It is based on an underground cartoon artist. If pornography dehumanizes and objectifies, then perhaps that is the point of the Crumb story shown in detail about a woman whose neck ends with a peg on which a mannequin head can be attached? His subjects are not superheroes or comic characters although Crumb reveals that as a child he masturbated to Bugs Bunny. The plot to this documentary is complex, it has many parts that make up the plot. We see the high school yearbook portraits of classmates immortalized into grotesques and sadists, sometimes under their own names. Zwigoff is unsparing in showing Crumb's more transgressive work; the camera follows panel by panel through comic books as Crumb narrates stories of incest, necrophilia, scatology, assault, mayhem and sexual couplings as unlikely as they are alarming. In an extraordinary scene involving Robert, Charles and their mother, Beatrice, she sprawls almost flat on a sofa, but like her sons is funny, articulate, and very strange.
Rather than merely depict the symptoms of Crumb's worried mind, Zwigoff includes enormously effective interview material with two of Robert's brothers one of whom died after film was completed. Yet the women who knew him best seem fond of him, especially his first wife, Dana, and current wife, Aline, who see him as we do in the film as a smart and entertaining companion who has transformed his demons into his work. This movie is about the Crumb family, and their experiences. University of California at Berkeley. The Crumb boys grew up with a pill-addicted mother and a violent alcoholic father.
She arranges a fantasy session for Crumb and some of her models, but this scene doesn't work; for Crumb, the point is not realizing his fantasies, but displacing them into obsessive visual caricatures. Charles was the first artist in the family. Ebert later clarified this in the of the film's re-release. Advertisement His graphic novels have undeniable energy and a visual style that depends on meticulous command of the divide between portrait and caricature. Ironic that Robert and Max gained fame as artists while Charles remained in his room, reading stacks of paperback novels and filling notebooks with endless entries, some of them words, some only elaborate typographical patterns.
He hand-drew comic books, and encouraged Robert and Max to draw, against their will at first. Crumb and his family leave behind Maxon, Charles and their mother for France. . Advertisement We leave the film convinced there are no secrets still concealed in this family. Los Angeles Film Critics Association. Researching Crumb's fetishes for isolated body parts, especially feet, buttocks and breasts, Zwigoff visits Dian Hanson, the editor of the Juggs and Leg Show magazines, who attributes her publishing success to the fact that she actually reads the letters from her readers.
Lynch actually had nothing whatsoever to do with the film, but allowed his name to be used for promotion. Such a work is disgusting and depraved at the same time it is satirical and subversive; it is an overdose of sexism, inspiring not desire but disgust. It shows interviews with his mother, two brothers, ex girlfriends, and wife. Interviews with his family members and ex-girlfriends such as , and commentary from critics like and , as well as selections from Crumb's vast artist output, shed light on Crumb's psychology and darkly cynical perspective on life. Note the presentation by David Lynch. Max accumulates little, as befits a monk, but his paintings now draw high prices in galleries.
She is otherwise functional in all the ways Crumb's hero desires. His two sisters refuse to participate. Long before he knew the inhabitants of Crumb's childhood home would be the keys to this film, Zwigoff had slept the night there and met Crumb's brother Charles, who is perhaps the key to the whole Crumb story. The energy of the 1960s which fueled some of Crumb's most celebrated art has long ago dissipated, and when Crumb convincingly disavows being identified with that tumultuous time he hates rock music, preferring to listen to his collection of blues music on original 78 rpm vinyl , you sense that he's a man who has been out of step all his life. Through interviews with his mother, two brothers, wife, and ex-girlfriends, as well as selections from his vast quantity of graphic art, we are treated to a darkly comic ride through one man's subconscious mind.
Photographs of the family circa 1950 find parents and five children posed in their Sunday best on a suburban lawn, looking as if they are awaiting the arrival of Diane Arbus. This movie chronicles the life and times of R. Learning that Armstrong was still alive, he made a film about a man who was ageless, gifted in music and art, a clown and mimic, a life force. We meet both of his wives, who talk cheerfully about the way their images and secrets were incorporated, sometimes directly, into Crumb's work. But they would just vote for the films they distributed because it was in their financial interest to do so.
Though filmmaker Zwigoff had the consent of the Crumb brothers, some questioned the ability of the more disturbed brothers to provide that consent. Certainly it is true that Crumb's men are treated no better than his women: all are disgusting creatures driven by animalistic lust and depraved need. As stream-of-consciousness images incessantly flow forth from the tip of his pen, biting social satire is revealed, often along with a disturbing and haunting vision of Crumb's own betes noires and inadequacies. Robert Crumb is the cartoonist artist who drew Keep On Truckin, Fritz the Cat, and played a major pioneering role in the genesis of underground comix. There is in Charles such a gentle sadness, such a resigned acceptance of his emotional imprisonment, that we sense how Robert's art has saved him from a similar destiny. Yes, he has sexual hangups, but not ones they find unpleasant or painful. He is one of those artists whose pen stroke is instantly identifiable as his own.
Art may have saved Crumb from madness, turning private neurosis into public validation. The rules have changed since then. Through interviews with his mother, two brothers, wife, and ex-girlfriends, as well as selections from his vast quantity of graphic art, we are treated to a darkly comic ride through one man's subconscious mind. It chronicles how he had a huge pioneering role in underground comics. Archived from on February 24, 1999. The involvement of Charles and Maxon, which Zwigoff felt was just as important to Robert's story as anything else, led Zwigoff to title the film Crumb to imply the importance of all three brothers.
Zwigoff is fair enough to provide an articulate objection to Crumb's work: Good sane Deirdre English, a former editor of Mother Jones magazine, is not shocked as much as saddened and repelled by Crumb's work, which treats women as objects, commodities, victims, mindless sometimes even headless conveniences. Portraits emerge as well of older brother Charles, who committed suicide before the film was released, and youngest brother Maxon, a panhandler who painted to assuage his inner demons. The movie Crumb came out in 1995. What deepens Zwigoff's work are the scenes with the family members. Directed by and produced by , it won widespread acclaim.