An army of gay/nazi bikers make their engines roar and ride the way to pain/pleasure as sexual and sadistic symbols are intercut into the dazing chaos and rhythmic experiences of this ... See full summary »
A soundtrack plays folk rock as a woman prepares, at noon, to take her Borzois for a walk. She goes through her dresses, all 1920's style flapper gowns, holding them one at a time, shaking ... See full summary »
A solitary flower on a long driveway, a key falling, a door unlocked, a knife in a loaf of bread, a phone off the hook: discordant images a woman sees as she comes home. She naps and, ... See full summary »
From a murky landscape, a wooded mountain emerges. We watch the sun. We see a bearded man climbing up the mountain through the snow. He carries an ax, and he's accompanied by a dog. His ... See full summary »
An army of gay/nazi bikers make their engines roar and ride the way to pain/pleasure as sexual and sadistic symbols are intercut into the dazing chaos and rhythmic experiences of this underground film by cult director Anger. Written by
The party in the "Party Lights" sequence was actually the annual all-night Halloween party of the motorcycle club he was following, held in a Brooklyn garage. Kenneth Anger's contribution was four kegs of beer for the revelers. According to him, he staged nothing, but just brought in some lights and "filmed it like a documentary." Although the party looks completely all-male and gay, in fact all of the bikers were heterosexual and had girlfriends, who were present at the party but whom the young men did not want to have filmed. So all of the young women stood behind the movie camera, watching and giggling as their boyfriends carried on, pretended to be homosexuals, and in one or two cases wore drag clothes (i.e., dressed as women). Kenneth Anger has never been sure how much of the rowdy homo-erotic horseplay he caught on his film was natural joking around and how much was the result of him being there with his camera. See more »
Kenneth Anger's "Scorpio Rising", set to the tune of thirteen 1960's pop songs, ranks as one of the best films ever shot in the experimental genres, which to some people might translate as the best pile of dog poop ever made, but in terms of visual imagery, context, and use of music, it ranks up there as one of the most important films of the 60's. Kenneth Anger's trademarks (outsider as protagonist, homosexual iconography, pop culture looked at in a different light) are at their most poignant here with most memorable scenes set to 'Blue Velvet", "I Will Follow Him", and "Wipe Out". Also classic is the use of clips from Cecil B. DeMille's "King of Kings" of Jesus and his disciples walking superimposed between shots of gay bikers. A classic piece of Americana.
11 of 12 people found this review helpful.
Was this review helpful to you?