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 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 »
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 church scenes were filmed inside an old church next to the Brooklyn garage where the party was taking place. The church building had been abandoned and was being demolished, and Anger got into it, with his camera, through a broken door. Scorpio's climbing on the altar during the "I Will Follow Him" sequence, delivering an excited political rant, and kicking old prayer-books and hymnals off the railing and to the floor, was all Bruce Byron's idea. The scene during the "Torture" sequence of a young man having his trousers and underwear pulled off, and a full bottle of mustard squeezed onto his naked abdomen, was the club initiation of a new member - having mustard rubbed over the groin and testicles, which caused a burning sensation but was not permanently harmful. 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.
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