Bad

Bad, released in 1977, is a stunningly provocative cult classic from America’s independent film scene. The film intertwines dark comedy with grotesque realism injecting ludicrousness into serious situations. Directed by Jed Johnson and produced by Andy Warhol, Bad is undoubtedly a noteworthy achievement in the evolution of indie film. Enriched with a colorful cast including Cyrinda Foxe, Matthew Anton, and Cathy Roskam, the film digs deep into the underbelly of metropolitan America, showing the reality that is often left untold because it seems absurdly offensive.

The story centres around the character of Hazel Aiken, a woman leading an extraordinary life in Queens, New York, brilliantly portrayed by Carroll Baker. Sharing her home with her evil-tempered mother-in-law, portrayed by the unforgettable Ruth Jaroslow, her murderous baby, and nerdy nephew J. T., acted by Matthew Anton, Hazel lives amid unending chaos. Adding to this misfit family is the enigmatic, sensuous Mary Aiken, played by Cyrinda Foxe, who adds another dynamic layer to this dysfunctional family circus. Cathy Roskam adds further complicity in her role as Mrs. Green.

This domestic pandemonium is only the iceberg's tip of the mad world that Hazel inhabits. Her business, 'Sylvia's Beauty Salon', operating under the disguise of a hair salon caters to the city's women during the day. However, it is a front for a sinister side gig: a highly controversial service that can best be described as an "electrolysis murder-for-hire." Hazel employs an all-female crew of so-called beauticians, who, in reality, are feminine furies available 'for a price'.

A significant plot thread follows the storyline of Hazel's idiot nephew, J. T., played with an unforgettable dedication by Matthew Anton. J. T., an underachiever with appalling sociopathic tendencies is desirous of becoming part of Hazel's business model, much to her trepidation. Through the lens of J. T., the film explores the grotesque form of masculinity on the margins of society, an unflinching look at a man driven to hideous in ordinariness by a world that does not understand him. Cathy Roskam's role as Mrs. Green brings further chaos and peculiarity to the movie with her dynamic performance.

The surreal universe that Jed Johnson presents is undoubtedly disturbing, but it is also compelling, entertaining, and darkly humorous. The film unravels a paradoxical world where the grotesque becomes the ordinary and the appalling becomes the norm. The film forces us to ask how far is too far when it comes to depicting morally reprehensible behaviour on screen, thus making it a dialogue on cinematic representation itself.

Another notable aspect of Bad is its vivid cinematography and exquisite art direction that adds an immersive depth to this eccentric, dystopian world. The visual style of the film, echoing the aesthetic sensibilities of Andy Warhol's notorious ‘The Factory’ studio, adds an extra layer of absurdism to the narrative. It encapsulates the grimy and often uneasy atmosphere of the world Hazel occupies, displaying a vivid cinematic look at a side of New York rarely brought to the screen.

Moreover, Bad showcases excellent performances from the ensemble cast, giving life to the grim universe the filmmaker created. Carroll Baker is remarkable as Hazel, navigating her way through the bizarre and bleak environment with a captivating combination of cruel cynicism and quiet desperation. Matthew Anton, in his portrayal of J. T., brings a chilling sense of authenticity to his character's disturbing incentives and actions. He manages to infuse an element of pathetic sympathy into his role. Cyrinda Foxe's performance as Mary Aiken strikes a delicate balance between sultry charm and underlying menace, while Cathy Roskam, in her role as Mrs. Green, manages to bring an unusual comedic element to an otherwise deeply disturbing film.

Overall, Bad is a riveting chaos, a mix of social satire, explosive comedy, and crime thriller elements. Unapologetically bizarre and irreverently entertaining, it forces us into its unusual world and does not let us leave until the final credits roll. This shocking and often hilarious dark comedy is an absolute must-watch for any fan of independent American cinema.