|Christopher Lee in Umbracle (1972).|
In 1969, English thespian Christopher Lee—whose career followed a largely Vincent Pricey trajectory—travelled to Francisco Franco’s Spain to appear in a schlocky Eurotrash adaptation of Dracula. This was the beginning of the heyday of the shitty European exploitation horror film; Italy would make the most contributions to the genre, but Spain gave the Italians a run for their money. Lee was in country to star in Jesus Franco’s Count Dracula, but while he was there, he ended up making unexpected appearances in two films by Catalan avant-gardist Pere Portabella. These films, both dating from 1970, are Cuadecuc, vampir and Umbracle.
Portabella has made a number of very strange films in a career that stretches from the 60’s to the present day. His films that I’ve seen tend be plotless, expressionistic mindfucks, shot in high-contrast black-and-white. They call to mind the movies of Guy Maddin and Philippe Garrel, minus any pretense of having a story or characters or anything like that. Cuadecuc, vampir consists of shots filmed between takes on the set of Franco’s Count Dracula. Somewhere on the internet I saw it described as a “film beneath a film.” Umbracle, which I watched this evening, has largely severed its ties to Franco’s film, and instead follows Lee as he wanders through Barcelona (I think it’s Barcelona). These scenes are punctuated with several sequences that have the character of cultural artifacts and which are far more grounded in conventionality than what one became used to in Portabella films (for one thing, they have synchronized sound; Portabella’s soundtracks are usually just silence, or sound effects and audio scraps that don’t correspond to the action on screen). These cultural sequences include: Spanish filmmakers discussing the censorship of film in late Francoist Spain; extensive clips from a fascist-Catholic propaganda film called Infinite Front (1955); and portions of the act of two musical clowns. We also see Christopher Lee singing in German and French and reciting Edgar Allen Poe’s “The Raven.”
Now, I said that these movies don’t have a plot but it would be more accurate to say they don’t have a story. In terms of plotting, or narrative coherence, they follow their own internal logic, but it’s the logic of dreams rather than reality, or the logic of freewheeling erudition, as we might see with Jean-Luc Godard or, why not, James Joyce. The films rely on the juxtaposition of their various sequences to generate meaning; I suppose all films do this, but Portabella’s films rely upon this method exclusively. It’s sort of like the Qatsi films of Godfrey Reggio, except more localized. Because what are the Qatsi movies about, if not everything? Whereas Portabella’s films, dreamy though they may be, have some recurring themes that they address, namely: fascism/Francoism and the peregrinations of recent Spanish history.
Maybe you’re saying to yourself, “Wow, Portabella sounds cool, I’m gonna go check out his movies! Where can I find them?” Well, if you’re resident in the United States (as I am), you’re going to have a real hassle tracking these things down legally. MUBI used to have a bunch of them, but now they only have one (Umbracle). I saw Cuadeduc, vampir on Youtube, but movies on Youtube come and go. I don’t believe Portabella has ever had any DVD releases in the U.S. So, I’m not going to tell you what to do; follow the dictates of your conscience. Or hope that MUBI streams more of these films, and maybe they will. They’ve done so in the past.