a technology that is overtaking us, we even walked on the Moon! However, today we are still unable to talk to each other, knowing how to approach each other without going through a balance of power.
The character of Louise, will not simply communicate with her aliens, she will transcend her human condition to enter into symbiosis with them.
If this film speaks to us well about contact, He does it in the most natural way possible. And this contact, it goes above all through trust.
For me the key scene of this film is when Louise decides to take off her jumpsuit in order to show herself to the aliens. If a person is to represent humanity, then above all, he should not be governed by fear.

“Arrival” is a great film about language, both inside and outside of fiction. Like Louise, who never ceases to want to decode the meaning of these “hieroglyphs”, we spectators are also invited to decode each shot. If this film is not very talkative, all the iconic plans, push us to multiply our grids of readings, until the very arrival of the extraterrestrial vessels.
If we compare them to the aliens of “Independence Day”, aggressive invaders whose arrival on Earth, literally hides the sun, the aliens of “Arrival” opt for them in a vertical position and above all motionless, silent. They respect our living space. By levitating above the ground, high enough to not crush anything and just ready enough for us to enter.
Besides, we can see that the director is Canadian, because even if it can be fun from time to time with directors on the other side of the border, when there is something unidentified in the Heaven immediately war.

Gods, it’s nice to see a filmmaker shift even the code of science fiction cinema to present us with such an ambitious film. Because yes, “Arrival” is one of the most ambitious films of its last years. We are talking about a film that shows us that we can:

Open time!

So scertainly, we have already seen humans enter into psyche with entities with higher intelligence, to build but in hand a better world. But, if this film is inspired by a large number of references already cult for the most part, it sublimates them.
For example as a fan of “2001: a space odyssey”, I simply loved this scene where Louise explains to the army chief, the semantic ambiguity between the weapon and the tool.

Louise Banks: If all I ever gave you was a hammer …
Colonel Weber: Everything’s a nail …

What is “Arrival” for me:

“Arrival” is not a film that gets lost on the way. It’s not a film that starts off on a high note and doesn’t really know how to end.
It’s a film that arrives at just the right time in a particularly turbulent period in our history when humanity is taking a collective awareness that it is time to question our whole way of life.
In the genre of extraterrestrial invasion, “Arrival” represents the film of maturity.


If I had to compare it to another science fiction film, I would take “Contact” by Robert Zemeckis in 1997. Without too much spoiler, we see a young female scientist tempted to decrypt an extraterrestrial signal.
So even if the moral and the stakes are ultimately quite distant from Villeneuve’s film, despite all the similarities that are obvious, we hardly noticed that in the film of Zemeckis, the finality of the adventure, the outcome is based only on contact with the aliens.
Judy Foster looks at the sky, without worrying too much about what is happening below, while in “Arrival”, if the aliens came of their own will on Earth, it is not only to provoke the meeting, but also and especially to make us understand that before wanting to get in touch with the rest of the universe, it might be time to learn to communicate with each other.
It’s not a fluffy outcome, or a particularly optimistic one, because as the film says, if the aliens help us, it’s because they will need our help later. This is not a morality full of good feelings, it is an exchange of good procedure, because in nature, this is how it happens, and frankly, just for that thank you!

I realize that this review may seem a little solemn or pompous, but I’m sorry, I can’t moderate my enthusiasm at such a film. “Arrival” has been admirably received by both critics and the public, and that’s important. These are exactly the kinds of movies that Hollywood should encourage in production.
So no, personally, I do not want to see a filmmaker as promising as Villeneuve make suites / reboots / prequels / my ass … To know that my grandchildren will have nothing to do with cinema as “Star Wars episode 89 “And” Terminator 28 “makes me pissed off.
It’s a film like “Arrival” that should make the event, and I’m glad that this film has the success it deserves.
With that, I wish you a session and a good day and always keep in mind:

“In this universe, we never create anything, we only make this memory. “

Dog movies, with a doggie!

Hello !
If I had to describe what interests me in two words it would be quite simple:
Movies and dogs… and cats… and cooking… and video games… and…

Okay, it wouldn’t be as simple as that but brief. Today, I wanted to talk to you about animated films about doggies!

And yes to write this article, I am accompanied by my big baby Nyx!

Underdog by Oh Sung-yoon, Lee Choon-Baek:


Moong-chi is a good doggie, a nice and attractive border collie that his masters decide to abandon in the forest. He will therefore meet other dogs left to their own devices, surviving as best they can, founding a pack where canine solidarity is required.
Their goal ? Go as far as possible from its humans who abandoned them and find this little corner of paradise for the canine race.

So I prefer to warn immediately, this is a film for a rather young audience, with a moral cross between a Ghibli and a Disney, which reminds us that we have to trust each other.
It is a story that denounces the unfortunate abandonment of dogs that are massively made in South Korea but whose message has an international resonance.
Although the narration is quite naive, there are a few moments that will make you draw a little tear. (Yes I cried >.<)

The big advantage of the film is its aesthetics. Mix of fine and soft line paint with a delicate and felted 3d. There are beautiful caricature aspects on the characters, the film remains very beautiful and remains a real pleasure to see with the family.

Isle Of Dogs by Wes Anderson:


In dystopian Japan, a strange virus is spreading in the canine population. The mayor of Nagasaki then decides to send all the dogs in the city to a trash island, starting with Spot, the faithful companion of his nephew Atari. He will then try to find him, but following an airplane crash, he will be rescued by five abandoned dogs, who will help him find the spot. But his alpha-style doggies have a little bit of faith in this little man, so similar in nature to his humans who hunted them.

Isle Of Dogs is a film made entirely in stop motion, as Wes Anderson had already done with
“Fantastic Mr. Fox” in 2010. It took him two years to make the film for a total of 130,000 photographs, an average of 185 shots per day.
The film is obviously a great tribute to Japanese cinema and particularly to the director Akira Kurosawa. (“Yojimbo”, “Seven Samurai” …)
Again we are in a story of dogs abandoned by humans, who must learn to survive by supporting each other.

I’m not used to doing this, but I would like to take this opportunity to encourage you, if you have the means, of course, to make a small donation for one of the various animal protection organizations in your country.

Oliver & Company by George Scribner


This is the story of Oliver, a little red cat abandoned on the streets of New York. He meets Dodger a dog proud of his freedom and his band, rather eclectic, who will bring him into their pack.
Oliver is finally adopted by the nice Genie, but his pack fearing his misfortune, decides to recover him and lead him and his new mistress in terrible adventures.
Well it’s a Disney with good moral as there are so many, but what a swing, what looks… We are making a big fuss about Disney music, and my memories are probably blurred (it’s been a little over 8 years since I did not see it with the sound), but as a child, I found them great.

This is obviously a story inspired by the novel Oliver Twist by Charles Dickens, this young orphan who finds himself playing pickpockets in the streets of London.
Oliver & Company is also a tribute film, we see lots of characters from previous Disney like Pongo the Dalmatian or Jock, Peg and Cesar from Lady and the Tramp.
In this film, New York City is magnified, with its manhole covers, bridges and even its billboards.

Bonus: Pip

A Spanish short film about Pip wanting to become a guide dog, despite his small size.

Good viewing !

Midnight Session n°3 : Lady in The Water.

M. Night Shyamalan is a funny director. First, there were the hit hits “The Sixth Sense” and “Unbreakable”. Then more mixed films with in 2002 “Signs”, then “The Village” two years later. Critics were quick to label it as the new Steven Spielberg (one of his references), even his natural successor (which seems a little disproportionate to me). How is this “Lady in The Water” positioned?


I’ve always been a big fan of fantasy. When you spend a certain amount of time in hospitals, it’s a literary and filmic genre perfect for changing your mind.
One thing I love all the more about fantasy is when it steps into the “normal” world and what is more normal than a stuttering janitor by the name of Cleveland in an apartment complex ?

The normal man :


Paul Giamatti ideally sticks to this ordinary guy, rather withdrawn, without particular intelligence. His daily life is just a string of uninteresting odd jobs: repairing a washing machine, exterminating a pest in a kitchen, changing defective bulbs … these mini-scenes camp, often with a lot of humor, the profile of the hero who still ignores himself and reveals a gallery of rather colorful tenants.

What I like most about this film are the themes it addresses:

  • Who are we beyond appearances?
  • Who are we, once the mask of social conventions has been removed?
  • What unexpected forces are sleeping in us?
  • What do we know about ourselves?

And his characters of a great banality at first glance but who will know their importance:

  • A little boy who reads the cereal boxes,
  • a group of friends who remade the world around a beer,
  • an old lady who attracts butterflies …

the sketched portraits seem to go away, before delivering an almost cosmic meaning to the film.

The disturbing strangeness :

Picture from Fur Affinity

That a red-haired nymph (Bryce Dallas Howard <3) is frolicking in the complex’s swimming pool, looking for a human with whom she must communicate before she can return to her blue world, does not seem to surprise our discreet concierge . Or how a Chinese legend for children is anchored in the reality of a world of adults who buried his childhood.
The nymph must be saved from the clutches of a dark creature, half warthog half wolf with long spiky hairs and ferocious rumbles. Yes, it is disturbing. Yes, it is scary. As were the aliens in “Signs”, the ghosts in “The Sixth Sense”. Make no mistake, evil lurks everywhere, every moment. Let us remain vigilant, let us wake up, let us unite.

Obviously, the cocktail works only if one implicitly accepts the postulate of the legend which takes life and body, which one lets oneself carry by the irrational. The tilting is done very smoothly, almost imperceptibly. We feel irresistibly drawn. In turn poetic, fantastic, nightmarish, “The Lady in The Water” proves, if need be, that Mr. Night Shyamalan is a truly original filmmaker, endowed with a certain talent for narration and an intriguing vision of world. Qualities all the more appreciable as they are hardly legion in the Hollywood microcosm.

Conclusion :

It may be because I saw this film as a child but I like it a lot. It is a lovely tale that makes our imagination work, in search of the smallest element that can make us think that our reality may contain a hint of magic.

In doing my research, I realized that the reviews were really bad. However, seeing the film recently I do not have the impression that it is justified. If you have a different opinion I will be happy that you share it in the comments. As for the people who would have passed by, I can only advise you to see it, especially if you have kept a child’s soul.

The Midnight Session n°2 : Doctor Sleep

Dr Sleep by Stephen King, the novel following his shining, has been brought to our screens by Mike Flanagan who takes the gamble, not only to adapt the book, but also to make it a sequel to the cult film by Stanley Kubrick!
So is it successful? I tell you everything
this in this new Midnight Session.


This Dr. Sleep brings us back thirty years after the terrible events that took place at the Overlook hotel. Young Danny has grown up and is trying to drown his torments in drugs and alcohol, but he will meet a girl who also owns The Shining, who is chased by a group of hippies. Kind of vampire who feed on those who have this power.
By going to her rescue, he will have to relive certain events that he would have liked to leave behind.

From the start, the film sets us in the mood for Kubrick’s work. The unforgettable music, the plan of Dany on her tricycle in the corridors, door 237 … It is a big visual slap that we take with full force. Then we see these characters who are like two peas in a pod with the original ones:

• Young Danny is immediately identifiable;
• Then comes the turn of her mother Wendy who is the spitting image of the original actress ...

We understand after a few minutes that we are not dealing with a simple adaptation but a real work done with a sincere love of the Kubrick film.
The one behind it is Mike Flanagan, director of the nice Oculus and the most forgettable Ouija the origins. He had already tried his hand at the King universe by adapting the novel Jesse in 2017, but it was especially with the haunting of Hill House that the director imposed himself in my eyes. Superb psychological horror stories in which the director really seems to have found his way.

With this Dr. Sleep, he still succeeds in a rather daring bet, adapting the story of Stephen King who follows his own novel but also making it the continuation of the film which was not the most faithful, Kubrick having taken a great artistic freedom and had moved away from what King had written, attracting the wrath of the latter who had treated it with very bad adaptations but still recognizing that it was a very good film.
So there was a lot of work to come to merge the two works making concessions on one, the dead end on details of the other to get to create this masterful film that is Dr Sleep.
Mike Flanagan gives us an incredible film in which he also succeeds in imposing his own artistic touch without coming to denote with the film which he wants to follow.

The adult Danny Torrance is embodied by an Ewan Mcgregor, who during 2h30 of film will never make you doubt his role perfectly embodying the little boy become man, tired of these nightmarish visions and who tries to find a place in this world despite its difference.
For the rest of the actors it will be of the same ilk:
The young Abra is beautifully interpreted, the members of the band are all very charismatic, especially Rose the Hat embodied by a Rebecca Ferguson who literally bursts the screen by the aura she gives off.


Visually the film is superb, the photography is magnificent and certain visual effects such as Rose’s astral journey which will fly over the Earth is breathtakingly beautiful. At that time I even thought that It Chapter 2 could have provided us with something equivalent to present to us the passage where Bill leaves his body to bring his mind back to Pennywise in the Macroverse.
in short, this passage from Doctor Sleep is absolutely sublime.
The final, on the other hand, will only give you chills all over your body with this return to the Overlook hotel, with these plans which perfectly copy this from the introduction of Kubrick’s film.

I would not go into details but know that Mike Flanagan will even succeed in giving us the final that King had written for the end of Shining and which had not been kept by Kubrick coming therefore finished the history of the hotel and of dany at the same time.

In fact, the more I talk about it, the more I have only one desire, it’s off to see this film again, and you know what I think that’s what I’m going to do, so I’m not telling you more but really go see this movie, you will not regret it because it is really an experience to live! Right now good movies are still quite rare so let’s not sulk our pleasure.

See you soon for a next Midnight Session!

The Midnight Session n°1 : The Shape of Water

Today I wanted to offer you a new article format.
In “The Midnight Session”, I wanted to talk about more or less known films, all of which had a strange or disturbing atmosphere in common. My goal here is to introduce you to films that are worth watching or to try to teach you some things about others that are already well known to the general public.

What I love about Guillermo Del Toro :

What I like about Del Toro is that he is still one of the only directors to offer original and intelligent stories, populated by strange creatures taking the spectators into worlds oscillating between dreams and nightmares.


And strange creatures, he loves it!
It is inside his house nicknamed “Bleak House”, a sort of huge cabinet of curiosities, that our director stores his collections of books and objects related to horror and fantasy. Collection which constantly feeds his imagination and which he transcribes through his films to the delight of fans of the genre.

« The Shape of Water »


“The Shape of Water” tells the story of a mute woman working for the United States government (know you know why I choose this film for this first midnight session 😁). Around a corridor she discovers a room in which a strange creature is held. The two will end up having this friendship, until their relationship turns into a love story.

Guillermo Del Toro signs there a poetic and moving film whose history places it in America of the Sixties plagued by paranoia and racism. The woman and the creature, both too different in their own way will see through each other this beauty that the others do not perceive and will not leave indifferent other characters who will come to help the liberation of the creature.

Kind of Beauty and the Beast aquatic version, borrowing its sticky side from Howard Philippe Lovecraft, “The Shape of Water” is visually superb. With an aesthetic that will also remind video game enthusiasts of the atmosphere of the “Bioshock” series.

One would have thought that this film was a prequel to another film by Del Toro, his adaptation of Hellboy, in which another creature half man half fish was already present, but, although it is the same actor under the two masks , it is not so.
“The Shape of Water” is a unique and poetic film that pays tribute to a great film from the 1950s:


“The creature from the black lagoon”, directed by Jack Arnold in 1954.
The film tells the story of a team of scientists who during an expedition to the Amazon discover that a very ancient creature lives in the waters of the river.

Accusation of plagiarism!

“The Shape of Water” also raised a few waves of challenges and Del Toro was accused of plagiarism.


It seems that a novel by Paul Zindel, “Let me hear you whisper” would have the same theme. A cleaning lady from a biology laboratory falls in love with a captive dolphin.
There are many identical elements:

• The 60s ;
• The military scientific complex;
• Tyrannical superiors;
• The escape in a linen trolley …

Although Del Toro is still prohibited from having read the book, it is doubtful.


Another work may still have been a “strong inspiration”, it is the short film “The space between us”, released in 2015.
We find exactly the same themes and very similar plans.
Here’s what to make your own opinion:

Conclusion:

Plagiarism or not does not detract from the charms of “The Shape of Water”, which I absolutely recommend to you, because this kind of film is far too rare in cinemas. Supported by charismatic actors like Sally Hawkins and Michael Shannon, the work of Del Toro is a fantastic and extraordinary film, as only a passionate storyteller can bring us.

The alternative :

If you liked “The Shape of Water”, on a similar theme, I suggest the film “Cold Skin”. A Franco Spanish film directed by Xavier Gans.

In the early 1900s, a man settled on an island lost in the middle of the Atlantic to study the climate, but the island was also inhabited by a lighthouse keeper and a strange creature.
Adaptation of the eponymous Catalan novel, this film is a real gem worthy of the stories of Lovecraft.

See you soon for a next Midnight Session!

Dune: What is a good adaptation?

This weekend, I do not come back to Århus. I preferred to leave my daddy alone so that he could spend a romantic moment with his sweetheart. So, tonight I planned to go to the party of my cinephile club, to bury me under the pizzas and drowning under the beer with my friends. In these evenings, 2 or 3 of us are drawn to choose a movie on a theme chosen in advance. Tonight the theme is: “Adaptation of a literary work”
For my part I decided to choose Dune from David lynch, because I love this universe and I can not wait to see the version of Denis Villeneuve, scheduled for November 2020.

But Dune, what is it? And, why is it good?

Dune originally, it’s a saga of Frank Herbert whose publication of the various parts is spread out from 1965 to 1985. (I speak here only of the original material written and published by Frank Herbert himself, but to those We can add the volumes of the extended universe that his son Brian Herbert and Kevin J. Anderson wrote in the 2000s.)
Reference in the universe of science fiction, Dune is a very dense work where philosophy, theology and cosmic visions are mixed with the initiatory narrative. In six volumes, the reader is transported through ages and places incredibly distant and half facing a reflection on the power, spirit and nature of the individual.

David Lynch’s Dune, which is the adaptation of the first part of Frank Herbert’s cycle, was released in 1984.
The story is in the year 10191 (and yes it is accurate!). The universe is ruled by a sort of feudal system where a multitude of power spheres struggle in the midst of a complex political intrigue that sends Star Wars prequels to the sandbox with a small humiliating spanking in passing.
Between the emperor, the big influential houses of the Landsraad, the spacing guild, the order of the Bene Gesserit or the merchants of the CHOAM (Combine, Honnhete Ober Advancer Mercantiles), the universe of Dune is a brothel sacret and it probably does not change anything for you …

Well, we’ll do it easier. As Princess Irulan would say in the monologue that opens the film, the most precious substance in the universe is the spice. Spice being what allowed the expansion of humanity through galaxies. It is this spice that allows guild travelers to push the limits of exploration by folding the space. And sincerely when we watched Event Horizon (I love this movie) and we saw what fold the space can give … respect!
The spice can only be found on one planet in the entire universe, Arakis also called Dune. Desert world which is necessarily at the center of all the political shenanigans of the empire.

Dune’s story focuses on Paul, the heir to the Atreid house, whose father, Duke Leto, is entrusted with the management of Dune and the extraction of the spice by the emperor. He replaces Baron Harkonnen, whose house is the sworn enemy of Atreid. What the duke does not know is that it is a plot of the Emperor and the Harkonnen to eradicate him.
In the midst of all this the young Paul will have to reveal himself, especially by piercing the secrets of the Fremen, the people of the desert, hidden and spiritual strength of Arakis.
Dune is both the story of revenge, initiation and revelation.

Well it is of course, as often, an adaptation much criticized by many purists of the book, but you must know that Dune, it is a project that has experienced a very difficult gestation and that comes from far.
There have been several adaptation projects prior to David Lynch’s arrival on the project. Ridley Scott was notably hired in 1979 before leaving seven months later discouraged by a slow preproduction, as well as the death of his older brother. But before the attempt of Scott there was also from 1975 that of Alejandro Jodorowsky, cult multifaceted artist who had engaged Moebius, Dan O’Bannon and H.R. Giger to work on the artistic direction. The film will be canceled due to financial shortcomings and Ridley Scott will recover the team that Jdorowsky had gathered to shoot Alien.

“Ridley, you rascal! “

It should be noted that Jodorowsky wanted to make a 10-hour film, with a cast including:

  • Salvador Dali,
  • Orson Welles,
  • Alain Delon
  • Mick Jagger

and that he had approached among other things:

  • Pink Floyd
  • Magma
  • Stockhausen

To make the original tape. I swear it’s true!
As much to tell you that the Dune of Jodorowsky, because it has never been shot has become totally cult.
Jodorowsky will take revenge later by performing the script for the comic strip Metabarons, which is clearly a tribute to Dune. (to read absolutely😉)

Well maybe the movie will have been very bad actually. We do not know, even the best can wallow. Jodorowsky is a genius capable of creating killings such as El Topo and The sacred mountain but personally, for a film like Fando & Lis I think that the word trouble is not enough any more, it would be necessary to find a more addapted, I do not know me a mixture between hanging and rusty ax

After his failures, Dino Di Laurentis, one of the most famous producer Megalo in the history of cinema ended up entrusting the project to David Lynche who had just released the success of Elephant Man. Lynch had also been illustrated with EraserHead in 1977, so Di Laurentis knew exactly where he was going by asking him to do Dune. He knew that Lynch was not a mere maker and that he had a particular universe and not really …. Great public, to put it mildly.

He had thought, quite rightly, that Dune needed a very personal and determined look to do him justice.
On the other hand, he must have been disappointed because dissensions quickly appeared between Lynch and him. Dune is a very painful film for Lynch. He first took the project very seriously before being stolen Finalcut by Dino Di Laurentis.

“Deceitful, the Dino! “

In summary he was robbed of the right to have the last word on the editing of the film and was therefore removed from the project. If the film released in 1984 bears his signature, Lynch has however, clearly disavowed. And when we know that George Lucas had proposed to achieve Return of the Jedi, we can say that level producers demiurge and megalo, Lynch was a close call, but just halfway.

Over the years and depending on the broadcast market, several versions of Dunes appeared, often confidential and more or less retouched. For the most part, the differences are rather innocuous and mainly concerns occasional cuts to mitigate the violence of the film, however two versions will interest us here, the one with the most notable differences. On the one hand the cinema version, which everyone knows and the other by the television version, dating from 1988, edited by Dino Di Laurentis. David Lynch has demanded that his name be removed from the credits and replaced by Alan Smithee, the pseudonym used by directors who are ashamed of the result they have achieved.

“One is a short version, the other a long version, will you guess, dear reader which is what? “

One would tend to think that a producer, wanting to align with market imperatives and wanting to offer viewers an easily consumable product, would be at the origin of a short version, whereas the director would be the source of a direcor’s cut longer, leaving him more space to express himself. But there … no, it’s the opposite. For this Dune is a very special case and, to my knowledge quite unique, the long version is that signed Alan Smithee.
One could also think by reflex that this long version is necessarily bad because the producers are big bad guys who only wants to destroy the creativity of the nice directors, but the reality is a little more complex.

The version of Di Laurentis, full of really good new scenes, like this scene where Gurney Hallec makes us a space mandolin solo (in dune it’s called a basilet). Scene not essential, but just excellent that allows to deepen the attachment of the viewer to the character.
Thanks to its additions, the first three quarters of the film gain in clarity and depth, and only the last quarter in comparison, unnecessarily precipitated. This televised version, although less known, has finally become almost as cult as the movie version released in 1984.
Finally the long version, also has weaknesses compared to the short version, as badly finalized plans, which had not been worked by Lynch.

In short, Dune is far from being a perfect film, whatever the version, it is full of ellipsis and shortcuts sometimes rude, but at the same time, it is difficult to adapt such a huge thing in such a short format . No, for excellent adaptations, it is better to go to see TV movies created in the 2000s … no I’m kidding!
Finally, more seriously, without getting to Lynch’s ankle, these Telefims are watchable, especially for comparative curiosity, but also to take a look at the rest of the story, The Children of Dunes. Although at this level, the detour by books, is essential.

To get back to David Lynch’s Dune, once the writing problem has been set aside, there is still the mood. An atmosphere carried by a skewer of actors just great, some of whom will become followers of the Twin Peaks series a few years later.
Special strain Brad Dourif in the role of the mental Peter de Vries, Patrick Stewart who has always been bald, and Max Von Sidow, who is as usual master without too much force.

And quite amazingly, even by being ousted from the project, lynch had such a strong vision, that its bizarre aesthetic is infused throughout the film. It makes it a brilliantly bastard object, a kind of blockbuster both deviant and public.
Level gloomy gloomy, lynch is especially given to heart jois at the level of Harkonnen, the villain of the film.

The addition of the Weirding Modules, a sonic obedient weapon that does not exist in books, has surely been added to accentuate the martial rigor of Paul and the Fremen, a little more spectacularly. The idea of the weirding modules also gives a literal meaning to this sentence that Paul, our main character, pronounces and which comes directly from the novel:

“My name is a killing word”

No but serious, relax, the guy could have said “poopoopidoo” and he would still broke the stage.

My first time with Dune was when I was 15 and I thought it was so great that I did a lot of research to understand why this movie was not at the same level as a Star Wars in the pop culture. In my research, I came across a sentence that had marked me and explained why the film did not find his audience when he left. The author said in essence that the film was too simplistic for book lovers and too obscure for neophytes, so condemned to remain eternally stuck between two logics.
For my part, the version of the film we had had no subtitles, so I had to rely on my dad, himself a big fan of books to explain to me what was happening there. He could give me all the keys to understand the story. So honestly, I do not know how someone arriving without any information can approach the film (well I’ll see tonight).

In fact Dune is mainly a question: What is a good adaptation in the end? Who should she satisfy first? Must the film be primarily faithful or cinematographically relevant?(OK, that’s three questions, but I’m bad at math!)Dune with his narrative flaws shows that this relevance has nothing to do with perfection. Even if the film is objectively a failure on certain levels and that it has a very dated aesthetic (which I adore!), It is of these works, which incites the spectator to make an effort to tame them but which then reveals all their wealth. By giving the air of not knowing to which public to address, Dune is finally to carve a unique identity.

Alexendre Dumas said:

“It is possible to rape history, on the condition of making him beautiful children.” (What a pervert, this Alex)

From there to say the same thing for the adaptation, there is only one step that I would cross with pleasure. Dune may not be the most beautiful child, but it is the illustration that a film can be both an unsatisfactory transposition of the book, a wobbly film but also an incredible work that defies logic predictable film industry. It’s a snub to the literary extremist who shows that there is no immutable rule regarding fidelity to the original material and that jumping from one medium to another is never, ever a science accurate.
Forged by unlikely circumstances, Dune is one of the awesome anomalies in the history of cinema. These exceptionally flawed exception, which had all the reasons to crash miserably, but which are, almost miraculously become cult.

In short, if you ever fall someday to someone sleeping in front of Dune, do not hesitate to gently remind him that:

“The sleeper must awaken ”

Robocop 3

Launched, from the production of the second opus, the story of the creation and release of the film Robocop 3 is a disaster scenario all by itself.
We asked Frank Miller for a script first, then we went to find an inexperienced director in feature film, in the person of Fred Dekker, who as a big fan of the first part, tried to put his heart to the book to not disappoint.

The problem is that, as for the second film, Robocop is now synonymous with marketing and merchandising, The producers then asked to relax the script to make it a public movie. When Peter Waller was asked to take over the role of the robot, he refused and a new actor was found in the presence of Robert Burk, who later played Agent Pierce Tiler in the excellent Oz series. Nancy Allen accepted, but only if her character died in the first act and to top it off, Orion went bankrupt during the production of The Addams Family (heart with the hands). And the film waited on a shelf for 2 years, before being able to go out in theaters. What was funny then is that when Robocop 3 reached the big screens, the game was available for 2 years in the arcades. What was less funny was the reaction of critics and the public, which was the fate of the robot man in the cinema until the remake of 2014.

In short, I see you already sharpen your knives, surely waiting for you, after having descended the second part to that I disassemble this feature film. Well we will see.

Synopsis of the film:

The film begins with an advertisement retracing the dream of the old man at the head of the OCP, aka the return of Delta city. Then go back through a newscast, telling the story of Detroit until now … well now in the movie, not now now.
Finally, we learn that a Japanese firm named Kanemitsu has bought the OCP.

The next scene shows us a little girl doing mathematics of a level far too high for her age.
Let’s say that his father is played by the official Kurt Russel look-alike, but for a fairly modest family, living in the old unhealthy neighborhoods of Old Detroit, they still have the money to buy a state-of-the-art computer!

We have no time to think about all his beautiful questions that a demolition ball reduces their habitat to nothing. And the family is expelled without notice in the calm of a civil war. Like Fivel, the little one finds her separated from her family.
In parallel with this tearful scene, we also see CCH Pounder get beaten in front of number 12 the nasty Arian of the film. And that’s when it’s all exploding that we find out that in fact it’s the leader of a resistance group named Martha Washington, sorry Bertha Washington (Martha Washington is a Heroine of a comic from Frank Miller).
Chance doing things well, this one collects the girl of the beginning.
This cell of resistance is composed, among others, of the president of the films of Mickael Bay and the commander Spangler of Malcom in the Middle.

In short our team is stopped by ed209 which is found very quickly hacked by the girl and who will serve a minute later to destroy a whole team of rehabilitation as they call it. Alas we will not see the robot again. Note also the presence of Scart socket on the machine. Proof that this is an outdated technology.

Some scenes later we come across an Anne Lewis chewing gum version during the brakage of a coffee shop.

And after 20 minutes of film, a car squeaks its tires on the roof of a car park and launches into the void. She landed on her 4 wheels (but I doubt that the suspensions have survived). And Robocop breaks the roof of his car to make his entry! And in addition he stops a bullet between his thumb and his index! Ok, this is the most badasse scene of the movie.

In reality Robocop 3 is not the bad film so much decried by the fans even if this one is far from being a masterpiece.
In fact the real problem is that it does not happen much. The action scene is a deep boredom, as robocop’s truck pursuit into Barbie’s car.

In summary ?

  • The bad guy shoots,
  • Robocop shoots
  • The bad guy shoots
  • Robocop shoots
  • The bad guy throws money
  • Robocop loses the bad guy.

In the rest of the film, Robocop goes to help the resistance, while the OCP wants to destroy everything. And the film parallels a humanist Robocop rescuing disowned resistors from their lands, with OCP villain becoming him a real war machine and in the middle there is an android ninja named Otomo Surely in reference to Katsuhiro Otomo and in reference to Frank Miller’s Ronin too.
The police surrender their badges and join the resistance.

Okay it does not happen, but I can not hate this movie.In 1991, it was one of the first times that Hollywood was referring to martial arts movies, it was only in 1993 that John Who came from Hong Kong.In the Final the story is a crippled soldier who finds himself in spite of himself in a history of land expropriation and will eventually take part for the inhabitants, helped by the professor who rebuilt him and rebelled against a villain haired white.(But … But it’s the same story as James Cameron’s Avatar!)

Well, I think it’s cool as a story. And then Robocop, makes everything explode in Jet Pack!

And then there are plenty of references to the first film, and of course, knowing that it would never get to the ankle of the first film, the director did the opposite of Robocop 2. Instead of doing in auction, more gore, more violent … He just tried to convey an optimistic message.I also admit having liked the animated sequence mocking the marketing service. And that of the journalist who refuses to say propaganda in full direct.Not to mention the funny jokes, like the punk who do not know how to put on his helmet with his crests.

The film is flawed but it is full of good intentions with a humanist message and can also be seen as an unofficial adaptation of Martha Washington comics.

Robocop 2

As prophesied in the first part, Robocop is now available in all forms: Cartoons, video games, toys …
And inevitably a new opus was started, Robocop 2, subtitled: “Subtlety, I write your name in letters of blood! “

Forget the first part, here we make a sequel, more direct and more violent, the fault being incumbent on the principal screenwriter, the finesse embodied: Frank Miller. And do not tell me that his scenario was bridled or changed, if we read the original scenario little has changed.

Our film starts with what appears to be an action scene but no, in fact it is an advertisement presented by Daniel Klamp from Grimlins 2.

Again we chained on a newscast that explains that after the threats of the first film, the police strike, the remaining agents facing angry citizens including a John Carpenter look-alike. Of course in his remaining cops we find our new Robocop with new suit that is always team with the … new face Loreal? My god, agent Lewis, but how do you keep this impeccable brushing despite wearing the helmet all day?

The television news also shows us the new scourge of the movie, Nuke, a brand new drug that is raging in the beautiful neighborhoods of a strait reminiscent of the current Los Angeles. Fortunately Robocop is still there to clean up and rid Detroit of his bandits with his new musical theme written by Leonard Rosenman, which has significantly twisted the ears of people watching the movie with me.

I forgot to say that Robocop became super creepy by spying on his wife who had made a new life in the previous movie but here she is still called Murphy, surely to facilitate public understanding?
He thus searches for traces of his past and we discover here the big theme of the film to know if Robocop is a man or a machine.
In the end, Murphy tells his wife that the “real” Murphy is dead and we will not hear about it anymore. His wife will only be seen again in the next film.

We learn that the decline of Detroit is organized by our friends OCP, who want to ruin the city to buy it, while it was enough for them to wait a few years for it to be done alone in real life .
We also discover Professor Faxx who is looking to develop a brand new Robocop. She is venal and sleeps with the boss, basically a typical woman of the world of Frank Miller and all in parallel, we see rising power of the new villain of the film Cain and so we find all the biblical elements of the film . Cain getting closer to Jesus becoming the rival of Robocop, the true Jesus of history. In the original scenario Miller calls the original villain Kong for legitimizing a scene at the end of his story where the villain kidnapped Lewis and took him to the top of a tower … Oh subtlety!

In the film it looks like just a junky hippie performed by Tom Noonan who has been known to be more enthusiastic. And in the rest of the henchmen, we have Catzo, a fan of Elvis, who has his own coffin at home and who does not pronounce a single memorable replica of the whole film, we have Nancy, from Twin Peaks, who is still a venal woman, normal, Miller. And Don the kid, played by Gabriel Damon who had made additional votes for Super Baloo and that’s it. It’s a bit cheap as a casting!

In short, for the rest of the story, Robocop is trying to stop the villain alone, he is chopped, he is destroyed and dismembered, and his new version is shown, I quote in a comic montage … Then they reset, happens to motivate the cops to stop the strike, they then return to Cain, Cain is killed and placed in a robot with a super gore operation, while everything was suggested in the first and it was good. Faxx using Cain’s brain, because she had read Mary Shelley too much.

The new robot, called Robocop 2 is then presented in the new OCP tower, decorated with Nazi flags where the OCP symbol replaces the swastika, and whose guards wear uniforms reminiscent of the Hugo Bosse uniforms of the dark period of german history.
Cain is returned and all is well who finished well.

Robocop 2 represents all the defects of a marketing machine too lapped. Stronger, bigger (the movie is 20min longer than the first), too much excesses, too many stupid scenes, including commercials, just there to shock in all directions, without sub-text to enhance the plot.
If the first film was a reference to the world of comics, here the producer is called to a screenwriter from comics, aka Frank Miller at the top of his ego that makes the film a comic actually. Once again he places all his themes dear, folded to the bone, namely:

  • Women are all whores, literally and figuratively;
  • the society only works on sex and drugs (the first advertisement to show a robot for sexual pleasure);
  • Corrupt cop;
  • The perversion of youth (presented by Don, but also by a gang of kids that we see only once, without explanation except that they are bad kids …)

I have nothing against his themes (except the first) but it is sorely lacking in subtlety, everything that does not work in the Spirit of Frank Miller by the way.
If in the first film, we were openly making fun of consumerism here it is the party with product placements! Hello sony walkman and Data East arcade.
The director, Irvin Kershner, who had made Empire Strike Back, who here again wanted to make fun of the fascination of the violence of our society show, but, where did he manage to show that? Personally all I see is that the weapons are toys and that there are even sound effects of cartoons. Yes Robocop has become a cartoon!

There were some interesting tracks, like:

  • the reprogramming of Robocop, which … is useless in the film
  • The acquisition of the city of Detroit by the OCP.
  • The mayor’s attempts to earn money
  • Don who also tries to buy the city but he is stuck by Cain in a picture full of subtlety!
  • The hit of the Nuke that is all the rage but who is here just to mount a new drug that is all the rage
  • Finally there was the reflection on whether Murphy remained a human, but it had been done in the first film

But Robocop here is neither a human nor a robot, it’s just a product.

To be continued…

Robocop

Part man, Part machine, all cop.
First American movie by Dutch director Paul Verhoeven. Robocop talks about a police robot with a steel spirit at the antipodes of the other robot of the same period.

To occupy my cousins in this Easter weekend, we watched the trilogy and I was able to see if the films were not too old today.
So let’s start with the first one.

The feature film also does not waste time locating the action by starting directly, like any film of Verhoeven that is respected, by a newscast showing us the universe of the film and unveiling the various protagonists. And like any consumerist society, the newspaper is interspersed with fake advertisements. We learn that apartheid has become a civil war in South Africa, that the Star Wars project is still relevant and especially that the company Omni Cartel of Products (OCP), has just privatized the Detroit police. The OCP is obviously a critic of his big company that controls a little everything, a kind of Monsanto. It is run by an old gentleman and Captain Bogomil, from the Beverly Hills Creeks. Their project, shown by a nice camera movement being, within 6 months of starting construction the city of Delta City instead of Detroit.

Bogomil also wants to install its big military robots called ED 209 everywhere to do the dough, except that the robots have a slight design flaw.

Oops!

Well that’s for the background being located in the near future, in Detroit but as for Robocop, the guy who gives his title to the film, I put you so the topo.
We then follow the story of Alex Murphy, a freshly posted police officer in the West Detroit area. His arrival coincides with the death of another cop killed by the father of the family of That 70’s show. On the way he meets Officer Anne Lewis Allias Nancy Allen and goes in pursuit of an armored van stolen by … ho surprise: the cop killer in question. And because Lewis did not want to wait for the reinforcements and that it is swung overboard because of a lack of inattention, Murphy is chopper and massacre by the big bad Clarence Boddicker. Oh yeah forget Peter Weller, the actor who plays robocop, because the great interest of the film is it! Like a big movie villain, Clarence has the class, he kills for fun and dredges shamelessly, he deals with the hull and out of classy sentences!
Note that even his henchmen are too classy, ​​with the doctor Roman Arrow who had played in season 5 of 24, as well as the vice president of that same season of 24.

In short, while we were doing the presentations, Murphy slaughtered and patched up in in first person view by Miguel Ferrer. In a scene too coo,l we offer him so a vision like in command and conquer videogame series. We also give him 3 rules of robotics:

  • Serve the public trust
  • Protect the innocent
  • Uphold the law

And a hidden last that I will not give you to not spoiler. Like Jesus, so Resuscitated Murphy discovers that he no longer has a wife and child because they have gone out, anyway they are playing very badly, and will forgive our sins by going on a hunt for the wicked. I will not reveal the whole film but it is at this moment that the film of Verhoeven becomes very modern for the time.

Already we are witnessing in a hyper-inlaid blockbuster a very critical film about American society with Verhoeven’s foreign gaze on this country. Whether it’s the television review and the big-screen news with the presenters commenting while smiling at global disasters, the Americans’ fascination with guns in a totally gratuitous destruction sequence with a grenade launcher and let’s not forget also the contributions of screenwriters Edward Mayer and Mickael Miner who themselves manage to make fun of their own movies and Hollywood movies with phrases such as:

« He doesn’t have a name,. He has program. He is product. »

And also emit cults like:
“I buy that for a dollar”
“Your move, creep”

The great quality of Robocop is to include everything that makes the success stories of super hero movie:

  • There is his life in civil life;
  • his beating;
  • his transformation into Judge Dre … into Robocop;
  • And finally his badass entry with epic music in the background.

And the film is not lost in a happy ending end or sentimental history. The Lewis / Murphy relationship remains strictly professional and once the big villain is eliminated, he says, “Murphy” and, generic.

So Robocop the first is a pure masterpiece that has barely aged. well ok, it includes all the clichés of action movies of the 80s with the attacks of supermarkets, the nightclub, cocaine, but also includes all his share of actions, comic scene, parodies, publicity, explosions to make Mickael Bay pale and scenes super cheeky for the time.

In short, Robocop is pretty good and if you have not seen, go for it!

To be continued …