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 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!