Saturday, June 8 - June 19
MURDER IN A BLUE WORLD
124 S 3rd St, Brooklyn, NY 11249, USA
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MURDER IN A BLUE WORLD
dir. Eloy de la Iglesia, 1973
Spain. 97 min.
In English.
SATURDAY, JUNE 8 – MIDNIGHT
MONDAY, JUNE 10 – 7:30 PM
FRIDAY, JUNE 14 – 10 PM
WEDNESDAY, JUNE 19 – 10 PM
In a near-future dystopia, violent youth gangs terrorize the populace, a nurse (played by Lolita herself Sue Lyon) brings relief to those destined to die and a doctor (Jean Sorel) conducts electroshock therapy on criminal offenders in effort to reform them, in Spectacle favorite Eloy de la Iglesia’s MURDER IN A BLUE WORLD, a film that borrows strongly from A CLOCKWORK ORANGE, taking its stylings and plot elements into the territory of a psychological thriller, crafting an atypical Spanish sci-fi giallo with splashes of lurid ultra-violence and a cheeky sense of humor.
Released under many titles, such as TO LOVE, PERHAPS TO DIE in its original U.S. release, A DROP OF BLOOD TO DIE LOVING from the translation of its original Spanish title UNA GOTA DE SANGRE PARA MORIR AMANDO, DEAD ANGEL in Germany, and notably A CLOCKWORK TERROR on VHS in the UK, it is the film in the series that wears its influence of A CLOCKWORK ORANGE most visibly and most brazenly, adopting the film’s imagery, setpieces, themes and settings, such as its notorious home invasion scene, a doctor working on a “cure for criminality” and its use of retro-futurist interior design and brutalist architecture.
“MURDER IN A BLUE WORLD isn’t A CLOCKWORK ORANGE with a fourth of the budget and even less potency. Rather, it’s the dream that Kubrick’s film might incite in your subconsciousness. Everything’s a bit warped, a bit different, not exactly how you remember it. Tangents and free association take hold over actualities. That’s what makes this film so fascinating — just the fact that it exists, that someone had the guts to produce and release it so quickly after A CLOCKWORK ORANGE, and do so with such poise. As a narrative, MURDER is a padded-out bore. But as a conversation piece, it’s a bizarre pop-culture paradox that incites you to watch. And then watch again.” - Joseph A. Ziemba
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dir. Eloy de la Iglesia, 1973
Spain. 97 min.
In English.
SATURDAY, JUNE 8 – MIDNIGHT
MONDAY, JUNE 10 – 7:30 PM
FRIDAY, JUNE 14 – 10 PM
WEDNESDAY, JUNE 19 – 10 PM
In a near-future dystopia, violent youth gangs terrorize the populace, a nurse (played by Lolita herself Sue Lyon) brings relief to those destined to die and a doctor (Jean Sorel) conducts electroshock therapy on criminal offenders in effort to reform them, in Spectacle favorite Eloy de la Iglesia’s MURDER IN A BLUE WORLD, a film that borrows strongly from A CLOCKWORK ORANGE, taking its stylings and plot elements into the territory of a psychological thriller, crafting an atypical Spanish sci-fi giallo with splashes of lurid ultra-violence and a cheeky sense of humor.
Released under many titles, such as TO LOVE, PERHAPS TO DIE in its original U.S. release, A DROP OF BLOOD TO DIE LOVING from the translation of its original Spanish title UNA GOTA DE SANGRE PARA MORIR AMANDO, DEAD ANGEL in Germany, and notably A CLOCKWORK TERROR on VHS in the UK, it is the film in the series that wears its influence of A CLOCKWORK ORANGE most visibly and most brazenly, adopting the film’s imagery, setpieces, themes and settings, such as its notorious home invasion scene, a doctor working on a “cure for criminality” and its use of retro-futurist interior design and brutalist architecture.
“MURDER IN A BLUE WORLD isn’t A CLOCKWORK ORANGE with a fourth of the budget and even less potency. Rather, it’s the dream that Kubrick’s film might incite in your subconsciousness. Everything’s a bit warped, a bit different, not exactly how you remember it. Tangents and free association take hold over actualities. That’s what makes this film so fascinating — just the fact that it exists, that someone had the guts to produce and release it so quickly after A CLOCKWORK ORANGE, and do so with such poise. As a narrative, MURDER is a padded-out bore. But as a conversation piece, it’s a bizarre pop-culture paradox that incites you to watch. And then watch again.” - Joseph A. Ziemba
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