Oh, the bright lights of Hollywood, Tinseltown, where dreams become reality if only on the big screen.
From the days of Cecil B. Demille to the modern works of Tim Burton, movies thrill and inspire, captivate and entertain and, to the adulation of starstruck audiences everywhere,
They are often a chance to catch a glimpse of the Beautiful People.
What is it we admire about these denizens of the silver screen? Affluence? Thespian prowess?
The way we connect not so much to them, but to the characters they portray? Probably a little bit of all, truth be told. And if I had to single out one production, one movie that best epitomizes the magic and grandeur of Hollywood, you'd be hard-pressed to find a better fit than
BASKET CASE The hearworming tale of two brothers, a parasitic twin and a physically normal guy, who were determined to be a family despite the misgivings of a cold, clinical world.
The malignant lump that is Belial Bradley just can't catch a break. Living off a steady diet of hamburgers and human flesh, Belial lives in a wicker clothes hamper which his passably normal bro totes around on the bus and to boarding houses like an impractical satire of Yoda. The animation in this movie is about as hideous as it gets in a post-ILM/Lucasfilm world. I saw it in the same theater that I had seen "Return of the Jedi" at two years previously. Claymation and puppeteering have sunk to a new low as poor Belial slithers and goops out of his basket and onto the nude, sleeping form of his brother's latest sexual conquest. She awakens, natch, to find Gummy Boy in full rut. Oozing like the ejaculating disembodied head of Universal Film Studios, Belial reminds us that we're all god's children, if not twisted little tumor babies.
I ran into the guy that played Belial when I was living in Denver.
He gave me his autograph.
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