Rev. Warlock DRACONIS BLACKTHORNE (dblackthorne) wrote,


{X A.S. Directed by Ken Russell. Starring Roger Daltrey, Sara Kestelman, Paul Nicholas, Ringo Starr, Nell Campbell. Genre: Satire, Surrealism, Musical, History}

The film alludes to the acquaintanceship between Franz Liszt & Richard Wagner, through a modernized pseudo-rock star cinematic filter perspective. Backstage prior to a performance, the viewer becomes acquainted with Wagner, who amusingly displays the glittery name of Nietzsche upon his bowler hat, indicating his strong influence with the philosophy. During one medley, Liszt mocks Wagner with chopsticks based upon a recent conversation in the dressing room, infuriating him to leave the theater.

Liszt maintains several mistresses, although one night at a performance a Princess catches his eye while he fishes for new prospects, and is actually invited by her to her palace, in which she appears as a rendition of Ivan {or "Ivanna"} The Terrible. During one of several musical waking dream sequences, she eventually manifests as a winged succubus demoness {with Sabbatic Baphomet gesticulations} threatening to amputate the 'may pole' grown to humongous proportions with a guillotine, which she straddles indicating a deadly vagina awaiting entry. Seems he had made a "deal with the Devil"earlier on, and now it was time to address his end of the bargain.

Later on, after initiating a revolution to bring the German people back to prominence, Wagner infiltrates Liszt's mansion, eventually assuming a vampiric role, fangs and all, alluding his plagiarism upon Liszt's compositions. After departing with a small fortune, Wagner goes on to become what the Pope refers to as The Antichrist {referring to his inspirations from Nietzsche's influence}. The Pope {played by Ringo Starr} pays Liszt a visit, admonishing him to exorcise Wagner or face his music being banned from the kingdom. So he sets off to find Wagner, whose reputation has assumed a very Dracula personage, from the townsfolk running scared when his name is mentioned, to the dark castle he inhabits. Seems Wagner also took possession of Liszt's daughter, who has become quite the witch, with her adeptly pressing needles & pins into an effigy of her father.

Upon attempting to enter, he witnesses a Witch's Sabbat spectacle wherein "The Beast" appears to take savage liberties with the various disrobed virginal beauties in attendance. Finally entering, Liszt finds Wagner in a Frankensteinian laboratory bringing his creation to life, his vision of the "superman", who in this incarnation emerges as Thor {although quite a simpleton one at that}. Underwhelmed, he begins construction on another version.

Stereotypical displays of fascistic demonstrations emerge, resembling a Nuremberg rally, where children dressed in veritable 'uber-kinder wear' are programmed for world domination. While discussing developments with their mutual experiences & friendship recollections with Liszt, then amused, subsequently enraged by Liszt's attempt to exorcise him by sneaking holy water into his Bloody Mary {upon which he resumes his vampire appearance}, Wagner himself goes from Germanic casual wear to a very superman-like outfit complete with a logo resembling Wonder Woman's insignia.

Upon the final battle, arising from the rubble, Wagner resurrects as a Hitlerian Frankenstein monster rampaging his way across the earth, destroying everything in sight, save for the uber-kinder following close behind.

The film concludes with Liszt apparently in some sort of "heaven"-like environment, accompanied by his mistresses, when they decide to descend to earth to rid the world of the destructive scourge.

Lisztomania is absolutely replete with dark humor, sensuality, double-ententes, metaphor, & symbolism, accented with amusing musical numbers & satirical displays of historical artistic license, all of which provides for delightfully licentious entertainment. ∞

Tags: comedy, film, humor, movie, multimedia, review, spechtreum

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