Head

Head is a remarkable piece of cinematic art released in 1968, starring Peter Tork, Davy Jones, and Micky Dolenz, who were widely recognized as members of the famous pop and rock band-- The Monkees. A compelling fusion of live performance, musical film, and avant-garde cinema, this movie marks a pioneering milestone in music-themed cinema.

Directed by multi-talented Bob Rafelson and co-written by Rafelson and a then-rising star, Jack Nicholson, the film's foundation echos That of the era's vibe, centered on anti-establishment sentiments and rebellion against norms. The casting of the band seamlessly blurs the lines between an organized music band and cinema, casting a fresh light on the members as actors.

Uncharacteristically, the movie dispositions the band's bubbly pop persona and thrusts viewers into a surreal and metaphysical world. The chaotic narrative, which is held together by diverse sketches and dreamlike sequences, is intentionally nonsensical yet brilliantly captivating.

Peter Tork, Davy Jones, and Micky Dolenz, along with Michael Nesmith, not only star as themselves but also play a plethora of other characters. Displaying a commendable shift from their defined roles in the band, they show their prowess as versatile actors. The characters they portray vary widely from swashbuckling heroes to the lonely victims—much akin to a living dream.

While the action flickers across a series of vivid set-pieces—ranging from war zones to western towns to Atlantis, these illusions are not only strange, entertaining, and occasionally disquieting, but also incredibly symbolic. The film doesn’t hesitate to brave controversial themes, poking fun at various institutional icons like the military and consumer culture.

Adding life to the outrageous storyline, is the music. Although the film is ensconced in controversy, the soundtrack is undeniably superb, mixing the traditional Monkees' pop sound with psychedelic rock. Some of the notable pieces include “Porpoise Song” and “As We Go Along,” contributing to the labelling of the film as an auditory delight.

Moreover, the film incorporates a unique blend of comedy, drama, satire, and musical genres with a strong presence of late-60s counterculture influence and conspicuous anti-war sentiment. In a surprising twist for fans, it departs radically from the bubblegum image The Monkees portrayed in their television show.

A significant aspect of Head is its distinct critique of both The Monkees' fame and the machinery of consumerist culture that sustained it. The film presents a narrative self-conscious of manufactured stardom, media manipulation, and the artifice underlying show business. Rafelson's propensity to insert random snippets of war footage, other movies, television shows, and news intermingle reality and surrealism, even giving the film a sharply satirical edge.

Despite being deemed a commercial flop upon the release, Head has garnered a cult following over the years. Its unique mashed composition of reality, fiction, paranoia, humour and satire make it a fascinating snapshot of anarchy in the late 1960s counterculture. The Monkees' performances, combined with social commentary and a distinctive nonlinear storyline, make it an intriguing piece of cinema that twists viewer perceptions and expectations.

The cinematography by Michel Hugo is vibrant, experimental, and boldly colourful, perfectly capturing the mind-bending nature of the film. He effortlessly traverses through the swiftly changing landscapes of the movie, recreating the dream-like experience intended by the directors.

In conclusion, Head stands as a daring exploration of fame, media influence, and reality, guided by the Monkees' integral participation. It's a film that takes the viewer on a compelling, dizzying journey, breaking away from traditional film confines and manufacturing a revolution in its own right. An experiment in deconstructing narratives and questioning pop culture, it is a tantalizing treat for people who enjoy unconventional cinema.