A World Out of Darkness

Title: Dark Star: H. R. Giger’s World
Director: Belinda Sallin
Year Released: 2015
Country: Switzerland
Run time: 95 minutes
Rating: NR




When one conjures to mind the greatest artists of the 20th (and now the 21st) century, a few names bubble into our collective consciousness as being true geniuses, irrespective of their medium, nationality, or personality. Nearly to a person, these individuals have achieved such fame and renown that they are universally referenced by a single name: Picasso, Monet, Matisse, Dalí. I would add to this list the late master H. R. Giger, known throughout the world simply as “Giger” (pronounced  [/ˈɡiːɡər/ ghee-gur]). To be completely truthful, I would now estimate that Giger is possibly more famous than several of these creators are, and his work is, in many ways, more instantly recognizable (and imitated) by a broader swath of people than likely any artist now living, a trend that began in his lifetime.

In the past, visual artists were reliant on patrons to create. This system later evolved away from just the wealthiest in society commissioning a portrait in the pre-photography world, or relenting to the demands of the Catholic Church, and toward the modern conception of artistic patronage by way of corporations. Especially after the Second World War, this would come to include the employment of well-known and readily identifiable artists for promotion and cinema, the latter destined to become the dominant mode of artistic expression in the world (later displaced by television in modern Western culture). As has been the case with several of his contemporaries—Roger Dean, Robert Venosa, Ernst Fuchs, Robert Williams—Giger started his career with a profound interest in design and architecture, and was deeply influenced by the emergent popular cultural movements after WWII ended (especially the Sexual Revolution and the rise of Feminism, new musical expressions, and the revolt against authoritarian governance). Travel was an important (and easier to realize) part of this new aesthetic, which served to enrich an artist’s view of the world and their place in it. Additionally, as most of this new breed of visual explorers did, Giger dabbled in personal musical expression (playing instruments and working with obscure and prominent acts alike). It is, therefore, not surprising that his muse (and immense talent) would at some point lead to Hollywood, and his interest in film (which he had nurtured even as a young man) would springboard his greatest commercial success (screenwriter Dan O’Bannon’s creation of Alien [1979], and Giger’s Academy Award-winning creature designs), as well as bring him incredible recognition and acclaim worldwide for his visceral, singular vision.

Necronom IV, Giger's surrealist painting that ...
Necronom IV, Giger’s surrealist painting that formed the basis for the Alien’s design (Photo credit: Wikipedia)

In the documentary Dark Star: H. R. Giger’s World (the title of which also serves as an effective homage to Dan O’Bannon and John Carpenter’s film of the same name), filmmaker Belinda Sallin brings much of these insights to bear with respect to the brilliant artist’s output. Completed just before Giger’s untimely death due to injuries suffered in a fall at his home in 2014, the film is a thoughtful rumination on the day-to-day existence of this most existential and influential of all modern artists. Sallin presents Giger in a sympathetic and approachable light—surrounding him with friends, family, pets—and does a nice job of contrasting his apparent tranquility with the darkness of his output creatively, especially his earliest conceptions.

At times, the movie seems a bit slow, and the narrative too subtle, but this is a minor quibble: The subject more than makes up for any deficiencies in this aspect. The most fascinating parts of the film, aside from hearing Giger discuss his philosophies and his imagery itself—the beautiful grotesqueries of his biomechanoid, psychosexual nightmares—are the sections detailing his childhood and the relationships with his parents, especially his mother. Women always played a prominent role in his life, and seeing him with his mother—as well as the complex interactions with his former lovers and wives—was extremely informative and compelling, even wistful. These moments serve to humanize a man that many have deified—which is understandable in one sense, but unfair in so many others. Giger was not, after all, monolithic and easy to grasp; he was introspective, sensitive, and deserved to be understood and appreciated as an individual with dreams, hopes, and insecurities just like anyone else. The interviews with his widow Carmen Scheifele-Giger, and his longtime companions and friends such as Tom Gabriel Fischer (of Celtic Frost and Triptykon fame), Leslie Barany, and others, are also enjoyable and revealing. They each, in differing ways, provide deeper understanding of a virtuoso creator, one who has come not only to represent and encapsulate much of the post-modern angst and ethos of our troubled times, but who also captured a sublime wonder and magnificence in the decay of humanity. It is a tragedy that he was taken away so early, but a joy he lived at all.

Highly recommended.


(Dark Star: H. R. Giger’s World is in limited theatrical release beginning in May of 2015, and is available on DVD.)


**UPDATE: 5/19/2015**


A major cinematic event is happening at New York City’s Museum of Arts and Design (MAD): The Unseen Cinema of HR Giger, a film festival in three parts on FRIDAY, MAY 22nd and SATURDAY, MAY 23rd, 2015. This is a ticketed event open to the public. Dark Star: The World of H. R. Giger will not be shown at the festival, as this is a series curated by friends, collaborators, and family of Giger. The entire program can be viewed on THIS NAMELESS DIGEST POST.

**From the MAD page about the series**

“Few artists have made a larger impact on the fantastical visions of cinema as the Swiss surrealist HR Giger. Most famous for his Oscar-winning design of the titular monster and scenery of the Alien film series, HR Giger’s vast output included paintings, prints, and sculpture, as well as industrial and interior design. Over a forty-five year career, Giger collaborated with an array of directors and artists to produce a body of work that continues to influence generations.

Marking the one-year anniversary of his passing, the Museum of Arts and Design in NEW YORK CITY presents The Unseen Cinema of HR Giger. Partnering with the HR Giger Museum and the HR Giger Documentary Film Festival, this weekend-long event presents rare and never before seen films made by and about HR Giger.

Opening up Giger’s personal archive for the first time, these films reveal the behind-the-scenes practice of this singular artist. The Unseen Cinema of HR Giger gives a rare glimpse into the personality, process, and vision of his indelible impact.”


**More information about the series and the event, including the venue and tickets**

The first evening of screenings will be introduced by Blondie’s DEBBIE HARRY and CHRIS STEIN.


TRAILER about the film festival







**Museum of Arts and Design (MAD) address**

2 Columbus Circle
New York, NY 10019

The Unseen Cinema of HR Giger is an event curated by Leslie Barany & Zev Deans

Special Thanks to Jake Yuzna at the Museum of Arts and Design (MAD) and Carmen Giger, Debbie Harry, Chris Stein, Jacqueline Castel and Madeline Quinn

As I Knew Him: My Dad, Rod Serling

by Anne Serling

May 2013

Citadel Press Books

285 pages; hardcover; $25.00

ISBN: 978-0-8065-3615-6


My Dad as I Knew HimWith the death of the brilliant Columbian writer Gabriel García Márquez, the recent sharp loss of storytellers in the post-modern era zooms into focus: Just as Bradbury, Matheson, and Márquez, Serling was one of those rare talents able to transmogrify the ordinary into the sublime, the mundane into the magical. Of course, enamored as we are by their gifts—and as unwittingly influenced by their insights as we doubtless become—it is sometimes hard to believe that there was once a world before they came along… Collectively, we are always shocked when the reality of their death brings home to us the fact that they are, after all, human, with all of the fragility, dignity, embarrassment, beauty, horror and other emotions that appellation implies.

In her poignant memoir/tribute to her late father, Anne Serling brings this sense of loss home in a very powerful, personal way. Demonstrating the old adage that “the apple doesn’t fall far from the tree,” we are shown through her moving and lyrical prose what we have always suspected about the dapper man in the suit with the clipped voice from the original Twilight Zone series—that not only was he a superlative talent, a giant of television with a big heart and social conscience, but also a loving husband, caring parent, and deeply introspective soul.

Some of the most revealing aspects of the book are her intimate revelations from Serling’s letters home to his parent during his time in the Pacific Theater in World War II. In these, there is little evidence of the talent or drive that would come bursting out of him through the new medium of television in just a few short years.

Throughout the book, readers are treated to a generous number of family photos and images of the letters penned by Serling as a young man. These underscore the wistful nature, as well as the playful side, of Serling, allowing one to consider not only his artistic legacy in a new context, but the very personal nature of Ms. Serling’s memoir. This is a book about an artistic genius, yes, part biography, part tribute, part historical overview, but, in addition, it is an “autobiographical biography” replete with stirring reflections, thoughtful reminiscences, and soul-baring grief. This is also catharsis for a devoted daughter who venerated a kind, loving father, and who has been able to harness her obvious literary skills and sharp critical insights into a lasting testimony that reaches far beyond celebrity and enters itself into another dimension.

Highest recommendation.



Author Spotlight: Sunni K Brock

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Bill gazed out of the window from his seat: 7A. He would rather have had an aisle seat, but the only ones available were in the exit row and at his advanced age he didn’t feel comfortable with all that responsibility.

As he downed the last of his orange juice, he couldn’t help but think about how many people would die if the plane . . .

They’re right. I’m too morbid…”

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