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Strange Brew: DMT Cinema goes Mainstream

November 14, 2016 Leave a comment
Marvel's DOCTOR STRANGE..Doctor Stephen Strange (Benedict Cumberbatch)..Photo Credit: Film Frame ..©2016 Marvel. All Rights Reserved.

Marvel’s DOCTOR STRANGE..Doctor Stephen Strange (Benedict Cumberbatch)..Photo Credit: Film Frame ..©2016 Marvel. All Rights Reserved.

 

My latest piece for Reality Sandwich explores the notable psychedelic elements in Doctor Strange, linking it to Avatar, Inception, The Matrix and other cyberdelic movies.


 

Back in 2009, Gaspar Noé’s Enter the Void appeared to herald a new era in psychedelic cinema, where increasing awareness and appreciation of DMT states fused dramatically with rapid advances in visual effects technology, to give rise to a better, more subtle and sophisticated film iconography that transcended the shortcomings of earlier years and got much closer to depicting the actuality of these fugitive and evanescent states. Noé’s lengthy extemporised sequences, involving fantastic voyages through fractal geometries and transmogrifying amoeboid forms, evoked both internal and external space adventure, and for the initiated he very much had it cracked. But despite high critical acclaim in some quarters,Enter the Void bombed at the box office and abjectly failed to kick-start a tryptamine-cinema renaissance. Seemingly by being so completely focussed on the arcane realms of the psychedelic inscape, it was too purist for many, lacked sufficient narrative underpinning and didn’t press enough buttons in the vital area of entertainment as well as enlightenment.

Cut to 2016 and in the latest Marvel blockbuster, the eponymous Doctor Strange – played assuredly by Benedict Cumberbatch – has his rationality and scepticism smashed by shamanic ninja the Ancient One (Tilda Swinton), and after first discovering his astral body, he is then hurtled onto an cosmic roller-coaster ride that more than uncannily resembles Noé’s void. The Doctor whizzes through a world of eidetically coloured planetary bodies, black holes, fractals and kaleidoscopic visions, coming to witness his own fingers sprouting hands whose fingers sprout yet more hands, and so on, and he finally becomes a true believer in alternate dimensionality. And in many other discombobulatingly trippy sequences, using further advanced generations of visual effects and 3D technology, the latest psychedelic fare is once again delivered successfully to the masses – by wrapping it in the entertainment-friendly foil of science fiction.

Read more on Reality Sandwich.

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Psychedelia in the Movies, Part 2 – Reality Sandwich

Psychedelia in the Movies Pt2

Part 2 of my article Psychedelia in the Movies, originally published in the Psypress UK Journal 2015 Vol IV, has been republished on Reality Sandwich alongside Part 1, including the illustrative video clips. So the the whole story, including text and imagery is now available online!


 

Once the late ’60s boom in acid culture and acid cinema had dissipated, the psychedelic movie became another component of the fringe and the experimental, something to recur and be revived at intervals, a pattern that continues into the present. As we saw in ‘Part 1’, a principal avenue of this tendency involved name directors, associated with the weird and offbeat, taking on solid psychedelic literary properties – such as Ken Russell, the work of John C. Lily and Altered States; and David Cronenberg, the work of William Burroughs and Naked Lunch. The next big milestone in psychedelic cinema occurred in just the same fashion, with Terry Gilliam, Hunter S. Thompson and Fear and Loathing in Las Vegas (1998).

With his track record in mind-bending fantasies such as Time Bandits (1981) and Brazil (1985), Terry Gilliam would seem the ideal director to tackle Thompson’s tale of madcap psychedelic debauchery, where the ‘effects’ are already ‘scripted’, rendered in electrifyingly graphic prose. But Gilliam came into the difficult pre-production process late, having to produce a new script in a short time, and the filming itself proved as chaotic as the movie’s contents. The end result achieved a disappointing box office performance and very mixed reviews, with many critics understandably attributing the characters’ qualities of waywardness and incoherence to the movie plot itself.

Whilst falling short of being a totally satisfying adaptation of the book, Fear and Loathing in Las Vegas is nevertheless a very worthy effort in the reification of psychedelic effects and head spaces for the screen. Gilliam wanted the film to feel like a trip from beginning to end, and with cinematographer Nicola Pecorini, he designed a catalogue of techniques to match the qualities of each of the many drugs that are consumed, such as melting colours and flare effects for mescaline, and wide angles and morphing for LSD. Voice-over narration from Johnny Depp’s Raoul Duke provides much-needed structure and grounding, bringing us back to the novel and Thompson’s original vision as a bulwark against drug chaos swamping everything.

Read more on Reality Sandwich.

3-D—A Vicariously Trippy Experience

The news that Alice in Wonderland has become the tenth highest grossing movie of all time, supplanting Peter Jackson’s The Two Towers, further strengthens the hold the 3-D phenomenon has taken over cinema. The fact that an offbeat fantasy, which did not receive the highest critical praise, could be so successful is another indication that audiences are flocking to cinemas for the spectacle, the buzz of 3-D alone, with subject matter a secondary concern. So what exactly is the nature of the new 3-D’s seductive allure, its x-factor, its secret ingredient? As psychedelic initiates have realised, 3-D produces something like an altered state, a non-ordinary level of sensory experience that is comparable to a drug trip. 

The very act of putting on the glasses and seeing things differently is like passing through a gateway, or cleansing doors of perception. Then there’s the strangeness, the strikingly unusual quality of 3-D vision, where everything is heightened, surfaces and textures are more alive and resonant, and the commonplace becomes transfigured and imbued with specialness. The nature of how things are rendered in 3-D becomes part of the viewing pleasure, as important a factor as plot, action and characterisation; and the anticipation of the next 3-D thrill, plus the sense of immersement in another realm, take the audience beyond mere cinema into theme-park-ride and virtual-reality territory—other parallels for chemically enhanced consciousness. 

Moreover, Alice in Wonderland proves the case that 3-D movies are becoming trippier in terms of narrative and design as well as in sensory effect. The story of Alice has been a favourite paradigm for trippiness ever since Grace Slick’s ‘White Rabbit’ marshalled up the references: substances to make you grow or shrink, a hookah-smoking Caterpillar and the talking Rabbit himself—a film favourite from Harvey to Donnie Darko to Inland Empire. Using a medley of techniques—green screen, motion capture, live action and full animation—Tim Burton has pieced together a new Wonderland for the 2010s, and with a combination of his already well-developed Gothic-weird sensibilities and the astute use of 3-D, he has rendered the material into a totally bone fide trippy adventure. In 3-D the z-axis layering of the various elements—themselves set at different points in the scale of reality to unreality—creates a synergy that gives rise to an entirely new whole: an alloy of the real and imaginary that lives independently on its own terms…how psychedelic is that? Read more…

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