“The Holy Grail of Holy Fucking Shit”
John Rad’s Dangerous Men has been called by many “The Holy Grail of Holy Fucking Shit” and right from the get-go, we can tell what kind of film this is. In the credits we see that it all John Rad. The same name appears over and over again and we sense that this is not only going to be an ego trip but one of the silliest movies ever made. We have “murderous bikers, robbers, vigilantes, rapists, and various other degenerates crossing paths in the most violent ways imaginable”. After the death of her fiancé, Mina (Melody Wiggins) sets out to get revenge by cleansing the streets of all sexual predators and craziness ensues. What is really crazy is that Rad and the cast lack any sense of human emotion and this results in some of the most unintentionally hilarious characters to ever be on the screen. Not one person has any sense of rationality and none behave behaves rationally, realistically, or even humanly. They go from untamable rage to complete solace in a matter of seconds. the cast is inept is an understatement. unbelievably inept. Every actor appears to be reading off of a teleprompter, and their physical performances are even worse.
The horrible sound mixing gets progressively worse as the film goes on and on and on and some of the most astoundingly terrible noise is heard in the final act. As much as I hate to give a pan review, I must say that this is one of the worst movies I have ever seen both technically and acting wise. However, to be honest, I love lousy movies.
Because there is nothing redeeming in this movie, it is total entertainment. We never know what will happen next or where the action is going. There is a seemingly constant stream of characters that are ridiculously over-the-top so that it is impossible to be bored.
John S. Rad was an Iranian filmmaker (born Jahangir Salehi Yeganehrad) who said that it took 26 years to complete “Dangerous Men” and I took that to mean that I could expect something special. It turns out that “special” is far from the correct word. I just learned that Rad died in 2007 and this is his only film and it was released in 2005 to a limited audience . Now the film has been revived and we just have to wait and see what the reception will be.
Because there is no sense to the plot, this is a very difficult film to review. In the very beginning, Daniel who is engaged to Mina, kills an assailant who attacked to two of them on a beach but then he is killed by the other as Mina watches in terror. Although narrowly avoiding what will be the first of many attempted sexual assaults, Mina has a taste for calculated vengeance that quite literally kicks in as soon as Daniel’s murderer attempts to stroll angrily off of the beach. In a matter of mere seconds, Mina is transformed from an inconsolable woman, an unaffected femme fatale as she runs after Daniel’s murderer and starts chatting him up and thanking him for freeing her from the dull life she would have had with her fiancé. Mina’s intent is ultimately to lull this killer into a false sense of security so that she may enact her revenge, but you would never be able to tell that just by watching the exchange between the two. With such we see the director’s distaste for rationality and subtleness. These propel the film.
From the moment that Mina stabs the biker in a hotel room with a knife she has hidden between her buttocks. Before you know it, the film has its own agenda of hypnotic incoherence that sets out to trash the minds of anyone who dares to sit through the entire film. It is non-stop amateur-hour insanity that is so curiously genuine in the way that it is done that the movie becomes an unbelievable and unforgettable experience. Rad slaps us cinematically in the face and we wait for more. While we are laughing, we understand that he is sincere in what he has thrown on the screen and he genuinely loves these characters and the world he has created.
Technically, the movie is sloppily filmed, edited, and executed and it becomes a spectacle in and of itself. Knowing that Rad worked on this for a quarter of a century show us that just because someone loves movies does not mean that he/she can make one.
The movie will probably stay with you for days always confounding you and the viewer has the right to understand as he/she wants.