Greetings, dear readers! Welcome to another edition of the Sunday Morning Movie. Today, we’re diving into the unconventional and provocative world of Sweet Movie, a film that blends surrealism with absurdist comedy. Prepare yourselves; this one is not for the faint-hearted.
And here’s a sneak peek of next week’s feature, An Ideal Husband:
Critics have shared their opinions on Sweet Movie:
Roger Ebert comments:
Dusan Makavejev’s “Sweet Movie” opens with what resembles a typical National Lampoon scenario, featuring an oil mogul named Mr. Kapital organizing a global beauty contest for a virgin bride. However, the film quickly evolves into one of the most unsettling and thought-provoking experiences of recent cinema. The latter part of the film, particularly its final 45 minutes, focuses on raw human experiences—eating, drinking, and even more intimate bodily functions.
Rather than sensationalizing these themes, Makavejev uses them to confront viewers with uncomfortable questions about human nature and societal norms. While we often consume violent content in media, why do the natural processes of life disturb us? The juxtaposition of beauty and grotesque realities compels us to reflect on our reactions.
Yes, the discomfort is palpable. Makavejev’s bold use of imagery defies convention; scenes where characters engage in intimacy surrounded by heaps of sugar or in a chocolate vat challenge our sensory perceptions. The film’s blend of love and violence prompts a visceral response that demands active engagement from its audience.
While I wouldn’t label it a success, I found Sweet Movie daring and unforgettable in its imagery. Makavejev’s works explore themes of Marxism, sex, and personal interactions in unique, subversive ways, often reminiscent of a Jean Bosch painting where reality warps into bizarre connections.
Kinetoscope describes it as follows:
A risqué joke disguised as a battle cry of hedonism, Dušan Makavejev’s Sweet Movie distorts mid-century American advertising norms, turning its saccharine imagery into sharp critiques. While its anarchistic essence is palpable, the film falters when attempting to construct a consistent argument about morality. Makavejev’s use of shock value both captivates and dilutes his ideological coherence, which is essential for successful artistic commentary.
Here’s my perspective:
Where do I start? This isn’t typically the type of film I gravitate towards. The closest comparison that comes to mind is John Waters’ work, which has never resonated with me. Sweet Movie intentionally provokes, and that’s not often my cup of tea. I believe a compelling story should unfold without needing to rely on sensationalism to make its point. However, upon reflection, maybe that’s the very purpose of this film: to shock and challenge.
Surprisingly, I did find moments of enjoyment in Sweet Movie, despite its gross-out scenes (the banquet was particularly troublesome, making the defecation scene seem mild in comparison). One cannot deny the film’s vivid color palette, which is both striking and engaging. The bizarre storylines, while odd, hold a certain charm that I found endearing rather than irritating. Nonetheless, I can only grant it a single star; I’m glad I experienced it, but I don’t foresee revisiting it anytime soon.
For those intrigued, there’s an interview with the director on the Rarefilm page that you might find interesting, located just below the film itself.
Director: Dušan Makavejev
Writer: Dušan Makavejev
Notable Actors: Carole Laure, John Vernon
Plot Summary (Spoilers!):
Storyline 1:
Miss World Canada wins a peculiar prize: marriage to a milk tycoon. Unfortunately, he turns out to be overly controlling, leading her to reject him. After enduring torment, the tycoon has her kidnapped by his bodyguard for further mistreatment. Ultimately, she finds herself packed into a suitcase and shipped off to Paris, her fate uncertain.
From there, things take an even stranger turn. She becomes involved with a Mexican singer named “El Macho” and is ushered into a commune of artists where she witnesses reenactments of childbirth. Eventually, she finds herself in a chocolate commercial, submerged in a vat of the sweet substance.
Storyline 2:
Anna Planeta is an eccentric figure, captaining a candy-filled boat adorned with Karl Marx’s head, navigating a Dutch canal. She seduces a wayward sailor in a bed of sugar before fatally stabbing him. As if that weren’t enough, she lures children aboard her vessel, seemingly leading to their demise. Fortunately, when the authorities discover their lifeless bodies along the canal, they inexplicably rise from the bags, alive once more.
