A lonely hairdresser watches the title sequence of "That Cold Day in the Park" then visits a local park to invite a down-and-out skinhead to his apartment. He draws the silent man a bath and... Read allA lonely hairdresser watches the title sequence of "That Cold Day in the Park" then visits a local park to invite a down-and-out skinhead to his apartment. He draws the silent man a bath and talks to him as he soaks. He locks his guest in a bedroom. Next day, the skinhead leaves ... Read allA lonely hairdresser watches the title sequence of "That Cold Day in the Park" then visits a local park to invite a down-and-out skinhead to his apartment. He draws the silent man a bath and talks to him as he soaks. He locks his guest in a bedroom. Next day, the skinhead leaves through the window and visits his sister, who's making a film called "Sisters of the SLA."... Read all
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As obvious as it is that this was made on a painfully small budget, the film is strangely interesting from beginning to end. Why is it that this film holds the attention with very little plot when so many other indie films scream film school and put the viewer to sleep?
If you aren't offended by the whole gay milieu and don't mind seeing a bit of graphic fellatio in a movie then you might find this interesting. Klaus von Buecker plays the cute skinhead and is very easy to watch. (No more so than Tony Ward in La Bruce's later Hustler White) It's rawer and grainier than his later Hustler White but interesting in much the same way.
There are, however, certain themes that are exploited since the beginning. Fetishism is one of them. The obsession of the hairdresser towards skinheads comes from the clothes they wear and especially their boots. Footwear has always been one of the main fetishes in classic psychoanalytic theory. Freud, for example, used to say that all women desired the man's penis (he was no feminist, of course). A woman was somehow incomplete because of the lack of penis. Other authors have stated that foot fetishism starts at a very early age: A child, any child, is playing in the floor and raises his head to look at his mother, looking through the mother's skirt, he realizes she does not have a penis, and therefore she is incomplete. And the young boy suffers as he stumbles upon this discovery. And he suffers so much for it that he wishes to fill that void, to replace that lack of penis with something else, hence he looks down to the floor again and he stares at her mother's shoes, and unconsciously he turns those shoes into the penis, thus replacing the absence with something else. The shoes could be seen as a symbolic penis; Lacan, for example, would later re-elaborate the theory explaining that the high heel shoes function as the mother's phallus, a phallus which has been previously denied by the father.
It would be interesting, however, to contrast these definitions with homosexual desire. What are shoes for a gay man? Are they necessary the mother's lost phallus? There is a very erotic fixation on the skinhead boots, and as the film progresses we understand that fetishism can take many forms.
Another interesting character is the skinhead's sister. She plans to make a movie about women, much in the same way that Luce Irigaray envisions feminist literature in "Speculum of the Other Woman". It's all about bodies, whether the female body trying to attain a certain supremacy or independency, or the male body removing itself from the classic Lacanian masculine position.
Although the exploration of the body is very valuable, there are moments in which there is no pathos, moments that one as a spectator would deem necessary. The ending is not as subversive as the rest of the film, perhaps it's too conclusive in a story that should have been left open and free to be interpreted and reinterpreted by the viewers. The meaning of text, after all, as Barthes would have wanted, does not depend on the author but on the reader. And in Bruce La Bruce's production this task falls heavily on the spectator.
Dynamism and rough context left no viewer indifferent and understandably stipulated further curiosity to Labruce's movies.
Hopefully, "No skin off my ass" was a very good exercise on a way to "White Hustle" and above mentioned "Raspberry Reich".
The following text is just for fulfilling IMDb request on a minimum of a ten line text to be submitted: one two three four five six.
Thank you for considering my opinion.
No Skin Off My Ass on the other hand is the equivalent of a punk fanzine, it's highly political, has a subtle subtext and contrarily to The dreamers is completely embracing it's time : the nineties. A period of time where people were terrified of skin heads, was battling against the aids during the aids holocaust and believed grunge punk rock could save the world. It's got style and great aesthetics, and despite being cheap it's unashamedly pure cinema : the inside swimming pool, basically a flooded flat, it's fetishist, licking doc martens to the sound of Nico's rendition of the German national anthem. There's lots of references to ancient cinema, visually, Lubitsch, Pabst and Von Stroheim while sharing those directors themes of predilection.
Did you know
- TriviaSinger and songwriter Kurt Cobain declared it his favorite film.
- ConnectionsFeatured in Brows Held High: Otto, or Up with Dead People (2011)
Details
- Runtime1 hour 13 minutes
- Color
- Aspect ratio
- 1.37 : 1