George Romero and the haunted portrait II: The Crazies (1973).

Jul, 2014. Posted, in memory of George Romero, d., Jul 16, 2017.

One gets a slightly more nuanced view in terms of measuring George Romero’s grasp of the conventions of modern horror when it came to instrumentalizating household furnishings to signal emotions and hauntings in looking at a scene or two in his 1973 movie The Crazies.

There are a few incidental moments, when Romero offers a glimmer of awareness of relations between spaces and bodies. In the opening sequence, one might say that he was aware of how wood panelling in those days signalled domestic space where the nude female body became the norm presiding, this is no big deal modern intimate couple nudity

craz 1He also clearly knew that generic landscapes bespoke something bad coming from outside, and they served that simple signalling purpose in the offices of the scientists,

craz 2The fact that a map has been put up in space formerly occupied by one of those landscapes, put down on the floor, on its side, signals crisis as well as chaos

craz 3There is also a little business making an icon of craziness by a too intense interpretation of Jesus dying for us

craz 4By the priest (and, again, I think this Romero postering a comment from the news, the monk who burned himself in protest in Vietnam, onto the movie) burning himself up for us

craz 5But all of these are so stilled by a desire to comment, and made to poster a moment with a film still moment, that one wonders, is he making a movie, or making comments on the USA

crazies 2In fact, only once in this movie does Romero instrumentalize the elements of traditional horror to signal that something wrong is happening. This is when the hippies escape to a house, and lay low for a while. The husband stands guard in the room below, while dad looks after his daugher, played by Lynn Lowry, who is already infected and going mad, upstairs: and he does it, casually, by lying on the bed with her, and letting her sleep. But right away there is some odd business. We get a view out of a window, separating inside from outside, signalling danger without, and extraordinary times

craz 6Then we get a shot of the classic old photo WASP American gothic proprietor of this kind of country house, and it is the haunted portrait, upstanding citizen before the invasion and disease started.

craz 7But then as the man below is guarding, he begins to see that there are some odd elements around the room. He comes upon a very curious device. It is a silver cup, turned on its side, but fit with a plastic ping-pong size ball on a string, that can bounce from inside to outside, along the reflective surface of the interior of the cup. This means that when the ball recedes in, it is reflected, and he sees himself, and the room, upside down, reflected

craz 8But then when it magically comes up through the reflective membrane, imagined as a series of rings of silver thickness and situatedness in the cup from bottom to top, the ball, surprising, is reflected more, and fans out on other reflections

craz 9And then can pop to completely filling the space

craz 19This amazing little device, and notice that the smiling ceramic cup is a trickster, the opposite of the staid All American gent (FDR, I think?), is a multilateral reflective device symbolic of the wormhole. That is, we are going down the wormhole into dream state, into crazy time, in the movie. (The truly odd thing about this is that about a week ago I cleared out my bathroom waste basket and looking at it empty I noticed that as you looked into it from closer to higher above it, all of its intramural multilateral reflective relations switched all around so that it looked like the thing was coming up from within the center of itself, then folding its center back down in itself, like the traditional wormhole stairway in horror movies. This to me was a symbol of incalculable multilateral reflective relations, forming the spiderweb that when pulled becomes the wormhole leading to deep dream. For Romero, this is the EXACT parallel to the music box that Barbara comes in contact with, and seeks comfort in, as she seems to lose her mind (Romero does like not-there girls), in Night.

craz 11Now, I noted in my short treatment of Night of the Living Dead, that Romero also liked to alarm-signal mad moments. In Night, he did that by way of the score, especially in her shocking encounter with the taxidermy. But here, he signals it by having the man unaccountably ring a bell

craz 12And it is during the ringing of this bell, that the father, becoming mad from the virus, needs to twist the relations all up, and he sexually assaults his daughter. Because on a level beyond her being his daughter, but just being a woman, of a certain relational character, she has always been to him too the unapproachable hippie nympho siren, ethereal, but hiding much, and then destructive in her making you want her in that way. And so, mad, at long last, he gets a hand where he has always wanted one

craz 20At this point, I suppose Romero, according to the rules of modern film making, knew that he had to signal to the audience that something destructive of the family was taking place here. As a result, he has placed a small cameo size haunted potrait of a womanfolk up on the wall, at the edge of the bed. It is amazingly within reach of Lowry, who reaches up against her attack, in a kind of protest, perhaps groping for some weapon, At first we see her hand feel for the picture, but also almost but presenting it, as if defending family value

craz 21But then as the assault continues, and one cant tell if this was caused by the push of his assault, or her simply batting it away, her hand clenches, and knocks the picture

craz 22And then, as it is knocked away, symbolizing the destruction of family value, of a violation of the meaning of family portraits as carriers of family tree, her hand oddly seems to resolve into a resigned waver

craz 23In addition to the symbolism of the picture as indicating family tree, and family tree undone by incest; it is also true that in so far as it is a standard old woman, though it looks to me like 17th century, and possibly of Spanish origin, it remains part of a general genre of picture I term a Mary Shelley portrait, which signifies that a monster is in the house. The thing is, in this scene, the monster is both her father and her, both crazy, both reacting to events “crazies-ly.”

craz 24And then, twisting this scene, as we return from symbolism to the act, we see that as he has now entered her, and is bluntly, if not so pleasurably, forcing himself on and into her, she has succumbed, and has decided to lie back and enjoy it and take it for what it is, and—that is because she is mad. In these scene, that moment so desired by any exploiter of young woman, sex itself takes over, it becomes a mere physical event, overriding all, and she gives in

craz 25Then, after the dad is pulled off by the guardian, and knocked out into the hall, the bannister signifying prison

craz 26She sits forlorn but resigned on the bed, and notes that she has blood between her legs. Which means that anotehr reason that she simply took it and got into it was that she was still a virgin, all the men who thought she was so pure were right, she was, a virgin

craz 27Then, with that look of oh well mischievousness on her face, she looks outside, blood on her lip, part of life

craz 28Then Romero again marshalls her apparent innocence to send her out against the hazmat suited men, with her long hippie hair, represensting sireness, seductiveness, dreamy ethereal purity seduction

craz 29but then she spins things too far for them, they come to see she is crazy, they know she is infected, and they shoot her, she goes Oh!, and falls, that’s it for her, and all the complications, most of them positive, she brought to the movie. In the person of Lynn Lowry, therefore, George Romero in The Crazies does demonstrate some serious instrumentation of the concept of the haunted portrait to signify incestuous rape as a destruction of family and America.

Night of the Living Dead (1968), Utrillo and the house of suspicion.

June 16 2014. Posted in memory of George Romero, d., Jul 16, 2017.

I measure the quality of a horror movie by how effectively the director marshals the conventions of the genre to create a deeper sense of horror. Horror, in this regard, is partly a matter of expected suspense, which is why the conventions are required, and of working it all out, to create a scare or scream. Night of the Living Dead (1968) is, of course, a classic of the genre, developed independently by George Romero, and a sensation in the college and grindhouse world. But it still is a low budget almost student film, with limited sense of what makes for horror. Certainly, its reputation exceeds its reality as a film, and a recent documentary on it certainly is but a fanboy production that grossly overstates the impact of the film. All that is over, now, the history part–all I care about is watching a lot of horror movies, so, how does it measure up against all the others? I have only ever been able to give it two stars.

As a series of sequence, the graveyard sequence in the beginning and the house invasion sequence in the end are classic and well done. Much less well done is what happens in the country house in which Barbara has taken refuge: her initial encounter with the dark house is not terrible, her going to pieces as her hero boards up the house is OK, but then the movie gets bogged down in a rather tiresome midsection in which there is first floor-basement dramas between some of the parties involved, making it all seem like a student stage play, and then the movie punts entirely to the TV set to report on how things are going out in the world, stalling, in a device often used in the theatre, telling not showing. Thus, in terms of sequences in the house, it only when Barbara arrives in the house, and then only again when the zombies arrive in it, that things are cracking. And, not unexpectedly, it is only during these sequences that Romero demonstrates some understanding of the haunting purposes of some of the décor effects of a house under siege.

The house itself, approached, is a classic isolated country house, by itself not something you can be certain of, and how she approaches it, goes round it, and comes into it, always chased by the zombie she trails is quite good

livdead 1And then when at last she breaks into the dark house, the intrusive soundtrack, lifted, it would seem, from the exclamation-point style of newsreels, blares loud, with sharp cuts to a shocker, oh no, the house has taxidermy. We get one shot

livdead 2and then another, and another

livdead 3We then cut to her trying to use the phone, and make contact with someone, and here we see a zebra skin mounted on the wall

livdead 4She then comes through the house, and we see, top left, a landscape painting,

livdead 5We get a look at the rug, with the tire iron on it

livdead 6Then she comes round into the parlor, where we get the fireplace

livdead 7at that point, she turns, and, again, Romero crowns her with yet another bit of taxidermy

livdead 8and then, oddly enough, she pauses before another object, and seeks, it would seem, to lose herself

livdead 9This ends her home invasion sequence, as the other man living in the house now is revealed, the famous African American of which so much symbolic nonsense about the social relevance of the movie has been writ. But what does this sequence mean, and why does Romero seem to make use of taxidermy and art in a somewhat informed manner?The taxidermy triple shock shot is meant to shock a city girl in the country. She sought the house to escape from being hunted, and now she finds herself in the house of a hunter. The shock of the three heads announces to her that she is still hunted. Her crowning marks her as still hunted, not out of it. She has sought in this house a refuge, a solution, but it feels like a trap: this would seem to tell her she has walked into a trap.

The fact that she encounters a dead body upstairs adds to the idea. Generally, in horror, the presence of taxidermy in the house signals that the man of the house is a sadist who uses and stuffs or objectifies people. Thus, this discovery is not at all comforting for her. It suggests an odd connection between the resident and the problem outside, people becoming objects. Then, she goes looking for something more comforting in the furnishings that would seem to promise her protection. But the house is so simple, so plain, so basic in its furnishings, it offers none. A generic unspecified landscape in a house indicates that there are holes in the walls, that is, that the space is flimsy, that there is trouble on the other side of the wall, and this too then is, throughout the movie, and used quite often, anything but reassuring. Even the fireplace is limited in its effect, and offers little protection. Therefore, what all these effects mean, in this early section of the movie, is that this house is completely inadequate for her emotional needs, and she considers herself still in danger. And that is why she not only seeks out the music box, but, as this shot shows, goes into it, to lose herelf in it, she wants escapism, release,

livdead 10This also signals a whole next quarter of the movie where she loses it, she becomes, herself, a kind of zombie in fear, she cannot think, she cannot act, she lays about and is not help to the “house Negro”. In his negotation, then, of the fact of the unsatisfactory nature of the house, early on, Romero is quite good.

The third stanza of the movie, as it were, begins when the man also decides that with so many zombies out there, there is no way that this house will withstand them. And so he decides to turn the house inside out. That is, he takes all the furniture, and breaks it down into board, and then nails it all up against the windows. It is the most famous sequence in the house, in terms of its engagement with the furnishings. It is quite well done, though one does wonder why Barbara is such a nonentity, and won’t snap out of it. There is a very interesting sequence when he breaks down the dining room table. The table is, of course, the symbol of the life of the family in the house, it is their fancy table. And, here he is, an interloper, taking refuge, one of a race not likely to be invited to dinner at that house in regular cracker social life either, going to break down that symbol

livdead 11For me, the fun thing about this shot is that it introduces two additional pictures on the walls, and these do seem to in fact play a part in symbolizing one’s discomfort with what is going on. At one point, Barbara lingers, unsure, still afraid

livdead 12And what she lingers under, though (it has to be admitted, does not look at it) is the homemaker’s idea of art. And it is a Utrillo view of Paris.

livdead 15Utrillo has been made use of in another movie, the early Hammer movie Four Sided Triangle, for example, when, because of the notorious nature of his reproduction in cheap prints, and the fact that he became more or less the poor-man’s Picasso, the granddaddy of all of the terrible Montparnasse school of art of impresionisty shots of Paris for the tourists, which were put on walls of middle class folk ad nauseum even up to the offices of the TV series Madmen, he came to represent the essence of inauthenticity, and suspect reality.

livdead 16That is, this picture exists here, as it did in Four Sided Triangle, to signal her suspicions, not calmed at all by the art. It is surprising, but supporting evidence that by reputation this ersatz art came to represent something suspect. One would imagine that for the purchaser, this was “art”, if a reproduction it was still hung in a prominent place in the dining room, to add a little class to the room. At the same time, it was not just art, it was Paris, and since Paris was art, that made it doubly a sign of culture. For the household, it was doubly authentic, all but identified with the wonderful world of art beyond the horizon, in the cities of Europe. But for us, in the movie, knowing Utrillo’s fate, and his market, it represents the overturning of all those little pretensions. It is to be seen that way here, Romero sees it as raising suspicions of those involved. And that is what it did. Fittingly, the picture also presides over the suspect image of a black man tearing about the dining table.

livdead 17since Barbara is of no help at all, he lays her down, also a situation he might have taken advantage of, had he been a bad guy, but here, Barbara thus laid out under a lamp, and two other landscapes, bespeaking trouble without, is still not quite secure, the tension does not go away

livdead 18We now look at him quite proficiently go to work to board up the house. The images of the boarded up house are supposed, to him and her, finally provide an image of security, but, somehow, they still do not do so. This is rather a negation of a positive value: that is, the windows are supposed to look out, have views, the doors are supposed to open, let people in, all this does is to turn them away from themselves, and reverse their power. For us, it makes us feel like the meaning of things in the home are being knocked out and reversed.

livdead 19This is the best shot of this claustrophobic world, he may have solved one problem, but he has created another. It offers us no satisfaction, nor does it much help or reassure Barbara, but as symbols of negation of society, pretty effective

livdead 20If these were pictures, turning them away, makes them into shy works of art, that is, they deny their meaning and their agency, or rather, if they had had any cult or votive purpose, all that has been overruled for apotropaic purposes. It is interesting, then, that later when the others come up from the basement, there is some trouble, they get the tv involved, the Utrillos are bespoken of by boarded-upness too

livdead 21What this means is that all the openings and culturings that made life in that house tolerable, using pictures to dream of art and Paris and all that place out there, is blocked off. It is not even clear that the Utrillo still is a Utrillo, even if reversed to be an object of suspicion. It would seem now that it is just a blank. The fact that in this particular situation the fireplace has been resituated with a radiator in front of it means that the house was also closed off, and cheap, this is its ultimate expression.

And then, in this one, Romero decides to use the TV to increase the tension, by giving us all the reports from the outside. From here on out, none of the tensions in house are of much interest to me. But it has to be admitted the movie is mainly known for what comes against all that boarding up: the zombies, knocking it all down. It is here and there effective. But that is it. The commentary on the movie also highlights its social irony by having the African American hero shot at the end, but if you watch it the men are zombie hunting and shooting on sight and he made the mistake of appearing at the window, it is not clear that they saw that he was a black man and lynched him, to say so is to overvalue the scene.

For all this, it has to be said Romero only fully instrumentalized zombies and the boarding up against them. With the pictures in the house and the taxidermy, I cannot say he has gone much beyond the conventions, and his exaggerated introduction of the taxidermy even suggests that he may not have got that it generally is meant to represent something, and he thought it did so in an original way (but his flash effect is similar to the use put to of taxidermy by Franco in Count Dracula). For this suspicion, in a movie of suspicions, in a movie where nothing settles down,  we are never let off edge, so that one also remains suspicious of Romero’s grip on horror when he made this early film.

 

Picture play with Picasso’s Three Musicians in The Hypnotic Eye (1961): attempted murder by shower.

Rev., Jan 13, 2017.

At the beginning of the quite strange mad hypnotist movie, The Hypnotic Eye (1960), a young woman in her black slip, with a nice little landscape painting on the wall behind her, in the other room, prepares some boudoir action

hyp 1but then after she has applied a certain cream to her hair, we see her from a vertiginous angle, below, under a stove top grate, and she seems to be lowering her head to it

hyp 2for her to catch fire

hyp 3later another young woman, getting ready for bed, washes her face, with intimacy in the shot, all of this happening under her underarm

hyp 4and then we see her effaced in it, because it is hydrochloric acid

hyp 5there is an additional painting when her friends go to see the burned woman

hyp 6and, very characteristic of the time, it appears to be a small Vlamnick, or of that school, evoking the saying “pretty as a picture,” when the woman we are about to see is most definitely, not, or no longer (though promised that plastic surgery will fix her),

hyp 7then later in a ridiculous jazz club for the beats, when the bait girl is out on a date with the mad magician, there is another ersatz painting in the background

hyp 8in close up, it is abstract

hyp 9Later, one of the cops is killing time, trying to come up with an idea, and his idle musing is given figure in the shot by an ersatz work of modern art, abstraction

hyp 10and this might be the only situation I know of where the not having any idea of modern art is contrasted with lots of leads, and the confused busyness of modern life, by the bulletin board, serving as diorama, and, in his case, as dart board

hyp 11all of this comes together later when Alison Hayes presides over the destruction of the main female character in the movie, Marsha. As she walks into the bedroom, from out in the parlor, we see a typical picture indicating depeletedness of spirit, and, for that, a kind of willless automaticity, read by moderns as evil, a Utrillo

hyp 12whether it is an actual Utrillo is beside the point, it is meant to be read, generalized to a trope, as a Utrillo, and, for that, echo off of other uses of the same type of painting, I am thinking of the Four Sided Triangle, and then, fast forwarding to 1968, Night of the Living Dead, where Utrillo’s paintings were meant to represent the taste in art of the middle class home where there is not much energy in the taste, meaning that things have been depleted and incidental, a mere empty going through the motions. While this could be construed as the horror of everyday life in modern times, in horror movies this depletedness was associated with being paralyzed by fear, or undone of will by hypnosis, or control by another, and thus it represents the world as seen by a deer in the headlights vision, a demented, apotrapaic gaze

hyp 13

all of this then, generally, demonstrates that the movie had a pretty solid grasp of the tropes of using paintings in horror movies in the late 1950s, and for that, the outing was enjoyable to me. There is also no doubt that the primary visual devices of the movie are hypnosis vertigo devices, as per the hypnotic eye machine itself

hyp 14and then the image of the magician, where the evil eye is thought to originate, with a very good sequence showing posters of him writ large all up and down an alley

hyp 15And then, a second time when his large image, with its piercing eyes, seems to come up behind her for real, to haunt her

hyp 16For all that, the movie is arrested in the condition of the evil eye, and the evil eye as a device is a vertiginous whoosh device, meaning that the whole movie is draining down the wormhole to deep dream state. The fact that at one point the magicien breaks from the actual movie to engage the audience in devices that prove hypnosis to be true, and we are meant to participate as well, breaking down the wall between movie and theater, reininforces this idea. In this regard, then, the central image is one thing, and then there are the adjunct spaces below and diagonal to it, which expresses the disposition and distribution of the power of the evil in the lives of the character. In brain science there is a term to describe a certain type of membrane element in the meninges, the subarachnoid, and since arachnoid means spider, the image suffices to describe the array of spaces branching off from the central device, to indicate hypnosis indirectly. By far the most interesting and complete sequence in the movie is a shower sequence, the ladies’ self-mutilation, then, lead to the attempt by hypnotist and then the hidden power behind him, having him in control, Alison Hayes,which happens back at her apartment. This scene involves the Utrillo, but also brings into play several other works of modern art as it disposes the whole space of the menacing in and around the shower. First, Marsha comes home from her date with the hypnotist, and, surprisingly, the space between them is occupied by a Picasso, The Three Musicians

hyp 17there is absolutely no doubt about the identity of the painting, it is Picasso’s Three Muscians (1921)

hyp 18

No doubt it is sold, even in the movie, as a copy of a greater work of art. This identifies the young woman as classy, but middle class, that is, she has inherited from her mother the notion that classy middle class girls hang reproductions of famous works of modern art on their walls. But, the really fun thing about its use here is that it is employed as an action painting, that is, it actually helps, subliminally, the viewer navigate the action and figure out what is going on

hyp 19the second thing it tells us, but does not really, is that there are not only two people in this situation, there are three. It could be said, then, that Marsha is represented by the figure in the middle; and then the ‘white musician, the visible one, is the hypnotist, seeking her out as a woman, on a date, perhaps, as if it now in the takehome phase, for sex; but then there is the black musician, shadowed, on the right, and that is Alison Hayes, the dark presence watching everything from the door

hyp 20the painting, more specfically, in shot, in this instance, also represents the dance or game that is now underway about her, or rather, her body, which in this pose is subdivided into her breasts, oddly, her belly (which is a bit distended) and the her hands, which serve as open surrogates for her sex

hyp 21but then out of the other room comes Hayes, and I guess the director had decided that she would be profiled by the white musician, so, third thing, the energy of the scene, the interpersonal dynamics shifts again

hyp 22at this point, the hypnotist actually leaves her to it, having done his job. That is, he is a louse, under the control of Hayes, he was not on a date with her to be on a date with her, he was walking her into a trap, now he has delivered her, no interest in sex, so leaves

hyp 23but the image on the left is, oddly, of a boxer knocked to the ground

hyp 24this is an odd picture for a woman to have in her house! Either it means that she lives, in fact, with a man, and only is currently on the outs, of that she has in her a good deal of angst and animosity on matters of dating and men, and likes to look at that each morning as she goes off to work to buoy up her courage to fight in the world of men. But, then, the other funny thing is that he is, in the doorway, profiled by another female picture, a Renoir, out in the corridor of the apartment building, which is also odd

hyp 25together the pictures take him out of the action, exposing him as a loser, a depleted incidental pawn to the higher power, Hayes. And it is at THIS point that Hayes walks toward the bedroom, past the Utrillo, significant of hypnosis and loss of personal will

hyp 26Marsha is now hypnotized, and so Hayes can walk into her bedroom with her, there is no, why are you following me into my bedroom? Excuse me, this is private, and her menace is indicated by the door, the darkness, and even the apotropaic paintings at the door

hyp 27only when she later leaves, do we see more clearly that these are even a step down from the Utrillo, in terms of registering incidentality and moral emptiness, they are flower paintings, but, again, of an impressionist sort, so for the time would act not unlike the Van Gogh Sunflowers in American Werewolf in London, in David’s hospital room, to announce trouble

hyp 28and the trouble is quite remarkable. Hayes is taking the maiming of other women to a personal involvement level, and involving the shower. She not only goes into the bedroom with Marsha, she goes into the bathroom with Marsha, a double intrusion, then takes over her bathing, and runs the shower, Marsha standing there hypnotized

hyp 29it could also be argued, fourth, that in the above we have a three element shot, carrying over in its visual logic from the Three Musicians, Hayes now the dark one on the left, Marsha the white one on the right, and the spray the one in the iddle. Ee then have another effacing shot, not unlike the fire and the hydrochloric acid to indicate that the water has reached scalding level, and in this effort Hayes has in mind watching a nuder woman burned over all of her body

hyp 30the scene even takes on a slightly fetishistic porn-script nature (in the manner of CFNM fetishism, where men or women are variously clothed or naked in their sexual interactions, to provide them protective alibi formations to work around), she tells Marsha to strip, and though all the stripping happens below the camera, a lean down to the right and left indicates, titillatingly, that a dress is coming off

hyp 34this was perioically fun to me as in the same viewing week I had cause to comment on the meeting cute in Mulholland Dr. (2001), as Watts meets Harring first thing nude in the shower. In any case, this murder is interrupted by a knock on the door, it is the cop boyfriend, so Hayes has to retreat, and to do so she instructs Marsha that she will remember nothing of this, and then she snaps her out of it and leaves

hyp 35leaving Marsha to brightly answer the door in her towel, which I am sure the cop boyfriend was like, wtf, how she end up in her towel so fast

hyp 36and, indeed, when he comes in the door, he smells trouble, as indicated by all the ferns all framing him, and he looks across a questioning space at her bare shoulders, and the actual fact that she is naked under a towel, in his presence, with a wtf is going on here look

hyp 37this look figured out for us by an even more nonobjective abstract painting, going beyond the Picasso, to, here again, represent mental confusion, and coming up against a brick wall in trying to figure out what is going on here

hyp 38and a kind of fun detail here, indicating that even b movie directors sometimes knew what they were doing, is that she push closes the door with two hands, and a familiar hand pushing the door shut above, with a form of touch that indicates she is thinking about the date she was with, where did he go, he was hot, I coulda had sex with him, but remembers none of it, and is now kind of embarassed facing her boyfriend this way, thinking, how did I end up like this?

hyp 39she then goes into a rather embarassed pick up, how did things get like this? routine, and she picks up, it appears, her purse, and even her dress, she is profiled again, fifth thing, as cryptic and hard to explain, all discombobulated, by the dark musician on the right, again making think it represents Hayes off screen, when a dark, ie unseen presence

hyp 40

and then, sixth thing, she herself is rendered as a musician, or one being played by them, as her tripartite vertical division of bodily presence corresponds in a modern objectifying way with Picasso’s abstraction

hyp 42then he goes into the other room, to check out that no one is there, and when he has ‘done his job,’ and the evening’s mission is, in his mind, over, he makes use of the musicians painting one last, seventh, time to get her as the guitar in the clinch, naked under that towel

hyp 43and her hand plays the part again, eighth, now opposite of her push gesture at the door, of pulling him toward her, close, so one can only presume that very shortly after the shot she drops her towel and he three-musicians her good

hyp 44Therefore, with some lead in by way of incidental painting, this complicated little drama, all played out by the shifting reading of the Three Musicians, in EIGHT different semiotic shifts, makes for a pretty zesty shower and sex scene, 90% of which is left below the surface, or out of shot. The movie in general demonstrates that there are levels of depth in terms of depleted painting representing the emptying out of incidentiality, again affirming that horror movies had a decidedly mixed view of modern abstract act, always indicating either mental idleness or mental confusion, but then it plays out one solid scene in which a particular work of figurative abstract art acts as an action painting to orchestrate one of the most interesting shower sequences in the genre.