sunheadbowed Along with the dream-logic violence of his first film 'Fireworks', and the infamous leather 'n' engines homoerotica of 'Scorpio Rising', 'Inauguration of the Pleasure Dome' is one of Kenneth Anger's most powerful films, and the all-important centrepiece of his 'Magick Lantern Cycle' collection.This film is a dizzying neon kaleidoscope of the rebellious imagination: drag queen-like, garish chameleons taunt us from behind ceremonial masks and drink a powder that transmogrifies them into drugged-up lusty creatures of bestial ecstasy; subliminal magick symbols appear and vanish, burning our eyes; black-and-white footage of a turn of the century film adaptation of Dante's Inferno glows as a sinister backdrop, its moonlight illuminating heathens being shovelled into pits of flame by demons -- all the while mocked by the laughing monsters of our own film in the foreground; faces emerge and disappear, dart and glide in and out of view, giving the intimate experience of being limbs-tangled-deep inside this orgy of occultism and colour.This is one of Anger's longest short-films, and features Janáček's 'Glagolitic Mass' as both ironic and fitting soundtrack (other Anger films feature bubblegum rock 'n' roll and doo-wop of its era, adding a perverse sweetness to the subtlety malevolent imagery). With the added length, the film feels more exhausting and epic than some of Anger's shorter films, yet it lasts for under forty-five minutes.'Inauguration' is queer cinema (before it existed), post-Cocteau Surrealism and Crowley-inspired, esoteric true-will in action, all at once. And, love or hate him for it, no other director is more responsible for MTV and music video culture in proceeding generations -- just without the Thelema, intelligence and intentional homoerotica (lots of unintentional homoerotica was retained).A celebratory rebellion against the tedious repressions of religion and Christian 'morals', very brave, and really quite astonishing for the post-World War II 'new world' of 1950s cinema: 'Inauguration of the Pleasure Dome' is essential-viewing for fans of influential avant-garde, experimental cinema.

jennyhor2004 A lush creation by famous underground avant-garde film-maker Kenneth Anger, this film of a celebratory religious ritual mixes several of Anger's favourite themes and obsessions while remaining mysterious enough that it can be interpreted on a number of levels depending on the viewer's background and opinions. I can see here a fascination with the occult and its symbols and trappings, many of which look like deliberate parodies and send-ups of Christian ritual and symbolism, into which Anger has inserted his own interest in the work and philosophy of English mystic Aleister Crowley. There is also a sense of people creating their own selective mix of mythology and ritual. Coming from another angle again, I can see criticism of formal religion, a suggestion that ritualistic religious ceremony can be corrupted and rotting from within, as much a prison from which there's no escape except death, as it is a source of comfort and affirmation for its followers. In the midst of ecstatic communion, laughter and joy, there is also violence and an offer of a sacrifice to dark gods. The sacrifice could be interpreted as liberation as well, a release into a new clean world without sin and corruption. If we interpret the symbolism of "Inauguration ..." very broadly, the film also becomes a critique of Western culture and people's subjective notions of what is culturally acceptable and what is not.The actual film itself is set to the music of "Glagolitic Mass", a composition for solo voices, choir, organ and orchestra by Czech composer Leos Janacek, and could be seen as a very long music video. There's no dialogue at all, no background or other ambient sound. The film builds up steadily with static diorama-like scenes up to the moment where various participants consume an intoxicating drink and then the visuals explode into layered scenes of bursting, flaming colour and strange superimposed juxtapositions and combinations of repeating images, Hindu-god figures with green skin (a symbol of death), Egyptian gods and maenads (female acolytes of the Greek god Dionysius, lord of ecstasy) tearing apart a young man. The film's close, near-fetishistic attention to objects, the actors' elaborate costuming and studied appearance, and the staged, mannerly look of scene set-ups recall the equally camp kitsch film classics made by the Armenian film-maker Parajanov in the 1960s and 1980s.This is obviously not a film for everyone: much of it up to the 20th minute is slow and appears quite remote, not at all concerned about drawing viewers into its ritual and secrets. Characters are preoccupied with consuming rosary beads, a snake and a jewel. Religious rituals have never been about entertaining or informing viewers of their purpose after all; you're always assumed to have undergone some training or education in the religion's basic practices and knowledge and to receive further knowledge you have to be selected by the religion's standard bearers whose expectations of you and your conformity to its precepts may be severe. Eventually the film does immerse viewers into its realm but you need to interpret its goings-on for yourselves: there's no attempt to explain what's happening for the benefit of first-time participants in the ritual. Is the death scene of the young blond man a send-up of Christian Holy Communion ritual as well as a literal interpretation of Dionysian ritual? Is it a reference to the destruction of a particular worldview or civilisation? Is there the possibility of rebirth, that the death is but a necessary initiation step he must take into another (and better) plane of existence?People with no interest or appreciation for arcane religious ritual, veiled symbolism and the eclectic mixing of deities, figures and stories from different religious and folkloric traditions will be bored by the film and perhaps should pass it over but they will miss its layered symbolism and message of initiation, celebration, ecstasy, death and the hope of new life.

MartinHafer The short films of Kenneth Anger are certainly NOT for the casual film goer! The best way to describe them is avant-garde--and often make little sense, as they are not meant to be shown to the masses. Some are incredibly artistic--like filmed work of art. Some are really cheaply made and definitely look it. Regardless, they are a challenge to watch and I very strongly recommend you see them with his commentary activated. So why would I see these shorts? Well, in a recent interview I noticed that John Waters credits Anger for much of his inspiration. And, since I have seen all the films of Waters that are available (a couple very early ones aren't), it seems natural I'd give Anger's films a try. This and four other reviews are best on the DVD "Films of Kenneth Anger: Volume 1".While I could say a lot about INAUGURATION OF THE PLEASURE DOME, I think Norwegianheritic's review was spot-on and there isn't a lot to add. I, too, could see the strong influence from Jean Cocteau and Luis Buñuel. As for the film, it was like a bunch of straight, gay and bisexual artistes who love Alistair Crowley, Satanism and Cabala having a dress-up party and playing out various skits that they thought were clever and great fun. As for normal everyday folks, this is just plain weird, convoluted and, after a slight shock, actually rather boring.

bobby cormier this film is a devastating visual, sensory experience. i have been haunted by its breathtaking imagery & multi-layered arcane symbolism since the first time i saw it. i've watched it over & over again in the years since first viewing it & it never loses its overload of impact on me. i am not an acid casualty, in case you are wondering. it assaults the senses from all angles in a cubist, multidimensional sense. each viewing will bring new insight & renewed, shimmering ecstasy. i promise this to anyone who is open & teachable & cinematic ally inclined to new experience. kenneth anger is a national & world treasure. can you tell i like this film? the flaws in it, if any, have eluded me for years. -bobby