Videodrome

The president of the Civic TV - channel 83, Max Renn (James Wood), is always looking for new cheap and erotic movies for his cable television. When his employee Harlan (Peter Dvorsky) decodes a pirate video broadcast showing torture, murder and mutilation called Videodrome, Max becomes obsessed to get these movies for his channel. He contacts his supplier Masha (Lynne Gorman) and asks her to find the responsible for the transmission. A couple of days later, Masha tells that Videodrome is real, actually snuff movies. Max's sadomasochist girlfriend Nicki Brand (Deborah Harry) decides to travel to Pittsburgh to have an audition to the show. Max investigates further, and through a video of the expert Professor Brian O'Blivion (Jack Creley), he learns that that TV screen would be the retina of the mind's eye, being part of the brain, and Videodrome transmission creates a brain tumor in the viewer, changing the reality in video hallucination.

"Videodrome", in my point of view, is a prophetic movie of David Cronenberg. The first time I saw this movie was in 1985 or 1986, when video-clubs where novelty in Brazil, and the local price of a videocassette was more than US$ 650.00. In that occasion, I recall that I was visually impressed with this gore, weird and bizarre movie. Twenty-three years later, I have just seen it on DVD and I realize the vision of this great director. He was able to foresee the importance of television for mankind, influencing people with sublimated messages, manipulating audiences and becoming very powerful, and how violence on screen can generate violence. I particularly like the following quotes: "The television screen is the retina of the mind's eye" and "Television is reality, and reality is less than television." Last but not the least, Brazil is not located in Central America, but in South America. My vote is seven.

Title (Brazil): "Videodrome – A Síndrome do Vídeo" ("Videodrome – The Syndrome of the Video")

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.

Max Renn's found a brand new channel to explore, where it comes from, whose transmission, he's not too sure, broadcasts torture, hurt and pain, you might be curious but refrain, it's got him hooked and things are getting quite obscure. His hallucinations feel very real, a gaping mouth inside his belly's a big deal, consumes a gun and video, controls his actions, where he goes, there must be awful indigestion that he feels.

It wouldn't be so bad in the digital age fortunately, I'm sure a small USB slot opening up in your midriff wouldn't be anything like as bad as one the size of a VHS cassette - more like keyhole video.

I had the "bad luck" to watch eXistenZ well before i set my eyes upon this work of director David Cronenberg. Bad luck, as eXistenZ basically consists of the same ingredients as Videodrome, and kind of spoils the subliminal story line of Videodrome. I guess it's impossible to see Videodrome and eXistenZ as separate movies, as they both handle a subject that obviously intrigues David Cronenburg. Where eXistenZ had so much more to it, for Videodrome, the subject is really the only good thing about it.

To me it seems Videodrome suffers from a lack of enthusiasm from both director and actors. The flat acting of pretty much everybody, but especially James Woods, turn the characters from potentially mysterious into plain geeks. There's Deborah Harry, who moans herself halfway through this movie (be it in bed or in the torture room), as a kinky radio-presenter and there's a strange TV-program saleswoman dressed like a Bulgarian fortune teller. Also, a number of outbursts of violence in this movie are either witnessed by zombie-like bystanders or are just ways to force the movie through some big holes in the script. With these facts, the unexpected plot twists become highly incredible.

Maybe Videodrome made some impact in the time it was released, but nowadays the idea that a video-tape embodies evil is somewhat outdated. Cronenberg was a bit smarter when adapting the story for eXistenZ (can't help but mentioning it), as it tells of an electronic device which may just as well never be invented, and therefore will give the movie more longevity than Videodrome.

Videodrome would be a must-see for Cronenberg die-hards, as it shows him making an early attempt at making a movie that shows a world, switching between reality and hallucination, on the brink of revolution. He finally succeeded in this with eXistenZ, which is a much better attempt in telling the Videodrome story.

Videodrome is truly a surreal experience. I do not want to include too much information as that would spoil the film for "virgin" viewers. If you are familiar with Cronenberg's work, you may have an inkling of what you're in for. Videodrome can drive one to the brink of madness, and then tell you you've been there for an hour and a half. From scene to scene you can't tell what's real and what is in James Wood's imagination. It's utter insanity, but it's great at the same time. This film is a good companion piece with Cronenberg's Existenze. When you can wrap the audience up in your movie, you have accomplished something few have. And David Cronenberg seems to do that time and again. Cronenberg is not for the faint of heart, definitely.