Symbiopsychotaxiplasm: Take One

It's simple.

It's a documentary (or is it?) about people trying to film a scene, and the people filming the scene are themselves being filmed, and Miles Davis is playing consistently in the background, and there's interludes where people talk behind the scenes about the nature of the film they're both in and making - including whether they're actually acting or not, and whether anyone will see the film, and how things may or may not be edited - and all the while, everyone has to deal with various interruptions as well as general existential dread and confusion, and then a very interesting homeless man (or is he?) hijacks the film and it then ends, and then there's an apparent part 2 made almost four decades later.

I might've missed something.

Like I said... simple.

After reading the handful of IMDb reviews, I believe the ongoing debate about how well Greaves executed his directorial vision is justified. I do like that I still wonder how much was planned and how much was impromptu. However, I'm not convinced the film makes a point.

What was so much fun for me is Patricia Gilbert's performance. In the beginning of her "screen test", I found her mesmerizing. She's angry, she's loud, she's enraged. Ironically, in a different "screen test", she downplays it, even lamenting when not filming that she thought she'd over-acted prior.

I was surprised by Susan Anspach's appearance. I recognized her from Five Easy Pieces with Nicholson, as well as other projects. It was a welcomed delight.

Although I will be watching this again when given the opportunity, I won't seek it out. I also don't recommend it for those looking for your typical, Hollywood send-up. It's for cinema addicts who enjoy experimental fare.

Are we, prospective viewers, supposed to be impressed with the title "Symbiopsychotaxiplasm"? It certainly piqued my interest, enough to get the DVD from my local public library. Plus I have an attachment to the 1960s, as I finished college, got married, started my career, and had my first child.

However I simply could not get into this, I watched some, skipped a bit, watched some more. I was not entertained and I could not find anything intellectually stimulating about it.

I see that there are a few really positive reviews here, it makes we wonder if they really are that high on it, or are they simply trying to do a favor to the producers and distributors of this film. There are also what I will call "balanced" reviews, discussing pros and cons, I would trust them more if I were reading reviews to see if I wanted to invest my time. I suppose I probably should have done that first.

I gave this film a three only because it kept me interested enough in watching all of it. The film was an interesting experiment but brilliant? That's a stretch, at best, but for its time a big maybe, perhaps. It's a film about nothing but it is a film that is also filled with egomaniacs, misogynists, wannabes and hangers-on. I saw more talent from the candid crowd shots than I did the cast and crew combined of what the third party film crew was filming when the lens was actually focused or the view finder wasn't fixed at a treetop because someone was holding the running camera under their arm. It was a depressing journey on a continuous loop going nowhere, a carousel of blathering idiotic dialog and smug pseudo-intellectualism. It is an interesting time capsule but it's cringe inducing for any woman to watch. The interesting aspect is how many women were involved in the film crew (as well as the actresses) and not one of them flinched at the blatant and nasty undercurrent of misogyny that flowed throughout which was about the only constant this film accidentally chartered a course on and that was the subsequent impact this film left in its cinematic impact and wake.

I AM IN SHOCK!!!

After my first viewing, I was in shock! After some reflection, I really didn't feel one viewing was enough to write a review, so I watched the Special Features segment on William Greaves (At one hour, almost as long as the feature itself!) and then I watched the entire movie again...Here is the comment I was going to use after just my first viewing: "Is it an extremely original concept in film-making? Yes, undoubtedly! Is it enjoyable and watchable? For me, at least, the answer to that question is 'Not so much!'

8*******" Boy, just how stupid am I, anyway? (Rhetorical question, of course!) Here I am, at 76.2 years of age, and it wasn't until yesterday that I became aware of the name William Greaves! I really can't remember the last time I could look anyone and everyone in the eye and say the words, with soulful and unabashed conviction..."GENIUS!... Pure, Unadulterated GENIUS!"

Sitting here at my computer, focusing on authoring this review, the SYMBIO-experience has inspired me to an extent unparalleled by any other film in recent years. My job now: Articulate this in a way that, in turn, will inspire you to Queue, watch and perhaps produce a review of your own. Here, perhaps the most challenging aspect of review-writing is to avoid anything resembling a spoiler. Don't read the NF Blurbs. One definitely contains a spoiler, which could easily deprive you of the joy of "Getting It" all on your own! The 2 things which stand out most in retrospect? First, the sheer simplicity of the applied concept itself is truly inspirational, in and of itself. Second, that it took a quarter of a century, after the fact, for Mr. Greaves to get a decent screening and begin to get some of the recognition he so sorely deserved for this cinematic milestone.

Couldn't help but notice that "SYMBIO" was shot in August 1968, just 3 months after the release of Stanley Kubrick's 2001. What do the 2 films have in common? Well, thematically, not much, really. It's hard to imagine a person like Greaves not having seen it, so...Who knows? We could always ask him! REVISED RATING... 10**********

ENJOY! / DISFRUTELA!