William S. Burroughs Movies

Danish filmmaker Benjamin Christensen's obsession with bizarre lighting effects reached its apotheosis with his 1922 masterpiece Häxan. Beginning in a deceptively sedate fashion with a series of woodcuts and engravings (a technique later adopted by RKO producer Val Lewton), the film then shifts into gear with a progression of dramatic vignettes, illustrating the awesome power of witchcraft in the Middle Ages. So powerful are some of these images that even some modern viewers will avert their eyes from the screen. Though obviously a work of pure imagination, the film occasionally takes on the dimensions of a documentary, a byproduct of the extensive research done by Christensen before embarking on the project (incidentally, the director himself can be seen in the film in a dual role as Satan and the Doctor). Häxan marked a parting of the ways for Christensen and the Danish film industry; thereafter, he confined his activities to the German cinema, before answering Hollywood's call in 1928. A separate version of this film exists, with a shorter running time, retitled Witchcraft Through the Ages and released in 1968. It features narration by the legendary Beat writer William S. Burroughs (Naked Lunch) and a score by Jean-Luc Ponty. ~ Hal Erickson, All Movie Guide

Produced on behalf of the National Film Board of Canada, Prologue is a story of the youth-rebellion movement of 1968. The film concentrates on Jesse (John Robb), who wanders the streets of Montreal selling underground newspapers. Despite the influence of his passive, drug-using roomie David (Gary Rader), Jesse insists upon pursuing the cause of political dissidence. Jesse heads for the fateful Chicago Democratic convention, while David moves to a commune with Jesse's girl friend Karen (Elaine Malus). Tired of trying to run away from controversy, Karen heads to Chicago for a reunion with Jesse, and a few philosophical discussions with "guest stars" Dick Gregory and Abbie Hoffman. Other members of the Intellectual Left making brief appearances in Prologue include Allen Ginsberg, Jean Genet, John Kenneth Galbraith, and William S. Burroughs. Director Robin Spry co-wrote the screenplay with Sherwood Forest (no, really). ~ Hal Erickson, All Movie Guide

In this film, outspokenly homosexual filmmaker Rosa von Praunheim has documented his encounters with friends in the New York "underground" arts movement, the better-known of whom are William Burroughs (who says nothing for the camera), Andy Warhol (seen in the distance) and Fernando Arrabal (who is interviewed in Spanish). The emigrants named in the title are notable Germans who left the country before World War II, such as Greta Keller and Grete Mosheim. Reviewers at the time of the film's release considered it to have been a sort of paid vacation for the filmmaker rather than a serious effort. ~ Clarke Fountain, All Movie Guide

After World War II there was a group of young men -- writers primarily -- who were disillusioned by the pursuit of the American dream. These men and other artists, associated through mutual friendships, were looking for new ways and means to express themselves and their ideals. Soon their writings found an audience and the American media took notice of their bohemian lifestyles, dubbing them the Beat Generation. Members of this group included writers Jack Kerouac and William Burroughs and poet Allen Ginsberg. essentially forming the Trinity of the Beats, and influencing the works of others during that era, including the "hippie" movement of the '60s. In this 55-minute video narrated by Allen Ginsberg, members of the Beat Generation are reunited to share their works and recollections. ~ Forrest Spencer, All Movie Guide

This biographical documentary on author and eccentric William S. Burroughs (Naked Lunch), founder of the Beat Generation literary movement along with Jack Kerouac and Allen Ginsberg, is roughly divided into two segments. The first part has some witty scenes as the camera follows the author around to his various early haunts in the U.S., London, and Morocco. His friends are interviewed, including an interesting segment with Allen Ginsberg. In the second half of the film Burroughs becomes more of an exhibitionist than a subject, suggesting that discretionary editing would have made a smaller but better final version. ~ Eleanor Mannikka, All Movie Guide

German sci-fi film about a futuristic society influenced by "muzak." Featuring William S. Burroughs and music by Dave Ball, John Caffery and Alexander van Borsig, Matt Johnson, Bill Rice and many others. ~ All Movie Guide

Famed performance artist Laurie Anderson both directed and starred in the 90-minute concert film Home of the Brave. While the film refuses to "explain" Anderson to those unfamiliar with her work, it serves as a valuable primer, encouraging the uninitiated to do their own further research. Anderson's non sequitur combinations of music and visuals can be very funny at times, but don't make the mistake of dismissing her as a mere court jester. The film's litmus test is its middle section; you'll either revere or despise Anderson after experiencing this lengthy segment. Among the peripheral personalities in Home of the Brave is legendary self-destructive novelist William Burroughs. ~ Hal Erickson, All Movie Guide

The comedy and thrills are a little anemic in this movie based on a real-life experience of director Jacob Burckhardt. Warren (Reed Bye) is accosted in Brooklyn one evening by rather unusual muggers -- they steal his can of film (this movie's first version?). Warren is alone in his anxiety over his work being lost for good, since the police, his neighbors and friends, and several other characters including the muggers themselves are not deeply moved by his problem. This motley crew misuse him, harass him, threaten him, or they just offer advice. In spite of the efforts of poet Allen Ginsberg as a shady lawyer and William Burroughs as a shadier Mafioso, the stolen film recedes into the murky distance, taking with it the conclusion to Warren's dilemma. ~ Eleanor Mannikka, All Movie Guide

In the U.S., in the 1950s, contemporary jazz was becoming more and more esoteric, and a small group of writers, poets and musicians who were hip to that beat were exploring the cracks in the American dream. Meanwhile, the Cold War and insistently cheerful and upbeat attitudes were being promoted by Dale Carnegie and his many imitators. America was never so prosperous, so virtuous, or so happy, and the writers and artists of the Beat generation were among the first to see the worm in that particular apple. Because so many of them couldn't get enthusiastic about the Cold War, they were derisively called "beatniks," the "nik" being an imitation Russian diminutive. In this 1980s documentary, surviving eminences from that period discuss the times and their experiences. Among those appearing are Allen Ginsberg, Jack Kerouac's daughter and wife, William S. Burroughs, Amiri Baraka (a.k.a. LeRoi Jones) and others, while archival footage gives viewers a taste of other greats of the period. The former Tonight Show host and author Steve Allen narrates. ~ Clarke Fountain, All Movie Guide

This documentary by filmmaker Maria Beatty explores the lives, careers, and creative inspirations of the beat poets, forging insight into the minds of such artists as Gregory Corso, Marianne Faithfull, Richard Hell, Allen Ginsberg, Lydia Lunch and Henry Rollins. ~ Cammila Albertson, All Movie Guide

Produced for theatrical released by PBS' American Playhouse, Bloodhounds of Broadway is not exactly a remake of the 1952 film of the same name, though both pictures use the same Damon Runyon stories as inspiration. The scene is Broadway: the time is New Year's Eve, 1928. Madonna plays small town girl-turned-hoofer Hortense Hathaway, who loves gambler Feet Samuels (Randy Quaid) more than somewhat. Since it is known far and wide that Feet has not a penny to his name, he must find some way to pay off his debts in a hurry. So he offers to sell his huge feet to a demented-an operation which will, alas, cost Feet the use of his life. Upon waking up to the fact that Hortense loves him, Feet decides that he prefers breathing to pushing up daisies. Meanwhile, a society doll named Harriet MacKyle (Julie Hagerty) turns on the spigots when her pet parrot is laid low by a clumsy gunman. And while all this is transpiring, high-roller Regret (Matt Dillon) has to beat a murder rap. Even while Regret is sweating it out, "The Brain" (Rutger Hauer), who is bleeding profusely after confronting the business end of a shiv, searches high and low for someone willing to donate blood to save his life. If you can, keep an eye out for author William Burroughs as a butler. Bloodhounds of Broadway was the first non-documentary effort of filmmaker Howard Brookner-and the last, since he died before the film was released. To gloss over the film's plot holes, the distributors added a Winchell-like narrator to the proceedings, courtesy of actor Joseph Sommer. ~ Hal Erickson, All Movie Guide

This cinematic/literary hybrid fuses motifs from Beat writer William S. Burroughs's novel of the same name with elements of the author's biography and plenty of the cerebral alienation and biomorphic special effects fans of creepy cult director David Cronenberg have come to expect. Bill Lee (Peter Weller) wants to write, but he exterminates bugs to pay the bills. His wife, Joan (Judy Davis), becomes addicted to Bill's bug powder dust, and soon he joins her in a world of unorthodox hallucinogens; he visits the kindly yet sinister Dr. Benway (Roy Scheider) and walks away with his first dose of the black meat -- a narcotic made from the flesh of the giant aquatic Brazilian centipede. Soon, monstrous beetles are whispering conspiracy theories in Bill's ears and his nebbish writer friends Hank (Nicholas Campbell) and Martin (Michael Zelniker) are sleeping with Joan under his nose. When a party trick involving a liquor glass and a gun goes awry, killing Joan, Bill flees to Interzone, a Mediterranean city full of talking insectoid typewriters, double agents, offbeat aesthetes, and plots within plots. As he navigates this paranoid landscape, Bill begins ingesting another drug called mugwump jism and writes fragments that Hank and Martin soon assemble into a novel under the title Naked Lunch. As beat literature aficionados know, Interzone is based on Tangiers -- the city where Burroughs wrote Naked Lunch. The incident in the film in which Hank and Martin appropriate Bill's writing and have it published closely approximates the real-life circumstances of the novel's publication, although it was Allen Ginsberg and Jack Kerouac who helped out the real-life Burroughs. The William Tell incident that kills Bill's wife is also drawn from the author's real life. "William Lee" is both Burroughs' literary stand-in and the name under which he published his first autobiographical novel Junky. Ian Holm, who plays Joan Frost's husband, Tom, would appear in Cronenberg's similarly experimental eXistenZ several years later. ~ Brian J. Dillard, All Movie Guide