David Cronenberg is much more than a master of body horror, author argues
As a long-time admirer of David Cronenberg‘s oeuvre, I can confidently say that his films are not just horror or science fiction masterpieces, but profound explorations of the human condition. His unique ability to blend these genres with social critique and philosophical inquiry sets him apart as one of the most original directors of our time.
As a passionate admirer, I’ve been captivated by David Cronenberg’s work for more than five decades now. However, as Violet Lucca eloquently points out in “David Cronenberg: Clinical Trials,” this renowned Canadian director often misunderstood as a horror master is actually a complex auteur with a wealth of ideas beyond mere shock value. His chilling debuts, such as “Shivers” and “Rabid,” paved the way for his delving into the murky depths of science in films like “Videodrome” and “Scanners.” Yet, it’s not just the horrifying scenes that make him unique. His later works, like “Dead Ringers” and “Crash,” employ a striking visual language to delve deeply into societal and psychological issues, offering both tenderness and brutality in equal measure.
Using an intricately illustrated book, Lucca offers a thorough, critical examination that presents David Cronenberg’s body of work in a fresh perspective, moving beyond labeling him solely as a “body horror” master. She considers this categorization too simplistic and dismissive. Instead, she perceives the undercurrent of morality and social criticism in his work, even hinting at an affinity for darker themes like blood and violence. Lucca suggests that Cronenberg’s films can be analyzed through multiple critical lenses: as warnings against demagoguery during the era of scientific advancement, or as explorations of identity disintegration in a world influenced by wealth and desire.
Lucca, who previously served as a digital editor for Harper’s and has contributed articles to the New York Times and Sight and Sound, found herself captivated by the director’s work while attending the University of Iowa due to its striking resemblance to the openness, ambiguity, and intensity characteristic of mid-century European art-house cinema that she was immersed in at the time.
In her opening remarks, she mentions that characters in his movies grapple with a mix of awe and fear. She expresses that many of Cronenberg’s films resonate deeply with her as they are filled with profound sadness. She also notes the intense loneliness portrayed in these films which leaves a strong impact on her.
A movie Lucca mentions as embodying an unusual melancholy is David Cronenberg’s 1996 adaptation of J.G. Ballard’s novel “Crash.” The story revolves around a film producer who survives a tragic accident and becomes involved with a circle of individuals who find eroticism in car crashes. What sets Cronenberg’s interpretation apart is its compassionate, almost gentle treatment of the subject matter, making the film more relatable rather than exploitative in its grindhouse style.
Lucca remarks, “From the outset of his career, both sex and violence have been integral elements, whether you examine ‘Stereo,’ a 1969 black-and-white film he produced that’s almost a documentary, or ‘Crash.’ His use of these elements is indeed provocative. However, they also serve as a way to portray truthfully the human condition – bloodied and desiring flesh. I believe his exploration of sexual themes has been more groundbreaking, primarily because it’s viewed as a greater taboo according to the MPAA.
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In the sci-fi masterpiece “Crime of the Future,” directed by David Cronenberg, Viggo Mortensen, Léa Seydoux, and Kristen Stewart take on leading roles, offering a razor-sharp revisit to the filmmaker’s signature style.
In the early part of the book, Lucca draws connections between several of Cronenberg’s films and the landscape of the subconscious mind. For instance, she interprets “Dead Ringers” from 1988, a tale about the lethal codependency between twins, as an illustration of Carl Jung’s concept of the “anima” and “animus,” suggesting that the twins’ desire to unify their male and female aspects is central to the story. Similarly, she views “The Fly” from 1986 as a thought-provoking exploration of whether illness can fundamentally change one’s identity. Lucca invites you to listen to her perspective, regardless of your personal beliefs on these matters.
Lucca mentions that these movies have such a depth of underlying meaning that you can analyze them in various perspectives. His intention was not just to focus on the strange elements of a movie, for instance, ‘Naked Lunch’, but also to uncover any additional messages they might be conveying to us.
For Lucca, David Cronenberg’s distinctive depictions of bodily distortions – the oozing, mutated internal organs, intestines cascading from his characters like extended slinky toys – serve as a means for the director to externalize a character’s anxieties: the decaying body symbolizing spiritual disarray. “Cronenberg transforms the concerns we all share into something extraordinary,” says Lucca, “so that we can view ourselves in a fresh perspective.
Critics tend to draw a hard line between the early, in-your-face garishness of Cronenberg’s low-budget films and the more polished, less bloody psychological meditations starting with 2005’s “A History of Violence.” Lucca rejects that categorization, finding the same preoccupations with the mind-body problem and the riddle of identity across Cronenberg’s career. 1999’s “Existenz,” for example, is a prophetic film about our rapidly encroaching technological singularity, featuring as it does a video game that plugs directly into the spine. There is also the classic Cronenberg archetype: the technology guru who hard-sells scientific progress as humankind’s salvation but is in fact consumed by his own greedy messianism. In that sense, Cronenberg’s films are eerily prescient allegories of our present-day techverse and proselytizing profiteers like Sam Altman and Elon Musk.
From the 1970s onwards, David Cronenberg quickly made his mark by combining incisive social commentary with ominous storylines through his work, which began with college film projects. At that time, the Canadian film industry was just starting to establish itself in the global marketplace. Cronenberg’s early productions were backed by private investors who sought returns from government subsidies and tax incentives, thus providing a low-risk investment platform for high-risk artistic expression. This arrangement allowed Cronenberg to gain popularity and elevate the profile of Canadian cinema in America and worldwide.
As a devoted admirer, I can’t help but note that this period marked a significant milestone in David Cronenberg’s cinematic journey. He started bringing together his trusted team of collaborators, a group that included composer Howard Shore, production designer Carol Spier, and a select band of Canadian thespians, many of whom have graced multiple Cronenberg productions. As Lucca puts it, “Being surrounded by individuals he can rely on, who grasp his creative vision, has undeniably impacted how Cronenberg directs his films.” Over time, they’ve developed a kind of secret language, which helps conserve precious production hours on tight budgets. More than that, there’s a consistency in the visual aesthetic across his films, with Carol Spier playing a crucial role in shaping the tactile quality of Cronenberg’s visual style.
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Perspective: Is David Cronenberg our most original director?
Similar to Stephen King, who uses horror elements to delve into the intricacies of human nature, Cronenberg is frequently underestimated due to his frequent exploration within genre narratives. However, Lucca’s book debunks this misconception. Just as King is a literary titan whose work will endure beyond his writing days, if justice prevails, Cronenberg’s films will also continue to be appreciated. The persistence of some critics and audiences in overlooking Cronenberg’s films is merely a reflection of their profound impact and relevance.
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2024-12-24 14:32