But the filmmaker’s renegade aesthetic is all over the mainstream, from Martin Scorsese to David Lynch.
, not just because both works are partly about channeling existential anxiety and repressed homoeroticism into violence lit and posed like a fashion spread, but because of their signature art-house blends of momentousness and cheek. It’s not camp, but it’s camp-adjacent. The viewer wonders,andfind Anger operating at the peak of his creative power and cultural influence. He’d been vetted by the French, and now he was being embraced by artists in English-speaking countries.
The film was an art-house hit, playing for months in New York and sparking a boho craze for biker clothes. The attention paid toand subsequent Anger shorts brought him into the orbits of a younger, hipper crowd of bad boys and girls, including the Rolling Stones, Marianne Faithfull, Anita Pallenberg, and their hangers-on. The cross-pollination created signature works of the counterculture era.
The film’s production took four years, and its story is just a parade of conflicts. Anger fired Beausoleil and recast the role with Mick’s brother Chris Jagger, then fired him and re-recast it with another actor named Leslie Huggins, then firedand finished the film. It was his largest production, with scenes filmed in England, Germany, and Egypt. He had to lie his way into Egypt.
Born in Santa Monica but raised in Los Angeles, Anger attended Beverly Hills High School next door to the 20th Century–Fox lot. Like the accounts of celebrity scandals in, Anger’s remembrances of his childhood were intoxicating—practically a form of wish-fulfillment for film buffs, especially ones of a salacious mindset—even though they didn’t make sense. Anger claimed he used to look out the windows and watch movies being shot on the lot, which is impossible in every way.
with the encouragement of Godard and Truffaut, who saw it as a way for their comrade to make a lot of money fast. They were right, though the book took many years to reach official English-language publication, thanks to libel concerns and copyright problems with the photos, and it became the object of a lawsuit brought by Gloria Swanson, whom Anger quoted saying that her colleague Lana Turner was “not even an actress… she is only a trollop.
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