J. Hoberman & Jonathan Rosenbaum: MIDNIGHT MOVIES

Midnight Movies
J. Hoberman, Jonathan Rosenbaum
Da Capo Press, 1983, rev. 1991

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At first glance, this text appears to cover film titles already discussed in the first volume of Danny Peary’s mighty Cult Movies ensemble. Whereas Peary primarily writes about such durable cult favourites as El Topo, Pink Flamingos or The Rocky Horror Picture Show in a critical context, authors Jonathan Rosenbaum and J. Hoberman instead write more about the films’ impact on midnight movie culture.

The first chapter, of course, sets a little teaser with the biggest midnight movie phenomenon, The Rocky Horror Picture Show. Then the authors dig into the roots of the movie fanaticism; not least the fetishist notions people have for their big-screen icons, like the 1940s worship of larger-than-life screen idols. This blends nicely into a description of the 1960s  “underground film” of the 1960’s, chiefly the Baudelairian Cinema of Jack Smith (whose signature film, Flaming Creatures, is reviewed here). His oeuvre was primarily driven by his adoration of 40s camp queen Maria Montez. 

A chapter each is devoted to the prime midnight movie titles: El Topo, Night of the Living Dead, Pink Flamingos, Rocky Horror and Eraserhead. Each segment gives a generous background of the film’s auteurs, plus a good overview of their careers before and after their classic “midnight” opuses. In reference to the opening chapter’s central theme of obsession, each of these filmmakers was obsessed with particular aspects of pop (and movie) culture while making their signature films. George Romero’s zombie epic was a perverse valentine to the drive-in culture and 50’s sci-fi. John Waters’ exercise in filth was a romp in camp (also the catalyst for much “underground cinema”), and his own films became an interesting ancestor of late 1970s “punk cinema”. There is also a segment featuring bite-sized pieces about other midnight movie favourites (yet just did not become the phenomenon like the films mentioned above), grouped by taboo or fringe topics: sex, drugs and rock n roll being the obvious ringleaders.

Although this book was originally published in 1983, get the 1991 revised edition instead, which adds a dialogue between the two authors, discussing the fate of midnight cult cinema circa 1990. As Midnight Movies initially came out just before the boom of the video revolution, the 1991 dialogue addendum is vital to understand the bust of the after-dark crowd. With videocassettes turning every home into a theatre, the communal ceremonies of Saturday nights at the Elgin understandably suffered.

It is interesting to note how the auteurs’ careers had changed by the time the midnight movie had become extinct. David Lynch’s avant-garde visions went to television with Twin Peaks; George Romero was doing more zombie sequels; John Waters went mainstream with audience-friendly camp like Hairspray and Cry Baby. Interestingly, Alejandro Jodorowsky (whose El Topo and The Holy Mountain were “head” pictures of the extreme in their days) didn’t have as productive a film career as his “midnight movie” contemporaries, but over the years retained his highly individual cinema, particularly with Santa Sangre (released just before the book’s revised edition), which is for my money, his masterpiece.

The very fact that you’re reading this fanzine (and that I wrote it in the first place) echoes the theme of obsession and idolatry that pervade Midnight Movies. One’s fetishizing about movies becomes something else once its shared. Whether two people are dressed up as Frank N Furter on a Saturday night, or if one reads an obscure fanzine publication (where author and reader alike both love films way off the beaten track), an invisible bond is shared. This additional layer also makes this book essential reading.

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Originally appeared in Volume #1, Issue #1. At the time of publication , Toronto’s Royal Cinema had midnight screenings on Friday nights, often with more recent favourites like Army of Darkness or Lucio Fulci’s The Beyond. Was it like the old days? No, but it was something.