QUICK CUTS Presents: THE MOVIES OF DAVID CRONENBERG
Featuring: Michael Arruda, L.L. Soares, Nick Cato, Paul McMahon, Mark Onspaugh, and Jenny Orosel
MICHAEL ARRUDA: With the release of David Cronenberg’s latest movie, COSMOPOLIS (2012), we’ve decided to take a look at our favorite Cronenberg movies.
L.L. SOARES: David Cronenberg is such an iconic director, and has made so many great films to choose from. But, without a doubt, my all-time favorite Cronenberg film is CRASH (1990), which happens to be based on one of my all-time favorite novels (of the same name) by J.G. Ballard. With an amazing cast that includes James Spader, Holly Hunter, Deborah Kara Unger, Rosanna Arquette, and Elias Koteas as charismatic anti-hero Vaughan, it’s the story of a man (Spader as “Jim Ballard”) who experiences a traumatic car accident and then discovers a strange cult-like group of people that fetishizes (and just about worships) car crashes. Cronenberg captures the cold, antiseptic feel of Ballard’s very bleak novel, and the movie was pretty controversial (like a lot of Cronenberg films) when it first came out.
(Not to be confused with the Paul Haggis film “Crash:” from 2001)
Cronenberg has made so many great movies. But my other favorites include:
DEAD RINGERS (1988) —With Jeremy Irons in one of his best performances ever as twin gynecologists who share a relationship with one woman (Genevieve Bujold), who can’t tell them apart. Then things start to get violent.
VIDEODROME (1983)—With James Woods as a man who finds a very disturbing cable TV channel that changes his life in scary ways. Including the famous scene where Woods has a VCR slot in his stomach. Also starring Blondie lead singer Deborah Harry.
THE BROOD (1979) —the first Cronenberg film I ever saw, and still a favorite, with little monster kids created from the rage of Samantha Eggar. With Oliver Reed.
NAKED LUNCH (1991) —The underground classic novel by William S. Burroughs was considered unfilmable, but that didn’t stop Cronenberg from bringing it to the big screen. He makes it coherent by mixing a lot of Burroughs’ wild imagery with biographical incidents from the writer’s life.
JENNY OROSEL: I have a soft spot in my heart for CRASH (1990), seeing as I got my driver’s license in a CRASH t-shirt (I got my license late—I’m not that young). The humor was lost on my tester.
NAKED LUNCH (1991) blew me away because I had no idea how anyone could turn that book into a movie, and I think he pulled it off the only way possible.
NICK CATO: SHIVERS (a.k.a. THEY CAME FROM WITHIN) (1975) is my personal favorite Cronenberg film. It’s a genuinely scary tale of a parasite that turns the residents of a luxury condo into possessed sexual predators. It’s not his best technical achievement, but it gets the goosebumps going better than most standard horror films.
While I’d like to list VIDEODROME as my second favorite, that honor goes to CRASH (1996). Only Cronenberg can take such a bizarre subject (people turned on by car crashes) and make it a film that holds up amazingly well to repeat viewings. It’s unlike any film before or since.
MICHAEL ARRUDA: Without doubt, my favorite David Cronenberg movie is THE FLY (1986), which is one of my favorite horror movies from the 1980s, one of my favorites of all time, and certainly one of my favorite remakes. I love the performances by Jeff Goldblum and Geena Davis, the gruesome special effects, and how this film captured how it would really be to have your DNA mixed with the DNA of a fly, a concoction that would occur at the molecular level. Cronenberg is masterful at the helm here.
—Be afraid. Be very afraid.
I’m also a fan of VIDEODROME (1983) and THE DEAD ZONE (1983).
PAUL MCMAHON: It feels traitorous to choose only a single Cronenberg film as my favorite, so I’ll pick two.
First, A HISTORY OF VIOLENCE (2005). Its brilliance starts with the emotionless opening sequence of random cruelty that mirrors our fears. The film moves you through the realization of a specific act of violence and explores the way that one event changes the people involved. Violence shoves its way into your life and grows roots. No matter how you try to hide from the memory of such a traumatic event, it never goes away and never lets you forget. Cronenberg’s movie dramatizes this brilliantly, and is very uncomfortable to watch.
Second, and I’m just realizing this is another brilliant representation of trauma —THE BROOD (1979). This time the violence comes from divorce and the ensuing custody battle over a young daughter. THE BROOD features a progressive psychotherapist who has developed a way to make his patients’ internal and invisible pain manifest physically, where it can be seen and acknowledged. Cronenberg himself was struggling through just such a divorce while he directed this movie, and his pain bleeds through the screen. Like the patients of Dr. Raglan, David Cronenberg crafted a physical representation of his inner turmoil. He has said that it’s the one film of his that he cannot bear to watch again.
MARK ONSPAUGH: SCANNERS (1981) —So audacious and amazing! I remembered hearing something about this movie and my wife and I were at a theater where they showed a red band trailer. I whispered, “I think this is the movie where people’s heads blow up,” knowing she’d want to look away —she didn’t hear me —man, did she shriek when that happened! For months after it came out, a friend and I kept repeating Michael Ironside’s line, “I’m gonna suck your brain DRY!”
THE FLY (1986) —It was Cronenberg who layered in the romance into Charles Pogue’s script, elevating this movie from mere creature feature to a masterpiece of horrific tragedy. I don’t think Jeff Goldblum or Geena Davis have ever been better.
So many to choose from, including EASTERN PROMISES (2007), HISTORY OF VIOLENCE (2005) and SPIDER (2002). If you want to take what amounts to a class in cinema, watch SPIDER with the director’s commentary – I don’t want to spoil it for those who didn’t see it, but there is a major change in the movie I didn’t even detect, at first – brilliant.
MICHAEL ARRUDA: And that about sums up David Cronenberg. Thanks, everyone!
L.L. SOARES: And thank you, readers, for joining us today!
© Copyright 2012 by Michael Arruda, L.L. Soares, Nick Cato, Paul McMahon, Mark Onspaugh, and Jenny Orosel