User reviews

It's a war-torn world in some sort of war between the sexes. Lily barely escapes a male military squad and finds a mysterious community living in a country mansion. They have lots of animals, lots of naked children, and an unicorn. There are a beautiful man, a pretty woman, and a bed-ridden old lady who seems to be their leader.

This is an experimental sci-fi film from French director Louis Malle. It's a lot of weirdness. I'm not sure about anything in this film. Lead actress Cathryn Harrison is not really acting as much as just existing in this weird world. She's very pretty but her range is somewhat limit. She is either a pissed off teen or a tensive teen and she alternates between the two. I don't know what else to say about this. I wish I knew the point Louis Malle is trying to make.

This movie is one of a kind. It was so weird I couldn't stop watching it. If you like strange and unusual movies like I do, then watch this one. You won't be disappointed. I've seen it 3 times so far and I still never ever get bored with it. I can only imagine what the writer was smoking when he wrote this story. It's one of those movies that stays with you forever. It makes no sense whatsoever, but, you can't stop watching it. For those of you who have never heard of it or seen it, you should definitely give it a whirl. You might have to watch it 2 or 3 times like I did, to try and understand what the hell is going on. Good luck and enjoy.

Weird movie by Louis Malle, Which was filmed at Malle's own Manor, with Joe Dallesandro acting in his first (and only), non speaking role, Playing the brother of a twin sister. The film starts off with a girl, played by Cathryn Harrisson (Actor Rex Harrison's granddaughter, who was only 16), driving in her car in the dark and runs over some kind of beaver or something, later on down the road she encounters a road-block, put up by men with army suits and gas masks. The men in masks with machine guns mow down about 6 women in plain view of her. One of the guys in the masks starts approaching her car, she's dressed like a guy with a hat and her long hair tucked underneath it. The guy in the mask pulls off her hat and her long blonde hair streams out, alarmed, she suddenly pins the gas and gets away. Later she encounters men in more masks killing more women, and things get even weirder from here. Almost too weird. The movie no doubt, has a very surreal tone to it, very ALICE IN WONDERLAND. Trying to comprehend what really this movie is about is impossible. Only Louis Malle knows what king of message this movie was intended to give. And that just suits me just fine, because I find the imagery of the different scenes and various characters keep me occupied through-out the film, and interpretations are mixed with each time I watch it.

A lot of avant-garde filmmakers experimented with Lewis Carroll's classic novel "Alice's Adventures in Wonderland". Some features that come to mind are Jaromil Jires' wonderful film, "Valerie and her Week of Wonders", Guillermo Del Toro's "Pan's Labyrinth" and Jan Svankmajer's "Alice". Louis Malle's surrealist experimental film "Black Moon" could very well fit into this category of the directors' own interpretation of the novel giving it their own "free form"!

Written by Louis Malle in collaboration with Joyce Bunuel (Luis Bunuel's daughter-in-law!) and directed by Louis Malle, "Black Moon" is devoid of any central plot as such. Set against a post-apocalyptic backdrop of a "war between the sexes", this film simply chronicles the weird happenings as experienced (or imagined?) by a teenage girl, Lily (Cathryn Harrison) who has narrowly escaped being killed by men seemingly out to wipe out the entire women populace! Having been lucky to have escaped, she just speeds away in her car deep into the woods only to come across an isolated property, a huge manor house and its strange inhabitants. The house is dwelled in by a cantankerous, bed ridden old lady (Therese Giehse) with a weird fetish, who talks to animals, especially a big rat-like creature "Humphrey" in some language that's gibberish, and every once in a while speaks on a radio kept by her bed. There is a brother-sister pair around the house to take care of stuff. They don't speak a single word. They only hum some songs as they work around the property. Some snakes tucked away in unlocked drawers also share the space with them!

The most bizarre of all though, is the presence of about half a dozen naked children running around playing with a gigantic pig; they keep interrupting Lily's path every time she chases a not-so-graceful Unicorn that seems to be a regular visitor around the property…..

Everything sounds very interesting for film lovers who love their films rife with surreal dreamscapes but frankly it doesn't go much beyond this. The film surely holds our interest for most of its modest running time of about 95 minutes thanks to the splendid camera-work by the genius cinematographer Sven Nykvist and the rather awe-inspiring sound design. In a fabulous close-up of a crawling centipede, you can actually "hear" the little thing crawl on a surface! In another hilarious scene (repeated twice), amidst near dead silence, a pig sitting at a table, apparently guarding a large glass of milk kept at the center of the table, lets out a loud grunt every time Lily gulps milk from it!

These are just some of the really jaw-droppingly outlandish scenes in the film and there are a good number of them. There are some scenarios that are so absurd, they are comical and that's a good thing, but after a while the same devices are recycled instead of bringing in some novelty factor. Once one gives in to the idea of absurdist fiction, then there are no limits to what one can do! But surrealism not being Malle's forte, he leaves a little to be desired in his product. If a premise that automatically creates endless possibilities starts to get repetitive then there is a problem somewhere! Malle even tries to infuse some allegorical allusions to the Indian epic Ramayana (a particular episode involving "Jatayu", the demi-god possessing the form of a vulture, who tries to save Sita from Raavana's clutches!) but it doesn't necessarily create a huge impact in the overall proceedings.

This is an English language film and Cathryn Harrison, portraying Lily clearly speaks in English. However Therese Giehse's (Old Lady) speech sounds dubbed in English and her lip movement is ridiculously out of sync. It is unclear whether this was intentional or a technical glitch, a bad dubbing job or a bad lip-synching job! At times even Harrison's dialog seems out of sync. Some of it sounds really dumb as well! If one thinks from a certain angle, there certainly is an interpretation that gives the happenings on screen some meaning and a vaguely fitting explanation which could even reflect religious themes! I would not like to adhere to any theory or interpretation though. I think it is safe to assume that Louis Malle didn't want to make a deeply thought-provoking or metaphorical film. He merely wanted to compile some dream-like visions into a motion picture laced with themes of civil war and futuristic dystopia and a teenager's coming-of-age, and that's fair enough. He wanted his film to be more a visual experience than a cerebral puzzle. Only Luis Bunuel or David Lynch could've done a much better job with the material at hand.

Score: 7.5/10.

Liking or disliking this film appears roughly to be about a 50/50 split. In order to write a review that might add something useful to the many already written, I will try to point out some elements that could affect your enjoyment of this movie thereby helping you decide if you want to spend the time watching it, to wit:

First off, it's not sci-fi. It is a fetishistic, pseudo-erotic fantasy that will not be particularly arousing to most people in the mainstream. There were several scenes that collectively made me decide to take "Uncle Louis" (Louis Malle, the director) off of my "A" list of babysitters.

Secondly, while there are a few vague similarities to Charles L. Dodgson's (Lewis Carroll) "Alice in Wonderland", this thing is not even close. Dodgson's masterpiece combination of comically bizarre characters, charmingly absurd situations, wildly imaginative scenery and brilliantly logical dialogue remains both treasured and unmatched in all of history's known literature. On the other hand, this muddled romp through Louis Malle's rather...er..."peculiar" mind has all of the charm of a full-for-5-days, fish offal bin, on a hot August afternoon.

The reviews that allude to this film being allegorical and/or composed of a parable(s) and/or containing deep "messages" regarding war, social inequity, animal rights, etc., etc., ad nauseum must have Malle rolling on the floor, laughing hysterically. A more realistic interpretation is that Malle decided to knit together a bunch of idiotic scenarios that had formed in his head while he was thinking about the silly and/or contentious issues of the day (radical feminism, the Vietnam war, etc.) mixed with the black sludge contents of his own psyche. The end result being "Black Moon". The point is that there is no point to this movie and it is likely deliberate!

So, if you like watching films that are well-produced, well-photographed, artless euro- bourgeois, jumbled stream-of-consciousness, incoherent, pseudo-socially mindful, plot- free, products of Louis Malle's contemporary (to 1975) musings and possible masturbatory fantasies, then "Black Moon" is for you! Otherwise you might want to consider a good action-thriller and a tub of buttered popcorn (you'll have waaaaay more fun)!

Best Regards, OtherView

In the mid-70s when this film was made there was - in the real world - a 'battle of the sexes' with militant feminism in full swing (if not an actual 'war', there was a lot of bruised feelings and anger in the air - witness works of fiction like 'Who needs men?' and 'The Woman's Room'); the student riots of the late 1960s were a fresh memory, as were images of Vietnam (and for British viewers, the latest IRA atrocities). Black Moon may not 'make sense', but it's more understandable as a dream, from beginning to end (forget the idea that any of it is meant to be set 'in the near future'), by a pubescent girl, subconsciously worried by the apparent war between the sexes and disturbed by her budding sexuality (note the juxtaposition of the idealised vision of heterosexual love, presented by music from Wagner's Tristan und Isolde first heard on the car radio, quickly followed by the shocking images of war).

As mentioned elsewhere, this is beautifully filmed, and IMHO captures beautifully the quality of dreams where one event follows another in a 'stream of consciousness' manner (yet with certain obsessive themes), and the dreamer does everything as if it were the most rational thing to do (as one does in a dream). On first viewing I suspected this film to be a rather self-indulgent exercise, but there's a strangely compelling quality about both the narrative and the beauty of the actual cinematography. Highly recommended.

This movie is a version of the Alice in Wonderland story about a young innocent who finds herself in a world of odd characters and behaviors. It did not have a clear A to Z story line that I could follow. It seemed to me that it's just what's happening at the moment that matters. It is best viewed as a dream or even madness; this way, when nothing makes sense (and it never does), you have a logical explanation.

I was balanced precariously on the edge of consciousness while watching this thing; slipping in and out momentarily at times. However, half way through, I managed to stay focused. I have to confess though that the piano scene threatened to send me under again.

Finally, I couldn't say that I liked this movie, but at the same time I couldn't say I particularly disliked it either (I would have slept thru the whole thing if I did). so I'm giving it a "middle-score" of 5 stars. If you are into films that are offbeat, quirky, symbolic, -then who knows? This one might be to your taste. The rest of you-- well, you might want to save this movie for a sleepless night. Your "secret weapon", as it were. If nothing else gets you, the piano scene towards the end will deliver the knockout punch you need. Guaranteed! Happy dreams! Love, boloxxxi.

I must say, seeing this film was like an adult orientated verison of Alice in Wonderland; the material is dark and surreal as the music is eerie to set the mood of the film. The story revolves around a girl 'Lily' who finds herself stuck in a strange and bizarre world between fantasy and reality. Such events occurred in this film contains a talking unicorn, a teenager breast feeding an old woman (and later a unicorn?) and a naked children, frocking around the meadow as if nothing were watching them. Not since 'Eraserhead' have a seen such a bizarre, disturbing and fascinating work of art. A must see indeed for those of you who Cherish rare pieces of work like this.

Designed as a Deep, Disturbing, Coming of Age Allegory, this is a Bizarre, Enchanting Film but is at Times Very Unsettling and Nightmarish.

Animals, Including a Unicorn, Speak. Insects Communicate and are Ever Present. Snakes are Inhabiting Her Virgin Sensibilities and an Old Lady is Central to the "Plot" and is just Disgusting.

There are Naked Children (Cherubs), Mythological Manifestations, and Breast Feedings from Hell. The Movie uses Cinematography and Sound Effects in Eerie Compositions and Intrusions (alarm clocks), although the Color seems Lifeless.

There is a "Sub-Plot" of a Futuristic War of the Sexes and Although it is a Minor Story Arc, when it is On Screen it is Visceral. This may All be a Dream, and it Probably is. The Final Scene is the Most Profane of All.

Recommended for Fans of the Avant Garde, Surreal Cinema, Art-House Movies and Lovers of the Strange.

It played here in Berkeley in the late 1970's at the repertory UC Theatre (now defunct of course), I saw it in Cologne in 1976, but it doesn't seem to have been picked up by any US distributor and it is not and has never been available on VHS, Laserdisc, or DVD anywhere in the world, AFAIK. And I have never seen it on cable tv (Sundance, IFC, you listening?).

A neo-surrealistic fantasy, it was promoted in newspaper ads in Germany as The Movie Where Animals Talk to People!

Weird and wonderful from beginning to end, IMHO. An old woman sitting at her kitchen table talking to a rat sitting on it. An 8 year old or so boy and girl playing in the yard and suddenly breaking into the complete love duet from Tristan & Isolde. Joe Dallesandro of Andy Warhol/Paul Morrisey movies, and lots more. I can't remember it very well at this point, it's been a quarter of a century since I saw it.

The number one film on my want list.

I had missed out on this on French TV a few years ago – the film is so obscure that I had never even heard of it back then!; eventually, I caught up with it while in Hollywood on bootleg DVD-R in an English-dubbed version (as was this current edition, albeit a slightly out-of-synch one!).

Best described as a plot less apocalyptic surreal fantasy on "Alice In Wonderland" lines, it actually precedes Claude Chabrol's own superior modernized take on the children's classic (ALICE, OR THE LAST ESCAPADE [1977]). For the record, writer-director Malle had previously only breached fancy with the anarchic ZAZIE DANS LE METRO (1960) and, with Luis Bunuel's daughter-in-law Joyce contributing to his script here, it could well be that the use in the film under review of Wagner's music – also heard in the elder Bunuel's L'AGE D'OR (1930) and WUTHERING HEIGHTS (1954) – was a deliberate nod in his direction. The leading lady of BLACK MOON is a beguiling Cathryn Harrison, granddaughter of Rex; also in the cast are Alexandra Stewart and Joe Dalessandro as incestuous siblings (neither of whom ever utter a single word, though he likes to express himself in baritone!).

The film's war-torn landscape is undercut by a plethora of entomological detail, beginning with a raccoon getting crushed under the heroine's car's wheels and ending with a snake slithering up her skirt!; there is also a giant rodent – with which the eccentric old lady of the central setting, a dilapidated country-house, frequently engages in gibberish conversation (for whatever reason, she also keeps a control center by her bedside!) – and a squat talking brown unicorn, which seems to particularly intrigue Harrison!!

The elderly woman – who died before the picture was released (in fact, it is dedicated to her memory) – occasionally takes the semblance of death even here and, when she comes to again, finds herself craving milk: Stewart and, eventually, Harrison oblige her in this regard – the film, then, ends on a shot of the heroine about to feed the afore-mentioned horse in the very same manner! Harrison, too, seems fond of milk – which she repeatedly drinks out of a very tall glass set at table, always with a pig nonchalantly looking on!; besides, a brood of wild naked children are continually seen chasing a hog all over the place.

In the end, the film proves too obscure and personal for complete success and, yet, it is certainly not to be ignored by way of its intrinsic strangeness and undeniably haunting quality.

One of those films which annoys during the viewing, but which remain embedded in the memory to the point that you end up saying that there was something. Here, no doubt that once again Louis Malle sought to identify (or reveal) the genesis of desire. Unfortunately, the exercise is rather irritating.

I guess you have to earn the right to be totally idiosyncratic. If Malle were a first time film maker, there is no way that this film would have been tolerated. So many idiotic annoying things in this film. The intrusive sound track. A beetle scuttles thru the grass and it sounds like a rhino charging thru a corn field. At one point in the film an ENDLESS series of wind-up alarm clocks ring; an ear-splitting annoyance that goes on for almost a full minute as Lily frantically tries to shut it off. As soon as she does another one goes off, then ANOTHER. After 3 or 4 alarms go off, she finally just starts throwing them out the window,thus making a clever point: time flies? At the end of this scene, and about TEN alarm clocks, I wanted to chain Malle to a grandfather's clock and throw HIM out the window! Then the huge,irritating rat which speaks gibberish in a loud, grating high-pitched drone. Also it appears that no one, from the unicorn that looks like it's ready for the glue factory, to the old lady , can eat ANYTHING without a deafening smacking of the lips before and during ingestion. Insects and farm animals appear at random amid throngs of naked children. A painting of a warrior beheading an eagle foreshadows the exact incident being re-enacted by the brother, which sets off a pointless indecisive battle between he and his sister. Lily's underpants fall down to her ankles ....TWICE, which the old lady finds hysterical and she grabs her instamatic for a "Kodak moment"! Lily eats a big piece of swiss cheese after removing dozens of live ants.

I kept thinking of that terrific scene in "After the Fox" when Peter Sellers is on trial for smuggling while using the pretext of making a film to disguise the crime. The poorly focused, badly cut film of random activities is shown as evidence in the case. Afterwords a film critic in the crowd leaps up and begins to rave. "Encore! Brilliant!! I Laughed, I cried, it became a part of me!"

I don't care what credentials a film maker has, allegory is NOT a random series of vignettes that please the director. I like Cheese so I'll have scenes with cheese. I hate the sound of an alarm clock so I'll show you just how annoying they are. Mr Malle... GO POUND SAND!!!!!!!

It had a small US release, possibly in some college towns where there might be a Malle-knowledgable crowd. Much like a strange dream or nightmare, after Lacombe, Lucien it was a disappointment, but I've always remembered an image so it must have some power.

As the movie opened I was pretty sure that I was going to love this film. We begin in the midst of a mysterious war between men and women. A teenage girl named Lily is driving along disguised as a young man when she is revealed to be a woman by some soldiers from whom she flees on foot.

This opening and the following flight were my favorite parts of this film. The camera work is great and the people she runs across and situations she encounters are truly unique. For example, she encounters a unicorn but it is more like a fat unicorn made from a donkey rather than a horse.

By and by, she comes across a house and this is where the movie ground to a halt. The home is occupied by two siblings, a brother and sister, as well as their invalid mother who never leaves her bed. There are also a host of small animals who sort of speak although the audience is never treated to knowledge of what they are saying.

I felt like I understood much of what the director was going for by creating mystery through odd circumstances and characters a la Alice in Wonderland. The problem is that there is no through line tying the film together and it seems to abruptly end for no real reason.

Imagine watching a version of Alice in Wonderland that takes place entirely at the able of the Mad Hatter and March Hare. On top of that, no one ever talks about the rest of Wonderland and anytime Alice asked a question, she was met with zero response.

That is what this movie is like. She is consistently frustrated by the lack of information anyone gives her. This would be fine if they were slyly slipping away from explanations with their witty banter or if they were so high minded that she simply could not understand them. Unfortunately, most of the communication she attempts to establish is met with straight up stone walling.

It ended up making the film a pretty boring and uninteresting watch. I wish the film had maintained the momentum it began with. It would have been a four star movie but with the crash of lethargy the film reaches at about 25 minutes in I can't really give it better than two stars. I just didn't like it.

I saw this film when it was first released in the US in 1975. It played at the Carnegie Hall Cinema right underneath Carnegie Hall. One reviewer called it a disappointment but they must have seen another movie. The group I was with was about as sophisticated as film goers get and everyone of them were simply awed by this film. This is not a film you think you way through rather you let the archetypal symbolism sweep over you. The film works on the deep subconscious of the viewer and what at first appears to be complete madness slowly turns into a new reality that works. Eventually it all appears to be perfectly normal even though it's anything but.

I will never forget walking home from the theater to the upper west side that night in the freezing subzero temperatures. Homeless people, wrapped in whatever clothes they could find, trying in vain to keep warm held out their empty hands in hope some one would drop a coin in them. It was a dark, empty and bitter cold city devoid of any feeling and I recall thinking that this was the real madness and the movie seemed so warm and inviting by comparison. I consider this film to a true masterpiece that for some bizarre reason has simply dropped off the radar screen. Carl Jung would have loved it, see it and see what I mean, if you can find it. Magnificent and exquisite cinematography by Sven Nykvist, Ingmar Bergmans famous director of Photography.

We just saw Black Moon on Charter cable tonight, Sunday July 23. It was a strange movie, very hard to get into. The war between the men & women seemed like just an excuse to drive the young girl to the house where the animals talked, the people sang, and the kids ran around naked. I'm still not sure either of us understood it. My girl friend just said I had a strange taste in movies. She found it hard to follow. I thought the coloring was muted to give it a desolate effect, and the talking rat and unicorn gave it an Alice In Wonderland effect. When the unicorn wanted to nurse off the girl at the end is when I lost it. I guess I wasn't meant to understand this movie but it was two hours well spent. Of course, part of it was the company I was in. In summary it was a surreal sci-fi flick that is rarely scene, and no wonder.