Free PDF The Films of Larry Buchanan: A Critical Examination, by Rob Craig
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The Films of Larry Buchanan: A Critical Examination, by Rob Craig
Free PDF The Films of Larry Buchanan: A Critical Examination, by Rob Craig
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Films such as The Naked Witch, Zontar, The Thing From Venus and Mars Needs Women have gained large cult followings, and movies like A Bullet For Pretty Boy, Free, White and 21 and Goodbye, Norma Jean became box office hits. Still, no other independent filmmaker of the latter 20th century may elicit such a disparity of response from general movie audiences and cult film buffs alike as the late, legendary Larry Buchanan.
This study, the first serious examination of Buchanan's body of work, addresses consistent themes such as the end of suburbia, the rebel outsider, the oppressive establishment, the curse of fame, and "creatures of destruction". The highly political subtext found in virtually every one of the filmmaker's projects is also explored. Chapters are devoted to more than 20 of Buchanan's films; information on some of the unfinished, unreleased (and in at least one case), deliberately destroyed projects is offered, as well. Photographs illustrating nearly all the films are included.
- Sales Rank: #1961062 in Books
- Brand: Brand: McFarland Company
- Published on: 2007-05-02
- Original language: English
- Number of items: 1
- Dimensions: 9.86" h x .61" w x 7.00" l, 1.07 pounds
- Binding: Paperback
- 271 pages
- Used Book in Good Condition
About the Author
Rob Craig has been writing about cult film for over twenty years. His work has been published in magazines such as Videoscope, Screem and Horror-Wood. He lives in Stevenson, Connecticut.
Most helpful customer reviews
2 of 3 people found the following review helpful.
LARRY BUCHANAN, AUTEUR OF MEDIOCRITY.
By Richard J. Oravitz
Wow.
Larry Buchanan gets the auteur treatment worthy of Ingmar Bergman, or at least Jerry Lewis.
Even as a child when watching Buchanan's films(?) on tv I knew that they were very cheaply made, with poor production values and almost non-existent acting. But hey, they had a monster of sorts, they were in color and they were very entertaining. I'm talking here of the bulk of Buchanan's tv work, the so-called Azalea Pictures of the mid 1960s. These included THE EYE CREATURES, ZONTAR THE THING FROM VENUS (my personal favorite), CURSE OF THE SWAMP CREATURE, MARS NEEDS WOMEN, IN THE YEAR 2889, CREATURE OF DESTRUCTION and IT'S ALIVE!
They all have one common thread and that's that they're all very, very bad. The same ping-pong eyed monster appears in most of them, just dressed up a little differently. And so do many of the same cast members in that you begin to recognize a sort of stock company consisting of Enrique Touceda (Anthony Huston), Bill Thurman, Jeff Alexander and Pat Delaney. Used-to-be stars are also around for top-billing, my favorite being John Agar, leading man of many 1950s sci-fi/horror classics, still looking quite good and still physical enough to run and leap about in ZONTAR.
These pictures were made for less than $30,000 each, and appear somewhat like home movies, made by a bunch of friends who just happen to know a has-been star. So I guess with such a lousy budget how can anyone expect any of these films to be anything other than lousy. I'm willing to cut Buchanan some slack here, as I did like these films when I was a child and I still like them now. Like I said, to me at least, they were and still are entertaining. It seems that when given a bigger budget, Buchanan's films were just not as much fun. That's probably why it's the Azalea canon that Buchanan is most fondly remembered for. Low budget schlock that was fascinating in it's own mediocrity. I know that I was one who sat there glued to the tv set, watching in utter fascination and disbelief at what was going on, at what was being presented straight-faced to the certainly befuddled tv audiance.
But Larry Buchanan as auteur? Yeah, I guess so, all of these films certainly have his touch upon them, much the same as Ed Wood's do (another great book by Rob Craig, giving Wood the same treatment). And if Craig reads a bit more artistic intent into Buchanan (or Wood) than I'm able to discern, then so be it. What he says is valid, from his perspective. And Craig certainly does put a lot of work and thought into his books. I like his takes on Buchanan and Wood and find them fun reads as well being informative.
Do I agree with most of what Craig claims about Buchanan's filmmaking skills and/or intent?...Let's just say that I admire Craig's approach and his professionalism, as this is a very well written book and Craig's analysis of Buchanan's films rival any such attempt on subject matter as well known as Alfred Hitchcock, John Ford, Sam Fuller, Jacques Tourneur, Fritz Lang, Claude Chabrol, Sergio Leone or others that are usually awarded such treatment. But to include Larry Buchanan in with such a crowd, deserving such treatment? Is Craig's book as big a joke as Buchanan's films?
Regardless, this is a great book, deserving to be read by many more than it probably ever will be. Craig's othe book ED WOOD, MAD GENIUS (certainly the title says it all) is also a great read. Craig's efforts give these two loser directors the star director treatment, whether they deserve it or not. Both directors are not unlike each other. It's hard to decide which one is actually worse than the other. But I do love their films and watch them over and over as do many other film fans, so that alone must say something for Craig's choice of subject matter.
If you love Larry Buchanan's non-movie movies like I do then get this book and discover all the insightful stuff that we've been missing throughout the years. This is really one of the best books on film that I've read in years, and if it's just one big joke on the "auteur theory" of film making, then I've fallen for it completely, and recommend that you do as well.
4 of 6 people found the following review helpful.
Misguided good intentions
By John Lazar
I suppose every filmmaker is a potential candidate for serious examination, but Larry Buchanan was one "craftsman" who really made me challenge this opinion. Now, I'll readily confess to an irrational fondness for low-budget horror and science-fiction fare such as CREATION OF THE HUMANOIDS and THE GIANT GILA MONSTER -- movies that make the most lenient film buffs cringe openly. Yet even by the standards of low (or no) budget cinema schlock, Buchanan's output (MARS NEEDS WOMEN, CURSE OF THE SWAMP CREATURE, ZONTAR THE THING FROM VENUS, etc.) represents the absolute bottom of the cinematic barrel.
The author courageously (and strenuously) defends Buchanan's oeuvre, and some of his insights are certainly novel. But after a while the repeated attempts to place Buchanan's impossibly inept productions alongside the work of other, much more competent filmmakers becomes ludicrous. Unless the author intended his tome to be some sort of Andy Kaufman-esque cosmic joke on the reader, this book should effectively kill any arguments in favor of the Auteur Theory.
To be fair, this volume offers interesting material regarding Buchanan and his working methods, although I think Buchanan himself did a better job tackling the subject in his own book, IT CAME FROM HUNGER!: TALES OF A CINEMA SCHLOCKMEISTER which was also published by McFarland (in 1996; it`s currently out-of-print). Refreshingly, Buchanan told his tale without any pretense. He had no illusions about his terrible movies being "art."
THE FILMS OF LARRY BUCHANAN: A CRITICAL EXAMINATION, however, argues otherwise -- to a fault. It has its heart in the right place, but ultimately this sincere attempt to bolster Buchanan's reputation sinks under the weight of its misguided good intentions.
2 of 3 people found the following review helpful.
Going overboard
By willsumner
I'm willing to allow for differing opinions. I've never read a movie book that offers opinions I agree with one-hundred percent and I don't expect I ever will. I accept that. The author extols the virtues of Larry Buchanan and he presents a fairly convincing case...UNLESS you've actually seen Larry Buchanan's movies. That's when the author's agenda (to present Buchanan as a filmmaker of real merit) collapses like a house of cards. If you're a diehard Buchanan admirer, chances are you'll rank this book a lot higher than I did. However, if you're expecting balanced and subjective coverage, some of the overly-effusive claims are pretty hard to swallow. The author's enthusiasm gets the better of him and his dissertation, which is undeniably heartfelt, becomes ludicrous. But if you've been searching for an appreciative (VERY appreciative) study of this low-rent schlockmeister, well, here it is.
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