Tako na čitanje poziva Isidore Ducasse, koji je svoje je glavno djelo, proznu poemu "Maldororova pjevanja" (Les Chants de Maldoror), potpisao pseudonimom Comte de Lautréamont. Umro je 1870. u dvadeset četvrtoj godini života, "okrutno" mlad, zanemaren i potom nekoliko desetljeća zaboravljen, da bi ga nadrealisti pozdravili kao svoga duhovnog suvremenika, a Breton proglasio najvažnijim pretečom nadrealizma.
U ovom, kako su ga neki nazvali, "bizarnom dokumentu nastranog i pomračenog uma" autorov junak i alter ego Maldoror luta svijetom, koji poprima čas izgled Pariza čas nekog fantastičnog i promjenjivog krajolika, čineći pritom raznovrsna perverzno maštovita nedjela, a sve to u težnji da preko apsolutne pobune ostvari apoteozu zla. Maldororova pjevanja začudan su samogovor pisan uznemirujućim, iskidanim ritmom; spjev u kojem pjesnik agresivnom, upravo sadističkom žestinom salijeće čitatelja svojim napadima na čovjeka i njegova Stvoritelja.
"Opjevao sam zlo", zaključuje autor za kojega nobelovac Le Clezio tvrdi: "Lautreamont je prorok oslobođene poezije."
Ovo je prvo izdanje Lautréamonta na hrvatskom jeziku, a izvrstan prepjev Zvonimira Mrkonjića prati ilustracija na naslovnoj stranici, djelo poljskog ilustratora Zdzislava Beksinskog.
"Maldororova pjevanja" začudan su samogovor pisan uznemirujućim, iskidanim ritmom, ali samo prividno, jer je riječ o širokom iskaznom tijeku, bez praznih mjesta, ispunjenom žestokim kontrastima ugođaja, registara i raspoloženja. U njemu se stalno mijenjaju prizorišta od pariških ulica do otvorenih krajolika i olujnog oceana. Lautréamontov junak i alter ego Maldoror luta svijetom koji ga odbacuje, on je kao u groznici mučen mislima i vizijama, počinja raznovrsna perverzno maštovita nedjela u težnji da se preko apsolutne pobune osveti Bogu apoteozom zla.
Bogati bestijarij ovoga spjeva o kojemu je pisao Gaston Bachelard, nabrojivši čak osamdeset i pet životinja, pokazuje agresivnu, upravo sadističku žestinu kojon tinje doživljavaju fantastične preobrazbe. Tako primjerice uš postaje tako velika da može smrviti čovjeka. Gonjen mržnjom prema čovjeku, Maldoror se usred oluje sparuje sa ženkom morskog psa ili se pretvara u golemog odvratnog polipa. Ravnodušan prema Ijudskim problemima, Maldoror salijeće čitaoca svojim napadima na čovjeka i njegova Stvoritelja.
Lautréamonta se pritom služi okvirom tradicionalnog povišenog retoričkog stila crnog romantizma, ali i maštovitim zapletima petparačkog romana iz podlistka, da bi ga ispunio smjesom rječite okrutnosti, ironije, crnog humora, ali zgodimice i velikim lirskim uzletima. Pišući svoj spjev, autor se s ironičnom viješću osvrće na njegovo nastajanje." - Zvonimir Mrkonjić
Film MALDOROR: The Last Film Ever Made nastao je tako što je 12 različitih autora obradilo neko od poglavlja Maldororovih pjevanja. Rezultat je bizarna mješavina seksa, nasilja, bakterija, blata... Web-stranica filma je ovdje
A feature film in twelve Super 8mm episodes made by and starring the no-torious no-bility of UNDERGROUND CINEMA • Kerri Sharp • Filmgruppe Abgedreht • Duncan Reekie • Caroline Kennedy • Colette Rouhier • Filmgruppe Chaos • Steven Eastwood • Jenigerfilm • Andrew Coram • Hant Film • Paul Tarrago • Jennet Thomas • German voice over Feridun Zaimoglu • English Voice over Duncan Reekie • Based on the novel by Isidore Ducasse a.k.a. the Comte de Lautreamont translated by Alexis Lykiard • Idea and Co-ordination by Duncan Reekie and Karsten Weber • 16mm post-production supported by Kulturelle Filmforderung Schleswig-Holstein e.V.
PLOT: Maldoror whose lips are sulphur, whose eyes are jasper, is stranded on Earth amongst the humanity he hates. His dark shadow haunts the day. At night he is pursued by phantoms and the memory of his unspeakable crimes. He searches the darkest secret corners of the world for revenge, for rest, for a companion. But he only ever finds horror, death and an endless battle against his arch enemy God and his loathsome Son. After an encounter with a festering angel, an amorous shark, a divine pubic hair and a dog on wheels, Maldoror embarks upon a course that leads inevitably to the final apocalyptic clash with the Creator himself !
FILM: In 1998 Duncan Reekie of the London Exploding Cinema Collective and Karsten Weber of the German Filmmgruppe Chaos got together and decided to make a Super 8 feature film of the infamous novel by Lautreamont. They selected around fifteen underground filmmakers/film groups from England and Germany and sent each one a chapter from the book and an invitation to make a film out of their chapter. Each maker could use different techniques, styles, actors and locations but there would be a voice over narration by one narrator over the entire feature.
There was no budget for the production, the filmmakers had to put up their own money, although Karsten managed to raise some post- production finance. The makers dug out their cameras, blackmailed their friends and relatives into assistance and began to shoot. Some of them studied the novel, some of them read their chapter once through and then immediately lost it. Film came back overexposed , underexposed, out of focus, friends split up, equipment broke down, an irreplaceable roll of film disappeared. Three filmmakers dropped out. Two years later the surviving twelve emerged bleary eyed from darkened attics and smoke filled cupboards with edited films which were then enlarged to 16mm and assembled into the feature length film.
Premiered in Germany in April 2000, Maldoror has hypnotised and thrilled both audiences and press.... a cult classic for the price of a second hand car.
The action takes place somewhere behind an impossible mesh of sex, violence, emulsion, bacteria, oil, bleach, petals, glue, dirt, abrasion, acid, superstition, glare, fur, insomnia, amphetamines and deep blue cold water. At first this mesh appears to be on the screen but slowly you realise that it is in fact behind your own eyes ! Despite its subject matter Maldoror is perhaps the most realistic feature film ever made, for although the big budget multiplex features strain with every tense and twisted fibre to conjure a world of carefree spontaneity they cannot compete with the reality of filmmakers who really don¹t give a fuck. Whilst the multiplex constructs its reality with narrative, style, action and music, Maldoror uses all these techniques but also adds real human conflict, chance, technical distortion, film surface scrimshaw, creative democracy and diversity. Maldoror does not just conjure the illusion of reality, it is actually real at the same time. Its got something that the multiplex cannot offer... WILDNESS. We have identified a gap in the market and we have turned that gap into a terrible breach. Make no mistake once you have seen it all other films are meaningless. After Maldoror, filmmaking is no longer possible; in fact, it no longer has any purpose."
"100 minutes of film, 100 minutes of barrage by images in 12 episodes. To be seen at the premiere in the MAX. How should one with this flood of images control the short circuit in one's brain, how should one name it? One shouldn't win the upper hand, one shouldn't chase it through the portals of descriptive reason. One should be sucked under by this whirlpool of blood and semen, of poetry and obsession. If there is ever a message from the "12 songs of Maldoror" by Comte de Lautreamont, then this is it.
Even the text, by Feridun Zaimoglu, beseechingly mumbled from the off like a constantly circling and flailing prayer is a zoo of poetic images, one's floating in the power of words, a self-confident sublimation of the author into the gaping mouth of the text.
The filmed episodes by the 12 Super-8 pirates from England and Germany are like this at any time. There's a girl not only being mauled by a mastiff but also fucked, not just because 'feeding' and 'fucking' alliterate nicely. Nosferatu comes back to life at the fresh-blooded body of a boy. Jack-Arnold-spiders drill their tentacles into eyes.
A white female shark snaps at the heads of the spectators before the biblical mating with Maldoror and a canary perishes in the squashed cage.
However, fans of horror and gore are not served here. The terror is not contained in the images, instead it is between them, in the other half of time where it is night in the cinema because the image changes, in the moment where the images echo. The cinema is created in the head, so say some filmologists. Here it happens in the intestines of the spectator, starts off thoughts and associations which are so convulsive like the infernal rumbling in the bowels.
Yet not everything sinks in the 'desolate morass of images'. In the episode "Girl chases bus" by the Munich-based "Filmgruppe Abgedreht" clay is magically animated. Even a torn off head seems somehow cuddly - applause for the shot.
Extraordinary is also Caroline Kennedy's episode "The Lamp". Maldoror's bloody incest with an angel from a magic lamp is told with frozen pictures, and she asks with them what movement is in fact. And exactly this standstill, this pause at the dark snapshots of existence, at the zero points, moves.
Turned into stone one sits as the credits roll, tortured on the rack of images. However, just like in classical tragedy where the violent rage of the gods causes heads to roll, one is also cleansed by this catharsis of obsessive poetry. And one steps purified into the night, into 'the gentle night of souls'. - Joerg Meyer
"It takes the courage of a fool or the genius of a madman to attempt the impossible and there's plenty of both on display in this celluloid working inspired by the infamous proto-surrealist text of 1868. Written under the name of Lautreamont by the young Parisian Isidore Ducasse, Maldoror is an astounding work; a mercurial outburst of rage and beauty narrated by the daimonic misanthrope Maldoror. Ducasse himself died an anonymous death in 1870, at the age of 24, but his creation lived on to become a key inspiration for the Surrealists.
This collaboration between London's Exploding Cinema and Germany's Filmgruppe Chaos is a wilfully erratic portmanteau of 12 five to ten minute films, four German and eight from the UK, shot on Super 8 and blown up to 16mm. Each interprets a different section of the book, a chapter, line or moment, the only connecting thread being Maldoror's narration - though in some sections even this is abandoned. The results vary wildly in approach. Some attempt to follow the text literally - notably in a sequence where Maldoror copulates with a (toy) shark - while others are more impressionistic mood pieces.
A kaliedoscopic range of techniques is displayed here, often within the same segments; viewers are assaulted by an orgy of wonderfully disturbed clay (or was it?) mation, blurs, stills, washes and loops. Similarly the tone of the pieces ranges from the malevolent to the downright daft. Some segments capture the book's essence more successfully than others, and it's only natural that people will respond to each according to their own aesthetic. But the constantly shifting tableaux of sounds and images ensure that everyone should find something here to enthral, disturb or revolt, so echoing the book's own unpredictable nature.
As Maldoror himself warns at the opening of his narration "Only a few will be able to savour this bitter fruit with impunity." Made for under £2,000 over two years and "a complete nightmare" according to co-ordinator Karsten Weber, this is true underground cinema. Currently, screenings are limited to the odd film festival - like the upcoming Volcano in London - but catch it if you can, and hold on tight.
FORTEAN VERDICT: Delicious malodorous potpourri. - Mark Pilkington
Evo još nekoliko filmskih/video radova nadahnutih Lautreamontom:
U Šarenom dućanu odlično su izabrali ilustraciju za naslovnicu knjige - Zdzislava Beksinskog. Evo još o njemu: