Review of Barbarella, Queen Of The Galaxy

Introduction

Barbarella psychedella!

Ah, what memories this picture evokes! The first place I saw this movie was late one night in my early teens, on BBC1. I was entranced. I was obsessed. It took until 1986 to track it down on video because The Powers That Be thought it was too naughty to show again. It`s been out on DVD, in a bare-bones anamorphic 2.35:1 print, for a couple of years now and is a regular bargain bucket offer. It`s only a matter of time before Paramount return it to the limbo of out-of-print (and a fully restored SE is frankly unlikely).

Jane Fonda, in her pre "Hanoi Jane" days turns in a perky performance as the eponymous Astronavigatrix sent to the Tau Ceti system to recover Durand Durand (the correct spelling), inventor of the Positronic Ray. Contrary to the beliefs of many fellow feminists and movie snobs, Ms Fonda does not count "Barbarella" as one of her movies to be swept under the carpet. To be honest it`s something of an insult to her to think she would so completely change her views in the short period of time between this performance and her O*car winning turn in "Klute". No, she knew what she was doing with "Barbarella", and if you don`t get the joke you never will.

"Barbarella" is a great work of subversion. It parodies the traditional woman-as-victim genre in the style of silent serials such as "The Perils of Pauline". In her quest Barbarella is helped and hindered by the libidoes of Mark Hand the Catchman (Ugo Tognazzi), Pygar the Angel (John Philip Law), the Black Queen (Anita Pallenberg, deliciously postsynched by Joan Greenwood - not Fenella Fielding as was previously believed), Dildano the head of the Resistance (David Hemmings) and Milo O`Shea`s manic Dr Durand Durand. The last of these stuffs Barbarella into his "Excessive Machine" - a sort of sex organ - and plays a sonata that strips her down to her skin and tickles her ivories.

Sharing the same camp sensibilities as the "Batman" tv series and James Coburn`s "Flint" movies, Barbarella`s adventures elicit asides-to-herself such as "a good many dramatic situations start with screaming". Barbarella is the first post-modern heroine, refusing to be a victim and getting as much fun out of her predicaments as those who would prey on her.

Yes, the movie is frequently cheesy - it`s supposed to be. Look at the completely inept Sogoan resistance led by David Hemmings` Dildano. Barbarella is ready to bonk him barmy as thanks for rescuing her from the Black Queen`s carnivorous budgies, but he wants to use the Pill (the exhaltation transference pill that passes for nookie on 410th Century Earth). Their literally steamy encounter (terminated by Hemmings` orgasmic squeak) is hysterical.

The special effects are particularly dodgy to modern eyes, but with the exception of Kubrick`s 2001 (which blew most of its budget on hand drawn matte work) process effects in movies of the late 1960s tended to be on the bad side of godawful.

You have to watch this movie as a document of its time. You can`t attach modern-day-viewer sensibilities to it and start bitching about the production values, the storyline or the acting. In any case at the most shallow it`s just a bit of fun. Cut it some slack and you`ll be delighted.

Video

Presented in the original format 2.35:1 anamorphic, colours and contrast have been enhanced to improve the overall look of the film, although the source material has seen better days and both print and negative damage are apparent.

Audio

Nothing has been done to trick up the original mono mix of the soundtrack, which is presented here in a flat Dolby Digital 2.0 Mono. The soundtrack has a raw, frequently harsh edge to it that`s pretty typical of the period and is better left alone than overprocessed. The music is by Bob Crewe and the "Glitterband" and includes the unbelievably cheesy title lyric. Crewe would later co-write an equally cheesy theme for tv`s Wonder Woman.

Features

There are full multi-language subtitles for the movie, but little else. The theatrical trailer isn`t much of an extra, but for me it makes a welcome addition to a movie remembered with great fondness and a lump in the trous.. er.. throat.

Conclusion

"Barbarella" has long been a favourite of mine, and revisiting it from time to time I`m surprised by its modern, knowing outlook. Barbarella herself could be a post-Buffy, post-Lara-Croft heroine although sexual liberation takes the place of kicking ass. I`d call it a classic.