200 MOTELS (1971)
‘Touring can make you crazy. That is precisely what 200
MOTELS is all about’.
Thus spake the narrator, actor Theodore Bikel, at the
start of this madcap musical/live concert piece written, orchestrated and
co-directed by Frank Zappa with Tony Palmer.
Zappa went to United Artists with a vague idea for a film.
They green-lit it and almost $700,000 was spent by him on assembling a studio
set, a cast of musicians alongside his band the Mothers Of Invention, and the
London Philharmonic Orchestra for a concept piece loosely about the life of the
rock musician. It was fast work, shot in only seven eight-hour working days and
then edited in just eleven more. (Apparently the money ran out a third of the
way through so they had to make do with the footage they had and edit it using
very crude equipment).
200 MOTELS was the very first film shot on video-tape and
then transferred to 35mm film. Its video effects such as freeze-frames, rewinds
and frame repeats look basic today but back then became the basis for future rock
video filming. It’s a loose and inventive film in format although bereft of any
linear sense. Stylistically, the movie is akin to a cross between the
studio-bound TV shows of THE BANANA SPLITS and ROWAN AND MARTIN’S LAUGH-IN,
with its video look, cross-cutting and cartoon sound effects. The staging also
feels like a live theatre broadcast of a musical, so it’s a curious mish-mash
of approaches that has some validity for being an experimental use of the
medium. The songs are reminiscent in eccentricity of Brian Wilson’s SMILE, but
Wilson’s music is tuneful even when you’re not sure what he means. 200 MOTELS
is harder to warm to.
Frank Zappa had the kind of personality that inspired people
to trust him up to a point to voyage into the unknown in the type of project
he’d had no experience of, which was movie-making. It has a cast almost
entirely untutored as actors (and it shows) except Bikel who at least seems to
have fun as the narrator/Rance Muhhamitz. Zappa cleverly stacked the deck with
music showbiz glamour by adding Ringo Starr complete with Zappa-esque bushy
long hair and beard and the manic Keith Moon as a suicidal nun that Starr
chases through the orchestra pit at one point. Lord knows why but it livens
things up. ‘Moon the Loon’ in a wimple somehow fits in this context, like an
out-take from BEDAZZLED.
In the revealing ‘TRUE STORY OF 200 MOTELS’ documentary,
Bikel was ‘intrigued by the idea’ presented to him by Zappa. He had little else
to go on since the script was merely a fifteen-page outline then. Tony Palmer,
whose background was in directing award-winning films about musicians, was so
flummoxed by the impenetrability of the work that during the filming he wanted
his name taken off it as director out of fear for his future career.
The band themselves could shed no more light on Zappa’s
meaning or methods than anyone else. “Working with Frank, it’s all very
temporary” offered band member Mark Volman. The shifting sands didn’t just
apply to membership but also to the content of 200 MOTELS. It’s hard to lock
onto a narrative thread in the film, or melody lines in the songs, which does
make appreciation hard going at times.
Zappa realised there were mutinous elements afoot which to
be fair he was largely to blame for. Aside from his film being inexplicable to
his colleagues, he was hiring people unused to the discipline of filming, who
hated the early wake-up calls and had little patience with the continual
downtime needed by technical breaks. Those who did have experience didn’t like
the conditions any more so, venting their frustrations by complaints or simply leaving.
Band member Jeff Simmons quit early in production. There is a character
reference dig in the film aimed at him as ‘Jeff’ tires of playing Zappa comedy
music and wants to quit. He was replaced by actor Wilfred Brambell (TV’s old
man Steptoe), who after a week of rehearsal freaked out at the environment on
set and also left, to be replaced by Ringo Starr’s driver Martin Lickert. The
London Philharmonic Orchestra endured the madness while filming needed them but
as soon as they wrapped, ripped their rented tuxedos and stormed off. You can
see it in the documentary and Zappa’s anger at what he saw as their lack of
professionalism.
When asked what he thought audience’s reactions to 200
MOTELS would be, Mothers’ member (and ex-Turtles singer) Howard Kaylan
imagined: “People are gonna be leaving saying ‘What’s he doing? What’s the
message?’ That is the message. He’s not saying it”.
That’s about as much sense as the film makes. It’s an
avant-garde curio for sure, but paved the way for pop video techniques so for
that alone more than its wacky content it deserves a place in music film
history.
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