Legendary director Francis Ford Coppola, you know the guy who directed "The Godfather," "The Conversation," "Apocalypse Now," etc., released a movie called "Megalopolis" this past weekend, and it has divided critics and audiences alike.
Most people absolutely hate it, some people (like myself) absolutely love it, the only thing that everyone can agree upon is that it is weird....very weird.
Coppola is not the only filmmaker to get weird, so, in honor of Coppola's weird movie, and how much fun it is to get weird sometimes, I thought I'd write a little post about the times that other mainstream/successful directors got weird.
The directors I have chosen for this list are very successful, critically adored filmmakers. Many of these directors have won Oscars, some of them are absolute legends, and all of them have made movies that are beloved and cherished... but they also have made at least one weird movie, or are responsible some really weird projects.
Maybe they had to get it out of their system, maybe it was just a big paycheck, maybe it was a deeply personal work (like Coppola's) that they just HAD to make. Whatever the reasons, the list you are about to peruse is filled with some very weird shit.
TOP 10 TIMES THAT MOVIE DIRECTORS GOT WEIRD (in no particular order):
1) BAD TASTE
I'm easing into this by starting with a director who actually spent a lot of time being weird in the early part of his career.
Before Peter Jackson went mainstream with "The Lord of the Rings" films, "King Kong," "The Hobbit" movies, and his Beatles documentaries, he was a certified weirdo. Stuff like the insane and disgusting puppet comedy "Meet the Feebles," the gore-filled madness of "Dead Alive," and the deeply disturbing, but beautiful "Heavenly Creatures" existed before he took his almost 20 year trip to Middle Earth and practically never returned.
The movie that I have chosen to focus on is his brilliant and batshit crazy low-budget gore-fest called, appropriately enough, "Bad Taste." It is also his first feature film, and, I think, one of his very best (it is certainly better than all of his "Hobbit" movies combined).
Made on a shoestring budget in his homeland of New Zealand, this insanely grimy, gross and hilarious horror/comedy is about aliens coming to earth to eat humans. That's pretty much it. It's an exercise in excess that is loaded with crazy make-up effects, tons of spurting blood and goo, and more disgusting laughs than you will find in any horror comedy for the last decade.
People who are only familiar with Jackson's adventures with gallivanting hobbits, dwarves, and elves are in for a pretty rude awakening when they watch this late 80's testament to bad taste, but, it's all in the title.
2) TOYS
Barry Levinson started as a mainstream screenwriter (who often wrote with his very talented ex-wife Valerie Curtain) and graduated to directing in the early 80's. He directed stuff like "Diner," "The Natural," "Young Sherlock Holmes," "Good Morning Vietnam," and others. He won an Academy Award for directing "Rain Man," which is as dull and mainstream a movie as you could get.
After he won that Oscar, Levinson had a lot of power and he was finally able to make a movie out of a long gestated script that Levinson and Curtain wrote years earlier, and the result is the 1992 Robin Williams starring-vehicle "Toys," which is one of the most irritating, self-indulgent messes to ever come out of Hollywood (by the way, I am fully aware that those are also the exact words that people have used to describe "Megalopolis.").
It's about a toy company whose employees and supporters rebel against the powers that be, because they are being forced to make toys of war. Yes, it's that simplistic and obvious in its metaphors, and yes, it's as heavy-handed as it sounds. It is also as loud and obnoxious a film as you will ever experience, anchored by one of Williams' most incredibly annoying performances of all time (and that's saying A LOT).
Levinson assembled a pretty remarkable cast for this thing (look it up, you will be stunned), and clearly spent MILLIONS of dollars to bring his crazy vision to life. The sets, costumes and production design are over-the-top and eye-popping, and the massive swings in style and tone are jarring and confusing.
The inclusion of video (and video parody) seems completely dated and out of place, and the overall visual style is a mess, in fact, the whole movie is a complete mess. It is also weird, but not good-weird...bad-weird.
I remember sitting next to beloved radio/TV personality and entertainment critic (and my hero/mentor) Roy Leonard during the press screening of this thing. When the film was over, Roy turned to me and said, simply: "Well, that was a complete waste of two-hours. What the hell was that?!?!" I've been trying to figure that out for the last 32 years.
3) BEOWULF
Robert Zemeckis is one of the greatest, most innovative, and most important filmmakers in the history of cinema. He is much, much more than a just some hugely successful Oscar-winning creator of simple, crowd-pleasing box office hits, leave that unremarkable stuff to Spielberg.
Zemeckis is a true cinematic artist, and his films are often very complex, very subversive, and wildly misunderstood ("Forrest Gump," among others, being a prime example). Always on the cutting edge of technology for over 40 years, he has pushed the art and creation of film forward by leaps and bounds, more than any other American director.
He is also ridiculously underappreciated as a true auteur, and should be regularly mentioned in the same breath as Welles, Hitchcock, Truffaut, Kurosawa, Scorsese, etc. He is an absolute giant.
My favorite Zemeckis quote is from an interview he did with director Robert Rodriguez. When asked what was the true challenge of being a film director, and he said: "You gotta be able to put your dick on the window sill." Indeed.
Well, Zemeckis has never put his dick on the window sill more crazily than when he adapted (along with Neil Gaiman and Roger Avary) the epic Old English poem that no one understood, or could even get through when it was taught in school. Not only did he successfully make sense of the unwieldly thing, he turned it into a blazing, outrageously entertaining 2 hour-motion-capture-animated-action-film that blew the doors off of every IMAX 3-D auditorium that it played in.
In addition to being a remarkable technical achievement that pushed animation to new heights, the movie is also certifiably, blissfully, and gorgeously insane. Easily the best work that Zemeckis did during his 7 year experimental phase in the world of motion-capture, it is also one of the ballsiest films he has ever made, and yet another incredible piece of work from a true master of cinema....and it's really f**king weird.
4) BUDDY BUDDY
What can be said about the amazing Billy Wilder that hasn't already been said? He is one of the greatest screenwriters to ever sit down at a typewriter, one of the best filmmakers in the history of the medium, and an artist of singular talent who is responsible for some of the most important, enduring films ever made.
From time to time Wilder got weird: "Fedora," "Avanti!," "One, Two, Three," and, my favorite Wilder movie of all time, "Ace in the Hole," are all pretty damn weird. But no Billy Wilder movie approaches his film "Buddy Buddy" on the weirdness scale.
The third film in which Jack Lemmon and Walter Matthau co-starred under the direction of Wilder is a simple farce (based on the French play by Francis Veber) about a mafia hitman (Matthau) attempting to murder a target from a hotel room, but he is constantly being interrupted by the suicidal dope (Lemmon) in the room next door. Soon, the dope and the hitman team up, and the results are, well, weird...and not very funny.
When I first saw this film in 1981 I hated it, absolutely hated it, I could not believe that this was a Billy Wilder movie. I thought it was bad on every level, it was ugly looking, the tech credits were all subpar, and the actors were either phoning it in (Paula Prentiss), or relying on bad accents, (Matthau) or resorting to twitchy gimmicks (Lemmon), or just going completely nuts (Klaus Kinski, whose performance as a sex therapist has got to be seen to be believed). It was a nightmare.
Now I must say, as the years have gone by, I have learned to love this ridiculous movie and appreciate it's wild style, unruly antics, and sometimes indefensible moments. At times it feels like "anti-cinema," and somehow it seems appropriate because it was Wilder's last film.
5) BREEZY
Clint Eastwood is one of the greatest American filmmakers of all time who has directed some of the best and most important movies in history. He has directed over 40 movies, so of course there are some weird ones in there like "Jersey Boys," "J. Edgar," "Blood Work," and "The Rookie." But, without question, the weirdest (and most uncomfortable) film Eastwood ever directed was his third movie, which was entitled "Breezy."
Luckily "Breezy" from1973, was released the same year as the excellent "High Plains Drifter," which is why no one remembers it...thank God.
I'll just describe the plot to you, and that's all you'll need to hear. William Holden stars as a divorced, middle-aged real estate agent who picks up a teenage hitchhiker (Kay Lenz, who was 18 when the film was shot, but looked 14) and they begin a forbidden love affair. Yeah, it's not only weird, it's creepy.
Quick side note, in Paul Thomas Anderson's 2021 masterpiece "Licorice Pizza," which is partially about Hollywood in the early 70's, there is a scene in which Alana Haim's character auditions for a movie, and that movie is supposed to be "Breezy," and Sean Penn is basically playing William Holden.
So, inexplicably, Martin Scorsese directed the ridiculous video for weirdo Michael Jackson's idiotic song "Bad."
That's all. Here it is:
This is as close to weird as the decidedly unweird Steven Spielberg has ever gotten, and the results are pretty weird, and pretty awful.
This was originally going to be a Stanley Kubrick film after he bought the rights to the book in the 1970s, but it languished while Kubrick pondered other projects and made more interesting films.
Somehow it wound up in Spielberg's willing lap, he shot the film in 2000, and it was released in the summer of 2001. Haley Joel Osment plays a robot kid who has been programmed with the ability to love. The supporting cast includes Sam Robards, William Hurt, Brendan Gleeson, Frances O'Connor, and Jude Law as a robot named Gigolo Joe.
It's a really tortuous experience that contains so many of Spielberg's terrible tendencies (and he has A LOT of terrible tendencies) and tropes that any trace of Kubrick is nowhere to be found. Ironically, Spielberg's next movie, the outstanding (and also pretty weird) "Minority Report" was MUCH more Kubrickian than this nonsense.
No matter how weird this movie gets, and it gets pretty weird, it's all forced, stiff and incredibly uneven, and I'm absolutely convinced that Kubrick would have hated it.
8) PHOBIA
Without question this is the legendary John Huston's worst (and weirdest) movie. Get this, it stars Paul Michael Glaser (yeah, Starsky of "Starsky and Hutch") as a psychiatrist whose radical experiments and treatments come under suspicion when his patients start getting murdered in the style of their own phobias.
This is utter trash on every level, it was released during the slasher craze of the early 80's and was shot in that style, and with that amount of intelligence. Huston was blatantly taking the check with this nonsense and dutifully provided the proper shocks and idiotic twists for whatever audience this thing was made for.
I remember seeing this movie in the theater when it was released and just laughing my ass off at almost every scene. The plot gets weirder and weirder as the running time creeps along, and each of the phobia-based kills are increasingly ridiculous until it reaches the unintentionally hilarious climax.
Huston would follow this nonsense up with a couple of other weird ones: the hilarious Nazi/soccer/P.O.W./prison escape classic "Victory," with Sly Stallone, Michael Caine, and Pele, and the unfortunate and awful film adaptation of the Broadway musical "Annie."
Thank God he would return to greatness for his final three films "Under the Volcano," "Prizzi's Honor," and "The Dead."
9) THE WIZ
How Sidney Lumet, the director of stuff like "Serpico," "12 Angry Men," "Dog Day Afternoon," "Prince of the City," and "Network," ended up directing this lifeless, ineptly staged film adaptation of the 1974 Broadway musical is anybody's guess.
He probably wanted to stretch his wings and prove that he could do any genre, under any circumstances, with any cast, and he did just that, and the result is a disaster of biblical proportions.
A cast of very talented people including Diana Ross, Michael Jackson, Nipsey Russell, Ted Ross, Richard Pryor, Lena Horne and more, were either completely inexperienced or incredibly miscast in every single role.
Nothing in this movie works, and despite having some memorable/hit songs featured on the soundtrack, it's a reasonably awful movie musical that is a chore to sit through. And, yeah, it's really, really weird.
To be fair, George Lucas did not direct this legendarily awful TV special (Steve Binder did), and was not on set when it was shot, but he did create it, produce it, and co-write it. He has since not only distanced himself from this crap, but he had it removed from archives and all but made sure that it was never seen after its first airing in November of 1978.
The plot involves Han Solo, Chewbacca, and Chewbacca's family of Wookiees (Malla, Lumpy, and Itchy) trying to celebrate their holiday Life Day while the Empire attacks and pursues them. Crazy battle scenes, confrontations, and appearances by Luke Skywalker, Princess Leah, Darth Vader, C3PO and R2-D2 are all on display.
Oh yeah, there are also wacky bits, variety show acts, comedy routines and musical numbers performed by visibly bored (or possibly drunk) performers like Bea Arthur, Dianne Carroll, Art Carney, Harvey Korman, all in ridiculous costumes and wigs...oh, wait, I almost forgot to mention the rocking appearance by Jefferson Starship!
It is so awful that Lucas made sure it never aired again, was never released on home video, and legally hidden from the public. However, this thing was widely bootlegged (that's how I saw it), copied and traded all over the world, and has since become a classic of trash and weirdness.
It really has to be seen to be believed, and some people like it because it contains the first ever appearance by Boba Fett in the "Star Wars" universe, so I guess that's supposed to be cool? I dunno.
Thanks for reading, and please SUBSCRIBE to my weekly NEWSLETTER!
And consider joining me on Patreon as a paid subscriber to help keep this thing going.
Thanks again!