In his 1999 work Messiah, notorious underground photographer and experimental filmmaker William Klein (Broadway by Light) uses as his foundation George Frideric Handel's Messiah - the classic oratorio, with its sacred tale of Christ's birth, crucifixion, and ascension - as performed by numerous international choruses including the Lavender Light Gay and Lesbian Interracial Choir and the Dallas Police Choir. He overlays atop it a series of wildly disturbing and potentially offensive images including hole-in-the-wall, ...
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In his 1999 work Messiah, notorious underground photographer and experimental filmmaker William Klein (Broadway by Light) uses as his foundation George Frideric Handel's Messiah - the classic oratorio, with its sacred tale of Christ's birth, crucifixion, and ascension - as performed by numerous international choruses including the Lavender Light Gay and Lesbian Interracial Choir and the Dallas Police Choir. He overlays atop it a series of wildly disturbing and potentially offensive images including hole-in-the-wall, dimestore evangelism; tattoos of Biblical scenes and iconography; and the commercial exploitation of American pop-culture and institutions. Shocking and searing - profane in the eyes of some viewers, transcendant for others - Klein's film is not to be missed - a conversation piece that stirred tremendous debate during its European preview around Christmas 1999 and will generate additional discussion from its initial home video release, on the Koch Lorber label. Nathan Southern, Rovi
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