Sep 27 2010
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Stream Iguana Online.
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Monte Hellman’s Iguana is a recent film for this director, who previously helmed skewed action films like Two Lane Blacktop and Cockfighter, as well as the equally skewed Westerns Amble in the Whirlwind and The Shooting.
Here he tells the anecdote of a 19th century sailor, Oberlus, played by Everett McGill-a man whose face is half normal, half bizarrely deformed, earning him the nickname that gives the film its title. His fellow sailors disfavor and ridicule him; he escapes to an abandoned isle in the Galapagos to put his believe “kingdom” based on his declaration of war on mankind.
Making those who foolishly dock there his slaves, his kingdom grows to a total of five, aside from him-a studious ship’s clerk, a cook, a soundless, a dazzling woman, and the rebellious feeble captain of the ship on which Oberlus sailed. He brutalizes those who disobey him and rapes the woman repeatedly.
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In spite of the character’s overly black psychology, Hellman infuses the film with a momentum based on Oberlus’ conflicting emotions. The Iguana, as it turns out, is not completely sad. He wants to learn to read and forces the clerk to command him how. When the woman tells him she’s pregnant, his face seems to soften; he then treats her with what appears to be a sense of compassion. The feel of this film is made compelling not so mighty by the acting, which is elegant yet not substantial, but by the astute portraits of characters who reply to their imprisonment in various ways. For imprisonment can be physical-shown by the leg-irons Oberlus makes his “subjects” wear constantly-or psychological, that is, of course, the prison in which he himself exists.
There are minor problems-McGill really doesn’t know how to deny with a convincing accent that seems to be an attempt at Cockney, but doesn’t quite originate it. And the beheading of one “slave” by another is not credible based on the dialogue that immediately preceded the horrible event. Yet in spite of these and other dinky mistakes, this is a film all the more noteworthy because it is, in fact, based on a apt memoir.
Not a classic, surely, but an keen work from a man whose first film was, have it or not, the Roger Corman produced “The Beast From Worried Cave”. This (Iguana) was Hellman’s penultimate film. Moving that he started with a monster and (almost) ended with one as well…
monte hellman’s iguana is a valid salvage. i’m always on the lookout for films that can overwhelm me with their atmosphere and their artistry. only a few films have ever succeeded (friedkin’s SORCERER, argento’s INFERNO, some of fulci’s mid career films) . this film is by no means perfect. but what is astonishing is how hellman has created a stunning work of art; from the most unpromising of scripts hellman has crafted a haunting fairy narrative with a superbly realised mythical ambience. the script is awful, mcgill switches accents a couple of times, and the perform up is bad. but hellman utilises the mechanics of cinema (images, sounds, staging, cutting) to overcome budgetary and casting limitations, resulting in a film that is trashy but eloquent, haunting and astonishingly glowing.
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