The American Astronaut

A true original. I loved this film and the wild wonderful universe that McAbee was able to create on what must have been a $1.80 budget. It has a hypnotic quality, off beat characters, and even a touching father /son relationship.. what more could you want? There is a rousing scene at the beginning when the astronaut walks from his ship to the space bar. His walk goes for some time while a wonderful instrumental plays. If you don't enjoy this part for its simplicity, you probably won't like the rest of the flick. While it dosn't look like this film will get a major distributer ( I got to see it at the Washington DC Film fest with McAbee there to discuss it!) the soundtrack album is available at americanastronaut.com. I'm listening to it as I write this! This is the fist movie in a long time that I have seen that I didn't want it to end.. McAbee knows the first rule of showbusiness: Always leave them wanting more!

A low budget B&W film. The look is modeled after old Sci-Fi films like Flash Gordon. Including drawings for the spaceship exterior with camera zooms and pans. The cinematography is more "film noir" and is interesting in parts and just contrasty in others.

The acting is very good in this campy storyline. There isn't a plot or character development worth mentioning the campy wierdness and design is what drives this film.

Overall it is an interesting venture with some good jokes and situations but is very quirky for the general public.

As for the ending all I can describe is that it does.

If you have an interest in film, this is an interesting venture. If you are looking for mainstream films, this ain't it.

'The American Astronaut' promises much more than it delivers, I'm sorry to say. It has all the hallmarks of a cult movie - comedy musical western with a rock score - but falls short of what it could have been.

Cory McAbee (director, writer, star), who doesn't come across as particularly interesting as himself - guesting at a screening of this recently - plays Curtis, the astronaut of the title who wins a dance contest on Ceres, gets given a job to do, and - well, it's downhill from there, really.

As Professor Heiss, Rocco Sisto comes across as very Ed Wood, moaning about everyone ignoring his birthday, reducing people in his wake to piles of sand. Greg Russell Cook is 'the boy who actually saw a woman's breasts', a bored cutie in a Greek God uniform; while Tom Aldredge is a bitter old man in the pub on Ceres who tells the long-winded, and rather silly 'hertz doughnut' joke.

The main premise of this messy film is to showcase the real-life band (made up from McAbee, the producer, and the Ceres house musicians) who wrote and perform the score. There's a lot of promise in the musical numbers - one performed in the men's room (now, that was funny); one performed in silhouette in a shed floating in space; one performed by 'the Boy' on stage; one performed by Professor Heiss after a murderous spree, one performed by fat dull Eddie the barman on Ceres, etc. etc.

The photography, when it isn't being 'look how low budget we are' (any of the shots with the space ship), is pretty good. The film appears in black and white and uses minimal sets and cheap costume to move its (limited) story along. But it could have been a lot more far-out and wacky. I came away feeling just a bit disappointed and felt that the film-makers themselves lost interest a fair way from the end. Pity.

... you'd have got something like The American Astronaut.

Writer/actor/director/musician Cory McAbee's ultra-low-budget indie The American Astronaut is something that almost defies description. Shot in black-and-white, it hearkens back to the science fiction of the 1900s and its description of the universe as consisting of a series of 'themed' worlds. Venus is inhabited solely by Southern Belles; Saturn by lonely miners; and there's a bar with an all-male dancing contest in the asteroid belt. Space cowboy Samuel Curtis wends his way through this dreamlike universe with a blase charm, like Han Solo if he'd suggested to Greedo that they don't fight, but instead go bass fishing. Pursued by a deranged Pee-Wee Herman-esque mad scientist (played by noted character actor and HBO regular Rocco Sisto), he has to take The Boy Who Once Saw A Woman's Breast and exchange him for a corpse, which he can then take back to Earth, along with the stinking hydraulic gimp that he picks up along the way.

If this all sounds confusing, that's because you're over-thinking it. McAbee's fourth movie and his full-length debut is a collection of oddball moments and weird incidents, told with a certain sweetness of tone. Early David Lynch is a good sign post, but then so are the Quay brothers. Yet neither has McAbee's well-intentioned sense of humor. There are no overt jokes, but somehow he catches that mood of security that pervades the oddest of dreams. No matter how bizarre, it never becomes terrifying. This is, of course, helped by the occasional song and dance number, with music provided by the director's day job in his band The Billy Nayer Show.

If McAbee has made any mistake, it's that this is almost too relentlessly and resiliently oddball. Conventional audiences will have no truck with this, and those looking for subversive cinema may find that it almost tries too hard to be off-kilter. However, while McAbee does feel like he's pushing his own personal envelope, it's undeniable that he is has unique and perverse cinematic vision. Most importantly, his vision allows him to make a true creative virtue of his low-to-zero budget. Primitive space cowboys who managed to launch their barn into the solar void use tin cans as oxygen filters: space travel is represented through flash cards: and bizarre alien cultures are summed up by raiding the prop cupboard of the local amateur dramatics society. In less talented hands, this would be abortive. Yet McAbee thinks around all the problems out of which so many other directors just buy themselves.

I saw this film at the International Film Series in Boulder, Colorado, and was initially bowled over by its inventiveness. Even though this appears it's his first film, Cory McAbee plunges us into a bizarre world with supreme confidence. The budget is low but it doesn't seem like the filmmakers sweated it - they spent the money on production design and great costumes rather than trying to do convincing spaceships-flying-through-asteroids shots. It reminded me of Eraserhead more than any other movie - using lighting, props and sound effects to set the tone. But, ultimately, what is this movie other than a showcase for the band's music? The musical interludes occasionally drive the whole film to a grinding halt. They brought me out of the movie and I got very conscious of sitting in a movie theater restlessly waiting. The songs are funny but they frequently have very little to do with the action of the movie. I wonder if all of them were written for the film or if the band just wanted to put in some of their regular songs. And, the ending was very unsatisfying. I mean, I definitely feel like I got my money's worth but after sitting through an amazingly creative patchwork of sci-fi serial/western/off-off-Broadway musical you'd think they could have summed it up with one more setpiece. There seems to be a totally-unforeseen mini-revival of the musical going on nowadays and if you ask me, Hedwig and the Angry Inch is the only film that's really pushed the genre forward into new territory.