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ALTERED STATES REVIEW TIME!

OK, this tumblr is, today, a vehicle for me to review ALTERED STATES. And you (the one person who stumbled on this review two-hundred years from n- oh who am I kidding, when the aliens from A.I. who show up to thaw out Haley Joel Osment and the teddy bear who was the real hero of that movie find this) should be very excited about this. Because this movie is insane. And highly entertaining.

Yes, the movie poster looks like ass. If I told you this was a movie where William Hurt (not the William Hurt from that awful 90's Lost in Space remake, or the one who slept through an entire performance as Duke Leto in the Syfy miniseries of Dune. This is before the body snatchers got him) took ayahuasca and got in a isolation tank and it blew his mind so hard he started devolving into a neanderthal and creating dimensional portals and he couldn't stop because he was addicted to finding the truth of existence... Well you wouldn't get that from this poster, would you? So let's move on. Shall we?

The film opens in 1967 with William Hurt's character, psychopathologist Edward Jessup, already immersed in a sensory deprivation tank, whilst his colleague and “buddy” Bob Balaban (he's just Bob Balaban in everything I'm not giving you his character's name look it up yourself if it's bugging you so much) oversees.

Now, you may notice I put buddy in quotes. The reason for that is that Jessup is a self-obsessed ass who seemingly has no reason to be around other people unless he can expound to them one of his various monologues. Bob Balaban barely gets a word in edgewise throughout the entire film. Bob Balaban.

See, Jessup loves the sensory deprivation tank experience. Unsurprisingly, as it allows him to be completely alone with himself for hours.

Later, at perhaps the lamest party ever, a bunch of faculty are chilling out and listening to the Doors. Everyone we see is talking about Jessup. Why? Well, much as Jessup is obsessed with himself, everyone else seems to follow suit by being obsessed with him. One young woman, Emily, (Blair Brown) is introduced to him in this very shot below as he arrives at the party:

Notice how is framed in holy light? There is a closeup after, of him framed in blinding glowing light followed up with a zoom in on Emily's face, enraptured with this incredible dynamic man. So much so that the moment he tries to make a goddamn sandwich she starts grabbing his celery (get your mind out of the gutter) and flirting with him. Which for these two that means talking science, immediately. Talking more at each other than with each other. This is often the way with Paddy Chayefsky's scripts.

PAUSE

Paddy Chayefsky is doubtless one of the great American writers for the screen. He wrote Marty, The Hospital and Network (which is a fucking incredible piece of work). He got an Oscar for all three. He also wrote this movie (Altered States, remember? Good lord) and disowned it completely three weeks in to production. His scripts tend to have very intelligent, driven characters at the center, who monologue extensively at each other. These scripts are not attempting to sound naturalistic.

Ken Russell, however, directed the film. He, like Chayefsky, is top notch at what he does (Direct. I said he directed the film like a second ago, come on keep up). His films, like Women in Love, The Devils, (which was banned in several major countries upon release and has never been shown publicly in its full, uncut form (by the way it's a masterpiece)) the Who's Tommy, Gothic, and Lair of the White Worm are all fucking gonzo nuts. I mean like, when you gave this guy the reins, you were going to Overthetopsville and there will be no stops on this trip. And god bless! I love directors who GO for it!

You're getting the chance to make a movie. Stop hemming and hawing and hit me over the head with what you want to say! Film is a visual medium, USE IT!

I feel I might have made my feelings clear here. So, moving on...

Ken Russell and Paddy Chayefsky immediately started butting heads, right from the start. Chayefsky was a BIG deal, and he wanted control over the picture in a BIG way. Ken would listen to his suggestions on everything to lighting and set dressing, and politely tell him, “No.”, and continue being the director of the film. Chayefsky hated him pretty quickly.

He had much more control over films like The Hospital. Which, if you watch The Hospital, well, it shows. You've got great actors (George C. Scott, Dame Diana Rigg (Dame may be the greatest official title of all time)) saying great dialogue. But its just two very witty bitter people sort of expounding on topics and speaking at each other and suddenly admitting they are in love and discussing what drapes they will have to buy for their new home. It's utterly preposterous, and it doesn't work in the way Sidney Lumet got it to work in Network, by literally making one of the lead characters realize his life is turning into a ludicrous soap opera.

So of course Ken tried to humanize, naturalize, the dialogue sequences. And it works! The film feels more human than the Hospital or Network. Despite the fact that Jessup is literally becoming more and more inhuman throughout the film. One of the ways he does this is by having the character's eat, drink, and work on other things during the dialogue sequences. This is perfectly normal in film, it's called giving the actor “business” to do, during the scene. Chayefsky HATED this. “They are mumbling my precious dialogue! Chewing through it! Sucking it through a straw!” Sorry, Chayefsky buddy. It works for the picture. Chayefsky also felt the actors were too emotional with his dialogue. Right. See, they call that acting.

UNPAUSE

Which brings us back to the first meeting of Emily and Jessup at the party. They are eating during this important scene! I can just picture Chayefsky seeing this, and running to the studio brass to tattle and get Ken Russell fired (as he got Arthur Penn of Bonnie and Clyde fame fired before Ken Russell came on board).

Emily and Jessup are, true to Chayefsky form, extremely intelligent, driven people and hearing them discuss topics such as anthropology and schizophrenia is quite interesting. It's just that what is to come, film being a visual medium, will eclipse just about any dialogue, no matter how good, from our mind thingys.

The two give up on the science talk and go straight to banging on her couch. After, she asks what he was thinking about. His answer is priceless. “God. Jesus. Crucifixions.”

She smiles.

Bwahahaha! Oh Paddy Chayefsky, you sure know women.

He admits he used to have religious visions. She listens to him from the sweaty couch whilst he sits naked on the floor, and starts going on about his father's horrible death of cancer and his loss of faith. And he admits to her that he's a nut. Her response is to call him a fascinating bastard. I think Lucas may have taken notes for Padme and Anakin.

So naturally, they get married immediately.

But none of that matters because Jessup gets back in the sensory deprivation tank and has his first vision. A nightmare of his dying father and lost faith in christianity. It's pretty great, filled with foreboding hospital rooms, his father's face being covered in a burning Shroud of Turin, everything covered by horrible blood red clouds and then THIS FUCKING THING SHOWS UP AND ITS ALIVE AND WRIGGLING

AAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHHHHHH!!!!!!!!

excuse me...

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHH!!!!!!

The many-eyed goat is slaughtered over a gold bible and suddenly Jessups screwing Emily again and we enter a blood vessel looking thing and the vision ends and he never mentions this again. Oh. Okay,

Emily continues on about what a nut Jessup is as they make marriage plans. Her monologue:

“You're an unmitigated madman. You don't have to tell me how weird you are. I know how weird you are. I'm the girl in your bed the past two months. Even sex is a mystical experience for you. You carry on like a flagellant... Which can be very nice, but I sometimes wonder if it's me that's being made love to. I feel like I'm being harpooned by some raging monk in the act of receiving God. (Emphasis mine)

"And you are a Faust-freak Eddie! You'd sell your soul to find the great truth. Well, human life doesn't have great truths. We're born in doubt. We spend our lives persuading ourselves we're alive. And one way we do that is we love each other, like I love you. I can't imagine living without you. So let's get married, and if it turns out to be a disaster, it'll be a disaster.”

It's a disaster.

As in, by the next scene. It starts off happy enough looking, they have kids and people are smiling. And hey, wow it's seven years later! But, well, see, whoops, they are getting a divorce. Well, not they. See, he is divorcing her because he considers the seven years with her a complete waste.

She still loves him, desperately. He doesn't give a shit about her or the kids. He tells Bob Balaban this, straight up. And then starts bugging him about deprivation tanks and Hinchi Indians in South America who have sacred mushrooms that can really fuck you up.

It's at this point you would like for Jessup to be hit by a Mack truck. But the movie continues on. By the way, this is one of the kids he doesn't give a crap about:

That's right. Drew Barrymore's first role is a kid that William Hurt doesn't give a shit about. Something that William Hurt would make a career out of with narcoleptic performances in Lost in Space and Syfy's Dune. So, Emily takes the kids to Africa for her anthropology work while Jessup goes to South America to go deeper into his own creepy mind.

The Hinchi Indians agree to allow him to participate in the drug ritual. They enter their holy cave.

This shot is beautiful. At this point the film becomes increasingly gorgeous. Ken Russell has started to go into overdrive, ladies and gentlemen. Buckle. Your. Seatbelts.

The Indians grab Jessup's hand and cut him, freaking him out. They pour his blood into the drug mixture. They begin to drink. Then he takes a sip. The intensity of the film here has quadrupled. The vision begins, fireworks going off all around him. He sees cave paintings of humans and komodo dragons and this:

The proper life he left behind with Emily. He's convulsing, sweating. The Indians are all around, masked. Snakes. He's laughing in pain. Energy spills from the void. A snake under the parasol strikes and begins to strangle him. He and Emily march toward a nuclear explosion as energy pours from the cut on his hand, becoming a lizard. From within a sandstorm, Emily watches him, naked. Jessup looks at her, entranced, as the soothing sands cover them both, slowly.

It's a beautiful sequence. A perfect film sequence. I can't overstate how strong the vision sequences are from this point forward. Great visual effects work and the madman mind of Ken Russell create something unforgettable, with it's own pace, independent from the rest of the film.

Jessup awakens with a komodo dragon laying before him, ripped to pieces. The Indians and the others all claim he killed it in rage. Jessup remembers nothing, takes samples of the drug to reproduce it, and goes back home.

Back home, Jessup keeps doing as much of the drug as he can and having Bob Balaban record results. They can't up the dosage any more so Jessup hops back in to the self deprivation tank to create a more extreme experience.

In his next session, Jessup states he is having a vision of early man, hunting a deer and killing it. Suddenly he states he is one of them, killing the deer. He begins to grunt like an animal. The two pull him out. He's incredibly pale, blood seeping out of his mouth. He can't speak, and has difficulty breathing. He insists they do an X-ray. It shows that there is a vocalizing lump in the front part of his throat. Jessup claims that his body had begun to revert to a simian state. The medical doctor agrees, stating the throat X-rays looks like that of a gorilla.

Luckily his throat returns to normal. So Jessup finishes up his day by having over a student of his and sleeping with her.

Our hero, people!

At this point we hardly feel sorry for him as his body suddenly begins to twist and bulge in the middle of the night, shifting in and out of neanderthal shapes. It's a horrific sequence, disturbing as hell. You certainly didn't expect the film to shift into body horror.

Jessup feels normal after a while. but sees visions of lava explosions, the birthing of the Earth all around him. Not a good sign.

He goes to pick up Emily from the airport the next day. She asks how he is doing.

“Oh, fine.”

Yeah right.

Emily has been told what Jessup has been doing and is worried, which of course pisses off Jessup even more. The guy is obviously obsessed with reaching the truth and root of existence, much as Emily surmised earlier, and we see he has no fear of even losing his own soul, again true to her word. The only thing that allows us to give a shit about him at this point is that Emily cares for him and she's decent people, okay?

So back Jessup goes into the tank with his ayahuasca or whatever it is. Alone. The tank door opens from the inside.

The hand that pushes it open is covered in thick hair. He's devolved.

Ape-Jessup escapes the tank room and chases a janitor around the building. Again, this scene is fucking freaky as hell. We can't get a good look at this screaming animal that was Jessup.

The janitor gets a guard to help and chases after him into the boiler room, where we finally get a good look at him when he assaults the security guard and escapes.

AAAAAAAAAHHHHHHHHHHHHHHHHHHH!!!!!

Ape-Jessup runs through the city at night, making his way to the zoo where he kills a antelope and eats it. The Ape-Jessup sequence goes on way too long, but is nonetheless unforgettable. The makeup is much more convincing than the above picture suggests, and whoever performed Ape-Jessup did an admirable job.

The cops find an unconscious Jessup in the zoo and bring him in. Emily picks him up and questions him. Jessup admits everything that he can remember. He also admits that he probably killed that security guard. And once again doesn't seem to give a shit. Prick. He calls it the most supremely satisfying time of his life.

Even Emily seems disgusted with him. But, she's also fascinated with what he's accomplished. As an anthropologist, his transformation fascinates her. And so, she agrees to help oversee his next session. Big mistake.

Before the big session Emily and Jessup romantically reconnect, and then into the climactic session we go!

Get your popcorn ready!

After a few hours in to the session, the video monitor shows Jessup begin to literally melt apart like goo, reverting to primordial ooze, the very beginning of existence. An attempt to open the isolation tank doors blasts everyone unconscious, as light and energy pour forth. Emily is the only one left. She sees Jessup's life energy pulse from within the tank.

Rain pours down around them. The pipes on the walls twist and turn like jelly. The ground is covered with a pool of swirling fog and energy. Emily advances toward the vortex of the tank.

In the emptiness of the beginning of everything, Emily seizes the energy before her and reconstitutes Jessup.

They take him home. While he sleeps, Emily rages over the fact that she loves such a insane bastard, and can't get over him. And, then, after Bob Balaban leaves, leaving Emily alone, Jessup wakes up.

He sweetly admits that the truth he learned was that there was no learnable truth, just unknowable horror, and all that's real is human experience. And he'll be a good boy from now on. Well too bad!

Because that horrible truth isn't done with him, and it's back to goo-Jessup! Emily tries to help him, grabbing him, but this in turn effects her, turning her into a shimmering lava form of herself. Both of them begin to self-destruct as Jessup, enraged, watching her in pain, struggles to retake his humanity, slamming himself into the wall, reforming himself through sheer will and physicality. He grabs her and brings her back, mirroring what she did for him during the final session. They embrace naked in the hallway. He finally admits, “I love you, Emily.”

Fade to credits.

Awww true love!

What can I say to sum up? Awesome 80's practical effects. Genius wacko go-for-it Ken Russell directing. Out of this world vision sequences. A awake and actually remarkable performance from William Hurt. An occasionally turgid but often fascinating script by the ever ornery Paddy Chayefsky. Whats not to like?

Well, the ending is a little rushed. The ape sequence goes on for a little too long and takes up perhaps too much of the films overall running time. The central love story is, well... a little hard to swallow, but hey, I guess there really is somebody out there for everyone. Even self-absorbed, deadbeat, cheating, sensory deprivation loving, ayahuasca dropping, Harvard teachers with a messiah complex!

And on that note, aliens from A.I. Artifical Intelligence, have a good day, and don't leave poor Teddy alone with no one to keep him company!

Sayonara!

#altered states #ken russell #movies #review #funny?

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