After developing an addiction to the substance he uses to kill bugs, an exterminator accidentally kills his wife, and becomes involved in a secret government plot being orchestrated by giant bugs in a port town in North Africa.
The residents of a suburban high-rise apartment building are being infected by a strain of parasites that turn them into mindless, sex-crazed fiends out to infect others by the slightest sexual contact.
After getting into a serious car accident, a TV director discovers an underground sub-culture of scarred, omnisexual car-crash victims who use car accidents and the raw sexual energy they produce to try to rejuvenate his sex life with his wife.
Max Renn is the President of Channel 83 Civic-TV, a small television station on the UHF dial. He defends his programming of largely X-rated shows - which depict graphic sex and extreme violence - as a pure matter of economic survival as a small station. Behind closed doors in specific company, he would admit that he enjoys such programming, but as President will stay away from associated activities that may be dangerous for him in its purchase. His current girlfriend, radio personality Nicki Brand, who he met on a television talk show, is sexually aroused by light mutilation on her person, that despite or because her radio show is like an open air crisis hotline. On that same talk show, the other guest via video feed was Professor Brian O'Blivion - solely his stage name - who believes that television and video broadcasts will one day overtake the world as reality, which may make Max's programming in combination more dangerous. In Max's search for the next big thing in like programming...Written by
Barry Convex proclaims Lorenzo de Medici as the author of the two famous ocular quotes. The first, "love comes in at the eye", is from a William Butler Yeats poem called "A Drinking Song". The second, "the eye is the window of the soul", is not definitively attributable to any one source. Seemingly similar variations exist in Cicero, European proverbs and the Gospel of Matthew. See more »
The VIDEODROME title experiences a TV white noise distortion. See more »
The TV version first released to syndicated television is a significantly different edit with extra/additional material as follows:
-A very different and extended introduction with longer opening titles presented over red themed paintings.
-A longer version of Max's business meeting with the Japanese salesmen, including a reminiscence about a girl in a Hong Kong hotel, a sinister foreshadowing of the disappearing Videodrome performers.
-Extended Sales Meeting at Civic TV.
-A very brief additional line of dialogue in Harlan's lab.
-An extension of the scene with Max and Nicki watching Videodrome.
-Masha comments how Max looks tired and exhausted but makes her sales pitch.
-Max takes a longer walk down Skid Row, and gets offered two meal choices during an extended scene inside the Cathode Ray Mission.
-An extended version of Brian's monologue in which he comments, "You've got a nice little addiction going."
-Nicki calls Max and explains that she was behind his first major hallucination, and Brian makes a return appearance telling Max to take advantage of his position.
-Nicki picks up Max in a limo, and notes how much she likes his current incarnation, including his "sick and wonderful" hallucinations.
-Barry Convex offers a greatly expanded backstory about the optical accumulator as a military device.
-Max walks down the street and see a very different version of himself in a store window.
-"It's Always Painful to change the program".
-An alternate, shortened version of Barry Conex's assassination, made "safe" for US TV.
-Max nervously sees a news report about the shootings on TV and encounters a mentally disturbed homeless man.
-An extended version of Max's solo excursion deeper into the heart of the city and his own psyche, revealing more of the boat interior.
-TV Epilogue - Pivotal lines of dialogue from the main characters are reiterated over the same paintings seen over the opening titles. (All the above are available on the 2015 Arrow Video UK Blu-ray release). See more »
I first saw 'Videodrome' around '84 or '85 and it impressed the hell out of me. I thought then that it was ahead of its time, and after watching it again a few days ago (and there have been many, many viewings in between) I STILL think it is. In fact it gets more and more contemporary and relevant as each year goes by. Cronenberg went on to adapt difficult cult novels by William Burroughs and J.G. Ballard, which wouldn't have surprised any of his fans, as ideas from both writers, and the late Philip K. Dick have pervaded his work from 'Shivers' to 'eXistenZ'. (Probably even before that going by descriptions of early efforts like 'Crimes Of The Future' which I unfortunately haven't had the opportunity to see.) But Cronenberg, unlike say the Wachowski brothers, isn't just repackaging science fiction ideas for a new generation of movie goers, he is a genuine original.
'Videodrome' still knocks me out every time I watch it. This innovative mix of science fiction, sex, violence, surrealism and horror has lost none of its punch over the years. I have enjoyed most of Cronenberg's movies, and think he is one of the most underrated directors currently working, but 'Videodrome' still seems his purest and least compromised work, and the movie that most successfully and memorably represents his vision. Simply one of the greatest and most important movies ever made.
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