Fando and Lis

I think Fando and Lis is a masterpiece, and one of the least pretentious films I've seen. As it's 2 am and I've just watched it, I am not in a position to be articulate, but I'll sum up my reasons in the following, then come back in a few days and further the commentary.

1. I was never once bored. 2. How the hell did the director get this made, and have all the actors and extras participate in what to them must have seemed embarrassing and weird sacrilege? 3. It was epic poetic fantasy, using creative theatrical games, fresh play of props and brilliant mise en scene - tapping into all kinds of primal emotions, fears and desires. 4. He makes good the limits of the medium. Even the high contrast black-and- white served its purpose; when Fando tries to convince Lis there are flowers, the surrounding many stones and bric-a-brac suggest flowers to the viewer. Where faded acoustics must have reigned given the budget and desert landscape, he fills the soundtrack with compelling auditory images. 5. It's a combination of Fellini's 81/2 (the bewildered director as lover) and La Strada, but even more personal; with more guts; rawer, fresher. 6. Who could deny the plaintively lovely Lis? The forlorn fawning seductress? And wasn't Fando a charming and silly chap, full of fondness for living when he wasn't cast in the role of the brute? And wasn't their chemistry palpable?

Above all, I was moved. I recognized it both as a simple love story toting the truism that love has no road map, and a cry from the wilderness. It was authentic scream of a soul to FEEL the experience of living, good and bad. Watch this film when you're lost - when your heart aches with unfulfilled desires - you want your dead parents back or the lover you mistreated. Watch it then. You'll know what the hell it's about.

I may be rewarded by his later films — his later work is highly recommended — but this one has no merit for me. I suppose everyone who comments on this should give some registration. For me Bunuel and Barney aren't worth it (except for a few brilliant sequences) while Greenaway and Madden are anchors for imaginative possibilities.

This was his first film after an intensive career in alternative theater. He was in the self- described surreal and anarchy theatrical movements. They had a sort of power because the performers were physically there. If they smeared feces, the audience was involved in ways completely unreproducible in film. That sort of theater can be built on confrontation, negation, disorder alone.

I believe there is an analogue in film. Jack Smith perhaps. But at this point in his career, Jodorowsky didn't understand the difference and so far as he was concerned, commitment was enough.

Well, it ain't. Not for this viewer.

There's a porn film based on some of the more effective scenes here: "Through the Looking- glass." Its a superior film.

Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.

Jodorowsky's first film has recently been released on DVD with director's commentary and documentary, and it is looking beautiful for a 'lost' low-budget film. A frequently disjointed film, although to be honest not as much as El Topo, Jodorowsky's adaption of a bizarre stage production (filmed from memory with a one-page outline script) creates some of his most affecting images despite the low-budget. The narrative, which may seem annoying for those unaccustomed to Jodorowsky's work, actually develops in quite a mature and artistic manner; Jodorowsky shows a great understanding of his art despite the fact this was his first feature. But, as Jodorowsky himself says about this film, it is a pure work of art - i.e. a film created without any thought going into what the audience will think about it, he was filming from the heart. So it does drag in places and the pacing prevents any but the most arty of us to be excited by it. But if you liked El Topo (etc.), give it a go.

The bizarre films of counterculture icon Alejandro Jodorowsky are, without any doubt, some of the most unique cinematic experiences one can have, and, in my humble opinion, also some of the greatest. Eleven years after debuting with the great, but relatively harmless short "La Cravate" (aka. "The Transposed Heads") of 1957, Jodorowsky made his feature length debut in 1968 with this incredibly surreal, fascinating and often disturbing gem called "Fando y Lis". It is never possible to fully understand a Jodorowsky film and its 'meaning' by 100 per cent, even after multiple viewings. Even so (or therefore), there is nothing more fascinating than the cinematic World of Jodorowsky.

The adaptation of a play by Fernando Arrabal, with whom Jodorowsky had worked on stage before, "Fando y Lis" is just as surreal as the master's more famous films to follow, "El Topo" and "The Holy Mountain". This is also doubtlessly Jodorowsky's most pessimistic film and, at the time of its release, it was scandalous due to its disturbing, uncompromising and bizarre nature. When it premiered in Mexico, "Fando y Lis" caused such outrage that riots broke out, and Jodorowsky had to escape the theater secretly in order to avoid getting seriously hurt or even lynched by protesters. The film was subsequently banned by the Mexican government.

The film, which is divided into four acts, follows Fando (Sergio Kleiner) and his crippled girlfriend Lis (Diana Mariscal), who drift through post-apocalyptic wasteland in search of a mythical city named Tar. In search for Tar, a sort of paradise that has survived a 'final war' that has left the world in ruins, Fando y Lis encounter a variety of bizarre people and situations. On their journey, which is always surreal, and gradually gets disturbing, Fando becomes more and more abusive towards his innocent, helpless girlfriend... This is only a very vague description of the film, however it is hardly possible to give a proper one. As Jodorowsky' other films, "Fando y Lis" simply is a film that has to be seen. It is no wonder that this was highly controversial when it came out, and it is still disturbing today. Scenes which broach the issue of child abuse were arguably the most controversial ones, but the film includes all other sorts of controversial topics, including violence in relationships, humiliation and exploitation of the poor, cross-dressing, incest, etc., as well as the Jodorowsky-typical religious/iconoclastic symbolism. These were, of course, explosive issues for narrow-minded so-called 'moralists' at the time, and it is therefor no wonder that the film was controversial. Jodorowsky also gives his personal, very bizarre vision of the living dead in this film, which was released shortly before G.A. Romero's milestone "Night of the Living Dead". The film is often disturbing, yet is fascinating on so many other levels, sometimes beautiful and even funny, and always very, very weird (in an ingenious manner).

I cannot claim that this is a proper description of "Fando y Lis", but, as said, there is probably no such thing as a proper description of a Jodorowsky film. Jodorowsky's films are probably not accessible to everybody, and to many "Fando Y Lis" is probably even his least accessible film. This is maybe the Jodorowsky film, which is most strictly a film for Jodorowsky-fans. It may not quite as continuously overwhelming as his masterpieces "El Topo" (1970), "The Holy Mountain" (1973) and "Santa Sangre" (1989), but it certainly is a fascinating experience that is unique and awe-inspiring. To those unfamiliar with Jodorowsky's cinema, I recommend to begin your journey into this great man's cinematic world with "El Topo" or "The Holy Mountain", or even with "Santa Sangre", which is probably his most accessible film to lovers of a more conventional kind of cinema. Those who loved the previously mentioned films should definitely see this one. To lovers of surreal art-house cinema, and to my fellow Jodorowsky-fans in particular, "Fando y Lis" is an absolute must see!

The sad fact is that nobody makes movies like this anymore. Surrealism is dead and has been replaced by so-called "reality-based TV". Seeing FANDO & LIS over thirty years later, one realizes the power Jodorowsky has to teach a new generation how it's done - for the pendulum is sure to swing back in surrealism's favor any day now. Listen to the audio commentary and learn how to use symbolism effectively. Nobody does it better. The scene in the graveyard alone is a classic. As for shock value, this was the UN CHIEN ANDALOU (1928 by Luis Bunuel & Savador Dali) of it's day. Yes, like its predecessor, FANDO Y LIS caused riots when first screened and it's easy to see why. Audiences are still being challenged by it. This is the first "midnight movie" made before the term was even coined. There is only one way to describe it: a brilliantly shocking masterpiece.