Text © Richard
Gary / Indie Horror Films, 2021
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the Internet
Hanger (aka Wired)
Directed by Ryan Nicholson
Plotdigger Films; Unearthed Films; MVD Visual
90 minutes, 2009 / 2021
www.plotdigger.com/movies/hanger-2009/
www.unearthedfilms.com
www.MVDVisual.com
Vancouver-based director Ryan Nicholson left quite a legacy before he passed on in 2019, including Gutterballs (2008), Collar (2014; reviewed HERE), and this little gem that I have heard of but had never seen. Now it’s out in a two-disk Blu-ray.
Nicholson was known for his extreme version of cinema, with violence, gore, sex and lots and lots of other nastiness. His films are not for the weak of heart, and this one certainly lives up to the legend that has followed it.
Right from the start, we meet very pregnant prostitute Rose (the ever amazing and brave performer, Debbie Rochon; there are definitely aspect of the opening that are a nod to her history with Troma, such as a television in the motel room playing 1986’s Class of Nuke ‘Em High, and Lloyd Kaufman has a cameo as a “tranny,” which is how it is listed in the credits). Rose’s violent pimp, Leroy (Ronald Patrick Thompson, the only black actor in the cast with dialogue, is a vicious pimp; that’s all I’m sayin’) not only wants her to keep making money, but also demands she get rid of her baby through despicable means, despite it being close to popping.
Debbie Rochon
Her time is close, so the pimp decides to take things into his own closet, the new Texas style of abortion in what is definitely an extremely cringey scene that most, especially women, are bound to turn their heads. If I may digress, I used to work in a movie theater, and whenever any man got kicked in the gonads on-screen, you would hear a collective and deep “Oof” by the men in the audience, followed by giggling in higher, female voices. Nearly every time. This is kind of the reverse of that.
Somehow, the baby survives this assault with many lacerations to the face, teeth like Belial in Basket Case (1982), and a not-fully-developed brain. He is thrown out to be brought up by a homeless man (director Nicholson), and is named Hanger (Nathan Dashwood), a nod to his method of birth. When he hits 18, he’s put on the street and given a job in a junk yard’s recycling yard by a creepy, monotone guy who had a thing for Rose called The John (Dan Ellis, really standing out in the acting department). Actually, this is true in Canada – where this is filmed – that people with disabilities work in recycling centers. However, rather than those who have mental disabilities or Down Syndrome, the people in this film (of course) are not only mentally and physically handicapped, they’re also degenerates.
Dan Ellis
Tall and lanky Hanger is matched up as roommates with beer and porn obsessed co-worker Russell (Wade Gibb, a white guy playing an Asian character, who seems to ad lib a lot to great effect). Soon we see Hanger’s innate lust for violence and a bit of cannibalism come to the front, which makes him a perfect vehicle for revenge against Leroy and others. Hanger is directed by the John towards getting even for his mama.
There is a lot to digest in this film, all of it stuff you may want to puke out at some point, be it tampon tea, GHB sex with colostomy holes, the infamous abortion scene, and…well, let’s just leave it there for now, shall we?
There are also a ton of facial prosthetics that are used (by Michelle Grady) on nearly every male in the story, making everyone look as warped as the storyline, including sores, pimples, an amazing nose on the John that seems right out of Sin City (2005). And like Sin City, the look of the film is quite unique and, well, dirty looking, with some phenomenal lighting, silhouetting, and angles that work with the prosthetics to make them look even more fantastical (by cinematographer and editor Jay Gavin, his first time for both).
This can only be described as extreme cinema, though the word transgressive comes to mind. Blood, gore, violence, coarse language including the use of the N-word, and abnormal sex are the theme, which is right up where Nicholson wanted it to be. This is the kind of film he loves to watch, and as he explained in the commentary, he makes his films for himself, not for the fans, of which there are rightfully many, even though it is a niche market.
Nathan Dashwood, Wade Gibb
The gore is plentiful, which is no surprise, the makeup is as extreme as the violence, and the women are quite beautiful, with standouts being a junkyard admin assistant named Nicole (Candice Le, aka Candice Lewad) who likes to show a lot of cleavage and pleasure herself in explicit ways, a full-lipped prostitute named Trashy (Stephanie Walker), and of course there is Ms. Rochon, in an extended cameo. Women are pretty secondary to the story, which focuses more on Hanger, The John, Leroy and odd Russell.
Being a 2-disc special Blu-ray release, let’s take a look at the hours upon hours of extras. First up is a Triple-X version of the film. Call me crazy, but I watched it and the regular, and I did not see a difference. It’s pretty hardcore anyway. There is also a full-length commentary by the director, Ryan Nicholson, completed for the DVD release in 2010, which he manages to remain interesting throughout. Most of the extras were filmed during this period.
Next up is “Behind the Stoma: The Making and Taking of Hanger” (20 min.). In case you don’t know, a stoma is “an artificial opening made into a hollow organ” (thank you Wikipedia). This is a really well shot collection of interviews with the director and some of the cast, mixed with behind-the-scenes clips. Generally, it was quite engaging, with everything being long enough to get a grip on it, but short enough not to overstay its welcome. Other films’ Makings Of featurettes could use this as a model. This is followed by another “Making Of” featurette (26 min). It’s a rehearsal with Nicholson working through the introduction to Leroy scene with the cast, including Rochon. While fun to watch, I don’t think I would turn it on again, though I was happy to have seen it once.
Ronald Patrick Thompson
“Taking of Hanger, Enough Dope to Hang Yourself With: On the Stet with Lloyd Kaufman” (12 min.). If Kaufman is there on set, one should always do a featurette with this film legend and ad lib maven. Most of the footage here was shot by Kaufman himself, and then the camera is handed off to Ryan’s (adult) son for Lloyd’s “Melvina the Tranny” scenes. It’s a funny, unusual behind the scenes, but what else would you expect from Kaufman? His friendship with Rochon, whose career turned a corner in his films, is evident and smile-worthy.
The “Blooper Reel” (2 min.), “Deleted Scenes” (6 min.), which is also a blooper reel, and Additional Scenes” (20 min.), which is more of a behind the scenes kind of deal, could all have been combined into one 28-minute piece. Nothing very special. Again, glad I saw it, but would probably not watch again
“Black on White Bred” (3 min.) is the film within the film of the porno (hard “R”) that stars Hanger’s mom Rose and Leroy, including the money shot. Don’t really know what more to say about this, except Rochon is definitely one to give for her art.
Gibb
The second disc is “The Raw Tapes, Volume 1” through “Volume 5”. These are the raw footage and can be seen as almost a Master’s Class in indie filmmaking. Each one of these five are on average 3 hours long, Honestly, no, I did not sit through all of them, but I did some zooming around. I have a life, as there are over 18 hours of extras in total. Maybe one day I will come back to these.
There is a photo gallery, and the usual sound and chapter choices on the first disk. Even with the “everything but the kitchen sink” mentality, the only thing missing was English subtitles for those of us with a bit of a hearing thing (too much seeing the Ramones, Johnny Thunders’ Heartbreakers, etc., in small clubs and loud volume).
Sometimes I wonder
where Nicholson, who also did make-up for some very major releases, would have
gone in his directorial career if he had not succumbed to brain cancer before
the age of 40. Gratefully, he is being appreciated after the fact.
