Boyd Rice may well be the only person alive who's been on a first name basis with both Charlie Manson and Marilyn Manson. His career has spanned more than three decades, during which time ...
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Boyd Rice may well be the only person alive who's been on a first name basis with both Charlie Manson and Marilyn Manson. His career has spanned more than three decades, during which time he has remained at the epicenter of underground culture and controversy. Written by
Iconoclast is an interesting film documenting the life of an extremely interesting, engaging person. It has, however, all the earmarks of an "authorized" biography, with the omission of a large amount of material that is not as easy to explain or sanitize as are associations with Anton LaVey and Charles Manson. No mention of the Abraxas Foundation - once described by Rice as a "fascist think-tank" formed by Rice in conjunction with Keith Stimely - the editor of the Journal of Historical Review, the premier holocaust-denial periodical of the 80's and 90's. Nothing but a glib dismissal of his association with Bob Heick, the "director" of the skinhead neo-nazi organization American Front, with whom Rice appeared in AF uniform in the infamous picture for Sassy magazine. No mention of the Tom Metzger (of White Aryan Resistance) "Race and Reason" public-access TV interview. Similarly, no mention or discussion of the uncomfortable circumstance of an avowed Social Darwinist fathering a son with genetic abnormalities. Not a single interview with Lisa Carver, mother of said child, who wrote a tell all book (_Drugs are Nice_) that was very unflattering toward Rice.
Instead we get essentially what Boyd Rice wants presented to the world now, is his apparently toned-down middle age. No doubt he is a charming, likable, interesting fellow who is a bona-fide pioneer in industrial music who lived at a very interesting set of places and times, but the documentary comes off as a friend making a film about a friend, and suffers as a result.
5 of 6 people found this review helpful.
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