THE HISTORY OF EVERYTHING…KISSY COUSINS MONSTER BABIES & MORPHING ELVIS
We have to state from the beginning that ‘The History of Everything…’ is among the most unique comedies we’ve had the chance to watch at this festival since day one. Filmed and produced in a ‘short’ period of more than two decades, this brilliant comedy feature is exactly like a good wine: it gets better as time goes by.
The film is divided in two parts that are very important for the storyline – the first one dates back to the beginning of the 90’s, (more precisely 1993) a time when the standards in art were different and when everything looked like an edgy music video for the new wave of teenagers. The second part of it is represented by ‘the present day’ time, where Trump is already an important key figure, and subjects like Obamacare or other news bits appear as everyday subjects. For us, the first part of this feature film is our favorite one because it brings back that vintage yet not that old feeling we grew up with, reason why we literally can see our childhood there. For any 25+ years old viewer, this movie will be like a passage to a brilliant childhood, where monsters were something normal in high-school movies, where loud screamings were covering the fake laughters of the so-called live audiences, where the haircuts were as bad as the pop music (with some exceptions, of course), and where the vintage presence made you feel the dusty smell of a vacuum cleaner on a Saturday morning.
The two main characters, Peter Grover (played by Steve Kearney), and John Potters (played by David Belafonte) are the ultimate typological characters for that generation. Whilst going through Wayne Keeley’s film for the second time, we really felt the true vibe of the 90’s in these two characters, all the more so since their first encounter looked like when Beavis met Butthead. The comedic effect gets more powerful with every scene.
It’s not hard to observe the real subtle side of this movie, which is the general mocking of everything and everyone. In the first part, the old one, Peter and John are making fun of the industry, the actors or the casting habits whereas in the second part they come to focus their attention on mundane subjects. Overall, this film superbly combines the old and new vibes, delivering a set of emotions any generation can relate with. And yes, it is true what the director stated in the plot overview: “The next Rocky Horror”, and that’s because when watching it we felt the same energy and sense of uniqueness we have experienced years ago when ‘The Rocky Horror Picture Show’ was everywhere. ‘The History of Everything’ is nevertheless a timeless (soon to be) classic!
Kissy Cousins Monster Babies and Morphing Elvis
Kissy Cousins Monster Babies and Morphing Elvis
Written by Wayne Keeley | Review by Prarthana Mitra
Kissy Cousins Monster Babies and Morphing Elvis, sounds quite a mouthful at first, but as a film that engages the fullest extent of your imagination (and beyond), the title makes perfect sense. It is the name of the film within the film which stands to become a cult classic of our generation.Wayne Keeley’s 30-minute short film, shot over 25 years, is a decoupage of the choicest icons, scenes and motifs from Hollywood’s golden era, warped into a self-reflexive tale of how a couple of Hollywood producers save their sinking careers. Not without getting themselves into a creative soup first, of course.
As we follow two coked-up producers try their hand at screenwriting, seek inspiration in everything—from Jurassic Park and Elvis Presley to popular American culture and proverbs—we are introduced to the irony of the entire exercise. We also can’t help but marvel at the brilliant use of the past and present of cinematic history to depict an all-too-known future. The heady concoction serves as a kitschy testament to the evolution of American cinema, and for Keeley, who began filming it in 1992, this stemmed from the extended temporality of the film. Incorporating a wide array of cinematic techniques and technology (that became available to him by and by), the stylistic progression depicted in the movie curiously generates a currency for relevance. Passing mentions of Donald Trump and a cameo from Hillary Clinton also helps.
The colour tones of “vintage” cinema blends with the muted pastel shades we have come to recognise in Hollywood films today. But what is more universal, is the struggle and intrigue that comes with the dream of making it big in Hollywood. Behind all the madness, mindlessness and frenzy is a surrealist quest for creativity. In a Mulholland Drive-esque twist, we learn that the two protagonists are only cogs in the mechanised reproduction of art, that modern filmmaking has become. They are trapped in a system where their ideas, which aren’t exactly original ideas to begin in, are being harvested by an unknown sinister entity.
David Belafonte and Steve Kearney perform an absurdist drama, voicing and gesticulating Keeley’s visions to cinematic reality. The film harks back to famous characters and tropes, including Charlie Chaplin, Sharon Stone and Nosferatu, all of which make for a highly enjoyable watch (to the film school geek) and a rib-tickling political satire of the industry (to the intuitive viewer). The seamless edits elevates the viewing experience and cerebral impact of the film. At times, it even reminded me of the masterful video collages of Ukrainian artist Miknu.
Keeley, an Emmy-winning producer himself, is also a seasoned film and documentary maker, and has made numerous hit music videos. He brings his familiarity with the medium and the sector to the table with Kissy Cousins Monster Babies. He hopes to deliver the next Rocky Horror Picture Show, and to be honest, he has hit the bull’s eye. This 25-year-old comedy does an excellent job in refreshing audience memory with pastiche woven skillfully into the fabric of a fantastical narrative. But as we all know, there’s a fine line between the real, the unreal and the surreal.
Prarthana is presently in between odd jobs and obtaining her master’s degree in literature. She loves modern poetry and meditative cinema. Based out of Calcutta, Prarthana observes people, football, films and enjoys writing about all three. Of late, she relates to Frank Ocean’s music. Her writing experience consists of writing for various sites such as Try Cinema, The Indian Economist, Doing The Rondo, Saintbrush and various academic journals.
Pinnacle Film Awards for Narrative Films
“This movie had me rolling in laughter. Kissy Cousins is a great comedy with a high production value. A++” — Festival Director Pinnacle Film Awards
Straight-Jacket Guerrilla Film Festival
“Biblical Fucking Amazing!” — Festival Director, Straight-Jacket Guerrilla Film Festival
Direct Online Monthly Film Festival
“Watch the Awesome Film “Kissy Cousins Monster Babies…” — DOMFF
Not another Blog on the Cinema …
I am the Director of MEDFF, one of the most followed film festivals in Europe, which aims to promote and interact with artists from all over the world. The competition between the new entries of the Cinema and the so-called “veterans” has had a significant impact on the results obtained. Thanks to the MEDFF and the judges who collaborate with me every day, the new levers of Cinema have grown and been discovered. Cinema has no age, anyone can be part of it and anyone can become an essential part. Everyone has their own audience waiting for it. All we need to do is to suggest a path to follow, with zeal and perseverance, to express ourselves and make ourselves known. This is the concept that I would like to transfer via this blog.