Year: 1983 Length: 81
Source: Canada
Color: C
Genre: Sci-Fi, Horror
Production: Claude Heroux Plan International Film
Warning: 14
Directed by: David Cronemberg
"Glory and life to the new flesh!" thundered the mighty Max Renn before blotting a series of horrendous crimes that brought him become the man "new" so desired by the creators of the Videodrome signal. And this phrase is the focal point of the whole thing even if it could not be heard until they have passed at least three quarters film.
I will not go in the depth of plot, a bit 'because I consider it a cult, a little' because I prefer to talk about what it takes Cronemberg tell, not the way it does.
In this case we are dealing with raw, uncompromising film: the viewer will fail to take your eyes off the screen even for a second. Indeed, perhaps some delicate stomach could do so in the scenes of the slasher film that, although not many, are very effective at a level of visual impact.
It is projected into a daily reality of classic American-style: manager, TV networks and living rooms from budding talk show. Amidst all this there is the story that sees Max Renn, member of a small television network, to discover the existence of a program called Videodrome . This program shows torture, murder and mayhem ... true! Max is fascinated (!) From the spectacle - which is quite normal considering that the network spends most of his only child pornography - and begins to investigate the origin of the signal and its creators. But Max ends up trapped in a spiral from which there is no exit, and will ultimately embody what the Videodrome signal wants: a new man, made of new flesh.
In all this we also know other characters such as the lovely Nicki Brand, the scout and the mysterious Masha Brian O 'Blivion. And it is the latter the most interesting character. This is a man who is involved in several talk shows and lounges, but you never show to person and always speaks only through a TV in the house. And to make matters worse is only and only monologues, precluding any possibility of tearing potergli an interview or even just ask him a question. He said in a television broadcast that the television is catching on to the point that what we see in it is even more real than reality itself.
Yes, it is pure paranoia. And that's why he's right. What's on TV is what we are, properly prepared, designed and installed so as to give the viewer exactly what he wants. So violence and pornography are not only subject to talk shows, are real factors and "real" in oneself and coming out more in everyday contexts outside of slaves as a moral code to which most of the time we strive to obey. And his assertion is right in this outlet, because that will eventually step forward more and more that men are ashamed to admit, but not hide, which makes them in all respects "human".
in 1983, this statement could also be seen as the usual theory that it is time to leave. But I think now and I find that after 26 years is tremendously today. Just look at what you send our local and national networks to realize that there Cronemberg was right. Its subject should be, now more than ever, discussion topics, because it seems that its Brian O 'Blivion saw us well. Violence, pornography and talk shows are now on the agenda, and even some mainstream programming schedules.
In all this you must add the interpretations of a good standard and special effects of very high quality for the period - whereas the splatter scenes can impress even the most modern and demanding - and you'll get Videodrome in all its grim, raw and naked splendor.
Someone said that this film is very good but then you lose language confusing, until you lose impact. I believe that as it may swerve from time to time, the script is pretty faithful to what Cronemberg wanted to prove they speak of a serious and important issue, but that is why it is good that its representation is at times grotesque, confused and crush, because it is the only way you catch the viewer's attention.
was so in 1983 and, guess what, so even now.
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