Text © Richard Gary / Indie Horror Films,
2015
Images from the Internet
Bill Zebub Productions
120 minutes, 2009 / 2012
www.billzubub.com
www.mvdvisual.com
As always, Bill Zebub plays Bill. He’s kind of a one note actor that way, but on the other hand, he plays himself well, probably because he’s playing himself (or some version of it).I’m trying to say this actually in a positive way. He’s kind of a man-child, as if he were mentally stuck at age 15: horny, daring, and obnoxious as all get out.
Images from the Internet
Extreme Metal Retardation
Directed by Bill ZebubBill Zebub Productions
120 minutes, 2009 / 2012
www.billzubub.com
www.mvdvisual.com
When
he isn’t making comedy/horror films like The
Worst Horror Film Ever Made: The Re-Make (2008) and ZombieChrist (2010), New Jersey-based director Bill Zebub makes
metal-related documentaries.
Now,
his docs are not your typical talking heads’ “What got you into metal?” kind of
deal, his questions are from left field and catch the bands off guard, even
though they obviously know him from past experiences.
One
of the more interesting aspects of this is trying to guess whether the bands
are going to get really pissed off at the audacity, or laugh really hard at the
moxy. To me, which side the band falls on tells a lot. If you’ve seen any of
Zebub’s large canon of work, both fiction and non-, he is an instigator. He
likes to get a rise out his audience, but also from whomever he’s talking to at
that moment, including his cast and crew. Well, that he uses the word
“retardation” in the title shows he is a gladiator against what he deems as PC, which also includes words that are
both gender and racially sensitive, and bandy them around. Y’gotta love him or
hate him for that.
The original Metal Retardation was
first released in 2009, and there have been four in total now. So, I’m
going to admit right at the onset that I don’t know crap about death metal or
its cousins. I’m first wave punk, and the closest I come is liking bands like
Adrenolin OD (saw them play a couple of times in the ‘80s), Chesty Malone and
the Slice ‘Em Ups (saw them a few times, too, but more recently) and arguably
the Ramones (who I probably saw easily more than a dozen times between 1975 and
1980. So how will I approach this DVD? Well, sort of the same way I handle
going to professional sports games, which I apparently know more about through
cultural osmosis than enjoy following any particular team. I’ll be looking at
it for the surroundings, the tone, the personalities, and how it all falls
together.
The
joyfully lopsided ride begins with an extended interview with drummer Fenriz,
of Darkthrone. It takes place at 2:30 AM when both he and the interviewer are
drunk. It’s a fun, rambling mess. I did laugh when he put on some vinyl of “Rock’n’Roll
Gas Station.”
There
are many bands interviewed here, such as Alestorm, Arch Enemy, Arkona, Borgir, Dimmu,
Enslaved, Ensiferum, Enthroned, Huntress, King Diamond, Kreator, Primordial, Septic
Flesh, Tyr, and Voivod.
The
humor level definitely runs from deft to daft. For example of the former, after
someone asks Voivod about their influences, Bill interrupts and asks the band,
“How original are questions about your influences?” As for the latter, he asks Sharlee
D’Angelo of Arch Enemy, “How important is penis size to a Scandinavian?” In the
first case, the band found the question very enjoyable with a knowing laugh,
with the second, he seemed kind of confused.
Bebub
is helped along the way by a few interviewers such as Layla (if I got the name
correct), a metal fan who usually asks some decent questions along the way, but
is not afraid to put her own sense in, or to ask questions that has some bands
scratching their heads (e.g., about pirates). She is a good yin to Bill’s yang
as he handles the camera, because his questions are totally out there, such as asking
what someone will wear for Halloween, or inquiring Jill Janus of Huntress if
she was ever a man; another good example is when he asks D’Angelo if he’s ever
been known to say “I love my Good & Plenty?” What makes ridiculous
questions like these so interesting is (a) odds are these bands who have had
multiple interviews have never been
asked these questions before so do not have set answers, and (b) it completely
catches them off-guard, even when they don’t understand the question (for
example, the answer to the Good & Plenty one was an honest, “I don’t know;
have I?”). D’Angelo says it best when he refers to these innately inane
questions as “Zebubisms.”
Though
some from the US and Canada, most of the bands interviewed are from Europe,
such as Greece, Germany and Russia; most of them, however, are from the
Scandinavian Bloc, arguably the epicenter of
Black Metal. Sometimes, because of that, part of the joy of this pure
silliness is sometimes there is a language barrier, but the questions are just so out there, that even with that, the
band members seem to be having a genuinely good time, and that tends to flow
over to the other side of the screen to the viewer.
For
the observer watching this, it’s important to have a bit of a thick skin
because it seems like Zebub's whole existence, be it in his documentaries to
his fiction-based films, is to get a rise out of, well, everyone. This is part
of why I have said more than once that I’m guessing he is either a gas to hang
out with or a complete asshole (perhaps both). Questions are often in complete
bad taste, such as calling something “gay,” referencing swastikas (not the ideology
behind it, though), or inviting bands to smack Layla.
It’s
a lot of fun, and to take it from another perspective, it would have been easy
to have made this all about Zebub in a reign of Zebub, but even though the
queries are completely ludicrous, the film still mostly manages to make this
about the band’s reactions more than about Zebub’s questions. I’m kinda
relieved about that. It also makes for a much more interesting documentary.
Sure, he’s part of it rather than impartial (though, of course, there really
isn’t anything as objective, no
matter what the Ayn Randites believe), but he doesn’t dominate (okay, he
occasionally does); he’s more the moat around the medieval castle.
Mixed
in with all the interviews is music by many of the bands represented here. Some
are live and some are professionally shot band videos. What I especially appreciate
is that most are them are complete, rather than just snippets. The one thing I did
find a bit disappointing was the lack of credits for the nearly half dozen interviewing
personnel in the main feature. .
The
extras are an additional, 37-minute single-camera interview with King Diamond
of the band – er – King Diamond, and a complete film, reviewed directly below.
Am I
converted metal fan after watching nearly 4 hours of the feature and both the extras?
No, and yet I still enjoyed the package.
Metalheads: The Good, the Bad and the
Evil
70
minutes, 2008 As always, Bill Zebub plays Bill. He’s kind of a one note actor that way, but on the other hand, he plays himself well, probably because he’s playing himself (or some version of it).I’m trying to say this actually in a positive way. He’s kind of a man-child, as if he were mentally stuck at age 15: horny, daring, and obnoxious as all get out.
His
girlfriend, Elaine (Emily Thomas) is both charming and abrasive at the same
time. A scene where she has taken some acid and is completely paranoid is (or
should be) a classic. On the other hand, she’s is nagging Bill because he is
perpetually jobless and doesn’t have a car to take her out, or to go on dates.
On the third hand, I kinda agree with her; both parties should try being
self-sufficient in a relationship.
Bill
wants Elaine to marry him; however, tired of Bill’s attitude (and supposed
small genitalia, a running joke [?] through his films), Ellaine first hits on
Bill’s bestie, Rich (Tom Goodwin). This opens a possible floodgate for her,
Meanwhile, Bill has started to hang out with a tough guy with a brilliant New
Jersey accent (Carl Williamson, credited only as “”Evil Metalhead”), who is
violent, super macho, and thinks being a bully is being a man (I grew up with the
disco versions these kinds of guys in my neighborhood of Bensonhurst). In an
uncomfortable scene, he gets an underage girl (though the actress, Kathy Rice,
is not) drunk and de-virginizes her off-screen. There are lots of scenes of
nudity and masturbation by various characters, but not any detailed onscreen
sex.
While most of the dialog seemed ad libbed, it was pretty funny and scripted. For
example, during a fight with Elaine, Bill yells, “I’m gonna have a girlfriend
who doesn’t listen to KISS, like you
do, because the only time a metal band should have the word baby in a song is if it’s about killing babies.” Later, the bad dude
tries to egg Bill on with, “You’re living with the volume turned down. I’m
gonna show you how to crank it up.”
Despite
the comedy level of most of the film, it does not end on an upbeat, so be
warned. Still worth watching if you’re into a micro-budget, metal focused
story.
Unrelated,
bonus video:
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