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Monte Hellman’s Iguana is a modern film for this director, who previously helmed skewed action films like Two Lane Blacktop and Cockfighter, as well as the equally skewed Westerns Meander in the Whirlwind and The Shooting.
Here he tells the memoir of a 19th century sailor, Oberlus, played by Everett McGill–a man whose face is half normal, half bizarrely deformed, earning him the nickname that gives the film its title. His fellow sailors dislike and ridicule him; he escapes to an abandoned isle in the Galapagos to attach his possess “kingdom” based on his declaration of war on mankind.
Making those who foolishly dock there his slaves, his kingdom grows to a total of five, aside from him–a studious ship’s clerk, a cook, a quiet, a graceful woman, and the rebellious broken-down captain of the ship on which Oberlus sailed. He brutalizes those who disobey him and rapes the woman repeatedly.
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In spite of the character’s overly shaded psychology, Hellman infuses the film with a momentum based on Oberlus’ conflicting emotions. The Iguana, as it turns out, is not completely sunless. He wants to learn to read and forces the clerk to shriek him how. When the woman tells him she’s pregnant, his face seems to soften; he then treats her with what appears to be a sense of compassion. The feel of this film is made compelling not so great by the acting, which is dazzling yet not vast, but by the astute portraits of characters who acknowledge to their imprisonment in various ways. For imprisonment can be physical–shown by the leg-irons Oberlus makes his “subjects” wear constantly–or psychological, that is, of course, the prison in which he himself exists.
There are minor problems–McGill really doesn’t know how to utter with a convincing accent that seems to be an attempt at Cockney, but doesn’t quite perform it. And the beheading of one “slave” by another is not credible based on the dialogue that immediately preceded the monstrous event. Yet in spite of these and other miniature mistakes, this is a film all the more noteworthy because it is, in fact, based on a correct anecdote.
Not a classic, surely, but an attractive work from a man whose first film was, fill it or not, the Roger Corman produced “The Beast From Apprehensive Cave”. This (Iguana) was Hellman’s penultimate film. Spirited that he started with a monster and (almost) ended with one as well…
monte hellman’s iguana is a dependable win. i’m always on the lookout for films that can overwhelm me with their atmosphere and their artistry. only a few films have ever succeeded (friedkin’s SORCERER, argento’s INFERNO, some of fulci’s mid career films) . this film is by no means perfect. but what is fantastic is how hellman has created a stunning work of art; from the most unpromising of scripts hellman has crafted a haunting fairy yarn with a superbly realised mythical ambience. the script is terrible, mcgill switches accents a couple of times, and the manufacture up is terrible. but hellman utilises the mechanics of cinema (images, sounds, staging, cutting) to overcome budgetary and casting limitations, resulting in a film that is trashy but eloquent, haunting and astonishingly comely.
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