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SANTA SANGRE Reviewed by Robert Marcucci

DVD released: January 26, 2004.
Approximate running time: 117 Minutes
Aspect Ratio: 1.85.1 Anamorphic Widescreen
Rating: NR/18UK
Sound: Dolby Digital 2.0/5.1
DVD Release: Anchor Bay UK
Region Coding: Region 2 PAL
Retail Price: £19.99

“An art film, a horror film, a mystery and a love story bathed in
Fellini/Bunuel-esque surrealism – all in one delirious viewing!”

SANTA SANGRE (HOLY BLOOD) continues to thrill me after all these years. I saw its premiere back in 1989, and was an instant admirer, seeing it a number of times in the theaters, and countless times on home video. I have loved movies since I can remember; my first, absolute recollection was PLANET OF THE APES (1968) when it premiered (I was seven). Was PLANET the reason I became infatuated with science fiction and horror? Maybe. But as it stands, I have arduously pursued every film in these genres, as well as their siblings (mysteries and thrillers), and all their offspring mixed breeds, which brings me back to SANTA SANGRE. Here is one of those films one finds so difficult to assign its proper shelf in the library. It’s an art film, a thriller, a horror film, as well as a dark and surreal experiment, the likes of which, in my opinion, many audiences cannot tolerate.

Directed by Alejandro Jordorowsky, an eclectic artist who directed the
wildly surrealistic epics, EL TOPO and THE HOLY MOUNTAIN, SANGRE displays the dreamlike sequences, abstract images and unconventional film language usually found within abstract and surrealist films, only in this case all
those elements are blended within a somewhat conventional
psychological/thriller narrative, allowing the viewer some security and cohesion. Otherwise, SANGRE consistently veers off the beaten path onto roads of uncharted, mind-altering terrain, satiating the lovers of surrealism and abstract film, while giving newcomers food for thought, to say the least.

What immediately caught my attention with SANGRE was that Claudio
Argento produced it. If the surname sounds familiar, then you film buffs are
correct to assume that Claudio is related to acclaimed horror film director Dario Argento (his brother and producer). Having been an ardent Argento admirer for eleven years prior to SANGRE, I could not wait to see a film that united two
such extraordinary talents. It is clear that Claudio brought his artistic sensibilities and technical proficiency to the production (he also shares writing credits with Jodorowsky), along with a steadfast commitment to an artist’s vision developed for years with Dario — a skill that helped create some of his brother’s best work. Jodorowsky was already a fan of Argento’s films, and expressed interest in creating his interpretation of the Italian “giallo” thriller (“giallo”- Italian for Yellow, the designated color for fear and term for mystery/crime genre films). Claudio jumped on the opportunity to produce that picture for him, being a great admirer of Jodorowsky’s earlier films. As a result, not only does SANGRE have an unadulterated vision of Jodorowsky’s initial concept, but it also showcases wildly stylized murder sequences that are both refreshingly original and a sincere homage to Dario and the giallo genre. Jodorwosky’s disturbing mind-trip excursion is hardly matched to this day – I could only think of
David Lynch as another other established filmmaker who meets Jodorowsky eye to eye in this respect.

According to the director, after seeking out and interviewing a person responsible for a series of murders in Mexico, the idea of SANTA SANGRE began to take shape. His final concept tells the story a young man brought up by dysfunctional parents within the circus world, spending most of his childhood locked away in a mental institution after witnessing the death of his family. It is in his adult life, when he escapes from the asylum, that his manifestation process begins; his repressed hatred and pain dictates his thoughts and actions, bringing him closer to his true self and his reconciliation with society. Although this sounds rather analytical and clinically sterile cinematically, DO NOT be fooled; SANGRE supplies the goods. Dreams and reality clash constantly; love and passion boil within pathological minds as well as those who are pure in heart, reaching out to heal
the central character. Strangely multi-colored faces, personas and symbols,
trapped within a social-realistic arena that keeps one reminded of the contrasting worlds in which the characters love and suffer. Believe me, SANTA SANGRE will stay with you, for better or for worse, depending on your personal convictions and tastes.

The video quality is exceptional – and it’s about time! The only available transfers were full frame VHS and Laserdisc formats that pale in comparison. (In Japan, a widescreen LD version was released, but ruined by optical censorship.) The colors are rich, the blacks seem fine, and the transfer retains the original aspect ratio of 1.85:1, and is enhanced for 16X9 TV’s. Disc one also has an audio commentary shared by the director and renowned film journalist Alan Jones. The audio tracks leave much to be desired, unfortunately, with a noble attempt at a 5.1 mix that falls apart with virtually every scene, and a 2.1 stereo track that is clearly the choice, so at least you have standard sound that is at the very least acceptable. Disc two is dedicated to extras: Louis Mouchet’s feature length documentary ‘La Constellation Jodorowsky’ (approx. 90 minutes) gives us an in-depth look at the artist’s career and life, focusing on philosophies and themes running through his work. Next there is the short film directed by Adan Jodorowsky entitled ECHEK, that shows the inherited talents of his father: a remarkably simple, yet very clever film that carries a charm and romance like that of Chaplin, with a slight pinch of surrealism. Next is a deleted scene from SANTA SANGRE, that gives slightly more exposition, which the director felt obstructed the overall tempo of the film. David Flint’s fine text biography of Jodorowsky focuses on earlier films with production anecdotes – and finally ‘Jodorowsky On Stage’, a short film produced by Blue Underground, covering Jodorowsky’s stage appearance after a screening of the film. Jodorowsky’s love for cinema, life and the arts shines throughout this discussion, certainly capping the vast amount of information on Jodorowsky presented in this 2-disc DVD special edition. The region for this DVD is the U.K. (PAL – region 2).

I had the opportunity to showcase SANTA SANGRE as part of a college lecture on international cinema last spring. Much to my surprise, it was a hit with the students, since I’ve noticed that these days younger audiences have little to no exposure – or desire – to view such unconventional wonders as this film. It put a smile on both my face and the supervising instructor’s – I only wished Jodorowsky were there for the experience, too.

PERSONAL DEMONS by Gregory Lamberson.
Published by Broken Umbrella Press. Signed and limited hardcover edition: $45. Paperback due in Feb ’05 at $17.
Internet site: HYPERLINK “http://www.brokenumbrellapress.com” www.brokenumbrellapress.com

And finally, a book to read when you’re not in a DVD mood, by a genre filmmaker-turned- novelist. I’m overly fond of ‘noir’ films, and their literary counterparts. Gregory Lamberson, who wrote/produced/directed SLIME CITY and NAKED FEAR, and who functioned as First AD on BRAIN DAMAGE, Frank Hennenlotter’s best film, has meshed the ‘noir’ sensibility with a fascinating sci-fi-occult theme, and a lot of it feels new…and begging to be filmed.

A serial killer nicknamed ‘The Cipher’ is cutting victims’ throats. A reclusive billionaire funding advanced genetic research lurks in his sky-scraper, ‘The Tower’. The main character, a dissolute NYPD homicide detective hunting the serial killer, is hired as Chief of Security by the billionaire. It all begins to fit into an expansive, phantasmagorical, and very creepy jigsaw puzzle, which I won’t spoil, but I will urge you to read. There are some gripping scenes of deep and terrible loss befitting our protagonist’s fate, and a reveal or two worthy of ‘Crime and Punishment’. And, in true ‘noir’ tradition, there is a femme fatale, of the unstoppable, larger-than-life kind a la Lena Olin in ROMEO IS BLEEDING. Had Barbara Steele been in her prime, this would have been a terrific role for her. Picture her when you read it.

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