4.6 • 668 Ratings
🗓️ 21 June 2021
⏱️ 5 minutes
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0:00.0 | Well, our movie on this episode is the much-acclaimed 1994 documentary Crum, directed by Terry Zweigoff. |
0:08.0 | It's subject is the legendary American underground cartoonist Robert Crum, who signs his work simply R. Crum. |
0:16.0 | And a little context for those who don't know him, as Crum notes early in this film, he's probably best |
0:22.3 | known to the layman for three things. Creating the character of Fritz the Cat, who was adapted into |
0:29.0 | a notorious film, coining the phrase keep on truckin and its associated imagery, as well as for |
0:35.9 | designing the iconic album cover of Janice Joplin's |
0:39.7 | cheap thrills. And because of these things, he's commonly associated with the 60s and its |
0:44.6 | counterculture, but that's not exactly representative of his work. In fact, in his interviews in |
0:50.2 | this film, he seems quite down on a lot of the culture surrounding the counterculture. |
0:55.2 | He's a big fan of like Dixieland Jazz and Old Blues, for instance, not very into the rock scene. |
1:01.2 | Much of his work is crude and provocative and sometimes downright pornographic. |
1:07.6 | A lot of it is confessional and autobiographical. He often lays his sexual fantasies on a slab for the |
1:14.9 | world to see, no matter how ugly they may be. And a lot of his work could also be described as being |
1:21.2 | social satire of a truly fearless kind. Going to some of the ugliest spots in the collective American unconscious. |
1:31.2 | He's not hard up for defenders. The art critic Robert Hughes is in this documentary, |
1:37.3 | and he calls Crum the broigle of the second half of the 20th century, while also noting that there |
1:43.0 | was no broigle of the first half of the 20th century. |
1:46.2 | He also compares him to Goya. |
1:48.2 | But Crum has also, of course, been subject of controversy for the 50 years, 60 years now, probably |
1:54.1 | that he's been active from people who regard his work as racist, sexist, self-indulgent, and merely pornographic. This documentary positions Krum as someone |
2:05.2 | for whom art was a form of therapy. He came from a seemingly ordinary on the outside post-war |
2:11.4 | family in New Jersey that was nevertheless deeply dysfunctional. Crum and his siblings were |
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