Suggested Viewing from Jim's Real Detroit Column BLOODBLISTER and the HOLY WHORE

Usually “Videophile” is a recommendation and review of one or two somewhat off-the-wall movies that may have been overlooked by some and forgotten by others. Of course, each and every one of those reviews is the result of years, if not minutes, of research and preparation. Today’s column is an exception: it is a reaction to the current trend of independent filmmakers giving exclusives to the two largest video rental chains in the country. This is not an entirely new phenomenon, and with the money that independent films are raking in, it will most likely get worse. An August 8th article in “USA Today” by Josh Chetwynd reads like a press release for Blockbuster and Hollywood. In it, Chetwynd notes that in 1999 Blockbuster acquired 70 independent films to showcase in its “Blockbuster Exclusive” line and that this year the number may reach 140. A Blockbuster big-shot is quoted as saying that “in the past, customers have questioned whether Blockbuster was focused on the big hits and not a variety of products. But we’re working hard to make sure customers can find films that are little treasures on those rainy afternoons.” Supposedly this locking-up of titles--and making sure that the stores that have for years showcased alternative and indie film don’t have access to them--is the way Blockbuster is going to make up for years of muscling smaller film companies into altering both packaging and sometimes the films themselves. In the past, Blockbuster has refused to carry anything that was at all controversial, such as Martin Scorsese’s The Last Temptation of Christ, or many unrated director’s cuts. Knowing that Crash would never be carried uncut, David Cronenberg himself delivered an R-rated version, so it’s not just low-budget film that is affected. According to Chetwynd, Hollywood Video has linked up with independent label The Shooting Gallery and has exclusives on several of their titles for 12 weeks. In addition, Hollywood is supplying an outlet (and in some cases financial backing) for some up-and-coming and talented director’s films. You can’t blame the filmmaker for wanting to jumpstart his or her career, but it sure seems likely that some concern for where the money came from will influence what should be art. It often does seem like the starving artist delivers the best work. Perhaps the biggest crime is that video stores that have long offered alternative films--those independent outlets that have given special attention and promotion to indie film and filmmakers for years--are now being denied access to those very films. These stores support indie film out of love for the medium. Most place a high priority on having a knowledgeable staff who can both intelligently discuss and capably recommend films that have been unjustly refused attention. Liberty Street Video in Ann Arbor is one of those stores, and manager Steve Smith voices a strong opinion on the subject. “It’s appalling and obscene that any independent film would be exclusive to any of the major chains. Here at Liberty Street, we’ve supported indie film for years, and now we’re being blacklisted...we’re completely shut out of the picture.” Gary Reichel of Thomas Video says, “After our support of these types of films and filmmakers, preference is given to those large chains, and we are forced to the back of the bus.” To say that big-business support of indie film is rooted in love (or even respect) for independent film is totally ludicrous. Both of these major chains are looking for avenues to increase revenue. Lovers of esoteric film may feel forced to rent these films from stores they abhor. In reality, most films will be available a short time later at their favorite rental sites, where they can be in the company of others who cherish the true independent cinematic experience. Patience and support of your local independent video store may be the only way to get these films back where they belong.

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