Naked Lunch (1991)

Réalisateur:

David Cronenberg

Writers:

William S. Burroughs (novel)
David Cronenberg (written by)

Release Date:

11 mars 1992 (France)

Genre:

Crime | Drame | Fantasy | Mystery

Accroche:

David Cronenberg and William S. Burroughs invite you to lunch.

Plot:

After developing an addiction to the substance he uses to kill bugs, an exterminator accidentally murders his wife and becomes involved in a secret government plot being orchestrated by giant bugs in an Islamic port town in Africa.

Plot Keywords:

Drug Addict | Female Nudity | Disturbing | Bizarre | Talking Anus

Awards:

13 wins & 5 nominations

Avis des utilisateurs:

Bill & Dave connect on the subject of meat

Ensemble

Peter Weller	...	Bill Lee
Judy Davis	...	Joan Frost / Joan Lee
Ian Holm	...	Tom Frost
Julian Sands	...	Yves Cloquet
Roy Scheider	...	Doctor Benway
Monique Mercure	...	Fadela
Nicholas Campbell	...	Hank
Michael Zelniker	...	Martin
Robert A. Silverman	...	Hans
Joseph Scoren	...	Kiki (as Joseph Scorsiani)
Peter Boretski	...	Creature Voices / Exterminator #2
Yuval Daniel	...	Hafid
John Friesen	...	Hauser
Sean McCann	...	O'Brien
Howard Jerome	...	A.J. Cohen

Autre(s) titre(s) :

David Cronenberg's Naked Lunch (USA) (trailer title)
Festin nu, Le (Canada: French title)
Festin nu, Le (France) [fr]

Durée:

115 min

Pays:

Canada | UK | Japan

Langue:

Anglais

Couleur:

Couleur

Aspect Ratio:

1.85 : 1

Son:

Dolby

Classification:

Brazil:16 | New Zealand:R13 | Iceland:16 | Netherlands:16 | Argentina:16 | Australia:M | Finland:K-16 | France:-12 | Germany:16 | Hong Kong:III | Norway:15 | Sweden:15 | Switzerland:16 | UK:18 | USA:R | Portugal:M/16

Emplacements De Pelliculage:

Toronto, Ontario, Canada

Company:

Film Trustees Ltd.

Anecdotes:

This was originally going to be the first David Cronenberg film to be made outside of Toronto until a panicked Ontario Film Board offered the director unparalleled financial inducements and incentives. As it transpired, however, the Iraqi invasion of Kuwait scuttled any plans to film in Tangier, Morocco, so the entire film ended up being made in Toronto anyway.

Guillemet:

Bill Lee: I understood writing could be dangerous. I didn't realize the danger came from the machinery.

Connexions De Film:

Referenced in Science des rêves, La (2006)

Soundtrack:

Midnight Sunrise

Bill & Dave connect on the subject of meat

Mmmmm.... mugwump jizz

Themes: Substance addiction and how physically self-conscious it makes our protagonist feel, the creativity forced by imprisonment (a direct reference to real-life events between Burroughs, his wife, his subsequent incarceration and his heroin/acid issues), the sense of betrayal as more surprise than malice and of course the inevitable interface between Dave and Bill at the pelvic level.

The effects work is pre render-mation latex and sufficiently restrained to allow your imagination to back-fill the appropriate horror/fascination/titillation for the moment. Don't try to figure out which you =should= feel or to mentally sort it out, that'd rob you of the fun; it's the psychic and emotional disarray that makes it so compelling.

Peter Weller is suitably deadpan, allowing only a sparkle of the playful poet to shine through from time to time (the story about the Duke du Vantra's Espano-Suiza made me howl); he must have spent a few =fun= hours with Burroughs himself to get the role down.

If you liked Cronenburg's smarter stuff, such as Dead Ringers, you'll love this. If you've read Kerouac, Ginsberg or Burroughs in particular, I promise you'll love it. If you're not into exploratory literature, have issues with distasteful realities of poverty or have a personal affection for the quality works of Stallone, Willis and Schwarzenegger - you'll hate it.

It made a very strong impression on me; the day after I saw the opening night of Naked Lunch (long before the "internet"), I established and sysoped a BBS that was the primary alternative discussion forum for onliners in Edmonton, Alberta for several years. It's name? The Interzone.

The movie is fascinating, odd, reveals more on second viewing, and is faithful neither to Cronenburg nor Burroughs but an excellent mix of elements of both.

It has a great beat, easy to dance to... I give it an 89, Dick.

Either way, you won't look at a typewriter the same way ever again.