A woman is dying in her apartment. Two friends visit her and she tells them she wants to go to Chinatown. They convince her not to go, and then leave themselves. Unable to stand her ... See full summary »
A beautiful, love starved woman named Misty, leaves an abusive relationship with an odd man. She joins a pack of bikers and many sexual escapades and intense happenings occur on her adventure into a new freedom.
Edward D. Wood Jr.
Edward D. Wood Jr.,
"Glen or Glenda" tells two stories. One is about Glen, who secretly dresses as a woman but is afraid to tell his fiancée, Barbara. The other is about Alan, a pseudohermaphrodite who undergoes a painful operation to become a woman. Both stories are told by Dr. Alton, who also delivers an earnest lecture on tolerance and understanding. There is a second narrator, called the Scientist, whose commentary on the action contains more philosophical pronouncements than facts. The movie also has flashbacks-within-flashbacks and a strange dream sequence. We meet Insp. Warren, whose investigation of a transvestite's suicide leads him to learn more about men in women's clothes; Johnny, whose wife left him when she discovered what he wears when she's away; Barbara, oblivious to Glen's desire to wear her angora sweater; Satan, who invades Glen's nightmare; and others. Meanwhile, the Scientist will only offer cryptic advice. "Beware!" he warns. "Beware of the big, green dragon that sits on your ...Written by
Card at beginning: In the making of this film, which deals with a strange and curious subject, no punches have been pulled-- no easy way out has been taken. Many of the smaller parts are portrayed by persons who actually are, in real life, the character they portray on the screen. This is a picture of stark realism-- taking no sides -- but giving you the facts -- ALL the facts -- as they are today... YOU ARE SOCIETY -- JUDGE YE NOT... See more »
The US release DVD from Image Entertainment appears to be from a censored print, as it differs in many ways from the Australian release VHS from Kiseki Cult.
The VHS version includes a scene in which a gay man approaches a straight man for a light, and makes a pass at him. He is violently rejected. The straight man then approaches Ed Wood as Glenda and makes a pass at him/her. Glenda violently rejects the advance. The commentator explains that transvestites do not dress as women to attract men, unlike some homosexuals. This scene is not on the DVD.
At the beginning of the dream sequence Barbara and Glen are seen wandering about zombie like for a time on the VHS - the DVD cuts straight to agonised close-ups.
On the VHS version, at the end of the conversation between two unseen steel-workers, the voice of the male worker, who has been defending men who have sex changes, turns into the voice of a woman. The DVD version goes straight to sounds of thunder.
At the end of the gratuitous "girlie" S&M sequence (which is the same in both versions), Barbara and Glen fight. In the VHS version Glen rips Barbara's top off violently, revealing her bra. This has been cut in the DVD version.
In the scene in which Barbara and Glen discuss the sex-change story in the newspaper, Barbara twice says "sex change to a girl" in the VHS version. These lines have been cut on the DVD. In a later scene the psychiatrist says the same thing on the VHS - also cut on the DVD.
On the VHS version, in the final psychiatrist scene, the policeman asks the psychiatrist if transvestites have "homosexual tendencies". The psychiatrist explains that this varies from case to case. The question and answer have been cut on the DVD.
In the same scene on the VHS version, the psychiatrist explains how he had to train the sex-change patient "Ann" to understand "the duty of a woman in her sex life". These lines have been cut on the DVD.
The greatest movie by one of the great filmmakers of all time
Ed Wood was one of the greatest moviemakers in film history. Could he direct? Not really. Were his movies technical masterpieces? Could his actors act? Did he have huge budgets? No. We're here fifty years later, talking about him, because he created worlds on film nobody had ever seen before or since. His characters talked like nobody we've ever heard before (though there are strong echoes in the works of Hartley and Lynch). And unlike every Hollywood movie ever made, Ed ripped open his heart and poured it out on the screen. Never more so than in "Glen Or Glenda," his original avant-garde masterpiece.
Avant-garde? You heard me. What is the definition of avant-garde film? Some attributes are unconventional narrative, unique visual style, radical rejection of artistic or social norms, an often willful disregard for reality. Gloria Floren said "Avant-garde films are often iconoclastic, mocking conventional morality and traditional values; the filmmaker's intense interest in eccentricities and extremes may shock viewers. Indeed, the avant-garde film maker's purpose may be to wake or shake up the audience from the stupor of ordinary consciousness or the doldrums of conventional perspective."
Imagine if people viewed "Un Chien Andalou" or "Meshes Of The Afternoon" or "Eraserhead" with fratboy derision instead of holy reverence. They'd be viewed as unwatchable nonsense too. Everybody'd have a good snark watching for continuity errors and bad camera moves. Does "Glen or Glenda" rise to the level of those classics? Time will tell, but try this experiment: watch it as if it were, and see. The results may surprise you.
Here are some hints. Lugosi is not a mad scientist--he's God, looking down upon twisted human morality and "pulling the strings". The "green eyed monster" that "eats little boys"? Envy. Envy of women and in this case, their clothes. That envy has "eaten" vast amounts of Glen's life, it's been a torture to him. There are numerous references to that torture and misery. There's also an entire section devoted to judgment--human judgment versus that reserved to God.
The "nonsensical" stock footage of buffaloes and the army? It signifies the rush of adrenaline, fear and anxiety as "Glen" tries to confront his identity and "come out" to his girlfriend. Far from random, it's actually used with ingenuity and skill.
The symbology of scenes in which "Glen" battles his female self and resists the devil should be obvious. But then again, a generous viewing of "Glen or Glenda," rather than a beer-fueled "let's watch a crap movie" viewing, would reveal a great deal. Even the campy scene at the end, when Dolores Fuller relents and gives Glen her sweater, comes with the always-missed segment where God absolves Glen of his misery. There are a dozen moments like this. Sure, there are a dozen technical flubs and random nonsense too, but all good art is organic. There's a guy wearing a Timex in "Ben-Hur," for god's sake.
The "narrator" seems comical and dated to us, but in 1953 he was standard-issue, and the lines we now take as campy were then revolutionary, almost treasonous. A plea for tolerance for sexual and gender differences? Condemning the police for arresting gays and transvestites just for existing? During the McCarthy era, when all homosexuals were presumed to be communists? A film like that is bound to make some enemies. Especially a film that featured, not actors playing "deviants," but the deviants themselves, in their own words.
It's telling that the extreme-religious-conservative Medved brothers were the ones who named Ed Wood "worst director of all time." They must have thought they were really sticking it to Ed Wood for making all those subversively weird films involving crossdressing and homosexuals and society's outcasts. Thankfully, irony remains the most powerful force in the universe, and their mean-spirited declaration made Ed Wood a household name. Whether they admit it or not, a lot of this movie's detractors are laughing at the subject, not the movie. Many others are baffled by the unconventional narrative. Just because you don't get something, doesn't mean there is nothing to get.
It's easy to give any movie the MST3K treatment, especially ones that veer into uncomfortable or seemingly absurd territory. If you're looking for the worst movie ever made, go watch "Armageddon" or "Crossroads." If you're looking for THE pioneering moment in GLBT film history, the greatest and most underrated American DIY avante-garde feature of its time, or an experience that just might change the way you view movies and the world at large, start right here.
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