Symbiopsychotaxiplasm

Symbiopsychotaxiplasm from 1968 is an avant-garde, mockumentary-style film that stands out in the realm of independent cinema. Helmed by influential filmmaker William Greaves, the movie showcases Patricia Ree Gilbert, Don Fellows, and Jonathan Gordon in notable roles, leaving an indelible mark on cinematic vista.

The film's title, ‘Symbiopsychotaxiplasm,' is a tongue-twister, deriving from the word created by Arthur F. Bentley, an American political scientist, denoting the communicative processes that occur in an environment. To truly comprehend the significance of the title, one must delve deep into the layers of the film's complex plot and experimental storytelling method. The film extrapolates the meaning behind the title, dealing with the interactive forces and social dynamics occurring within its narrative space.

What's particularly noteworthy about Symbiopsychotaxiplasm is its commitment to subverting the line between reality and fiction. It eschews a linear story and instead evolves as a documentary within a documentary, blurring the border between the film crew and the actors. It offers an unconventional exploration of the filmmaking process itself, revealing the mechanisms of film production in a unique and engaging manner.

The movie begins with a director named William (a character played by William Greaves) conducting auditions at Central Park in New York City. He positions himself as the eccentric and sometimes antagonistic force, pushing his actors to their limits. Patricia Ree Gilbert and Don Fellows play a couple caught in a turbulent relationship, rehearsing a dramatic scene for Greaves' supposed film.

However, Symbiopsychotaxiplasm takes an intriguing turn when, along with the main storyline, the film starts including 'behind the scenes' footage. This layer showcases the film crew, who become increasingly skeptical of director William's methods and motives, trying to decipher if he's a genius or merely an incompetent provocateur. They also become significantly more involved in the action, challenging the dynamics and leading to a profound inquiry into the nature of art, the role of the artist, and the relationship between directors and their casts.

Jonathan Gordon complicates the narrative further, playing the role of the executive producer, adding another layer of complexity to the film.

The film’s avant-garde production style, including its self-reflective narrative, raw and free-form cinematography, along with a diegetic soundscape, mirrored the experimental film culture of the late 1960s. Touching upon aspects of the cinema verité style and the improvisational aesthetics, the film presents an immersive, meta-cinematic experience.

The chemistry between the actors is riveting, especially in scenes of heightened emotion. Patricia Ree Gilbert and Don Fellows give powerfully nuanced performances, at times blurring the lines between performance and reality so well that the audience is left questioning the authenticity of the raw emotions on display. The rest of the cast, which includes the filming crew and the director himself, contribute brilliantly to making the movie a fascinating study of human behavior under the watchful gaze of the camera lens.

In essence, Symbiopsychotaxiplasm isn't merely a film about making a film. It is an exploration of hierarchies and power dynamics that persist in filmmaking and larger societal structures. William Greaves deconstructs the creative process to its finest details, offering a viewport that invites us to question our perspectives about art, professionalism, interpersonal relationships, and individuality. The film does not aim to separate the art from the artist or the audience from the spectacle; it rather blithely muddles everything up to create a unique and enchanting cinematic concoction.

Overall, Symbiopsychotaxiplasm, with its innovative narrative structure and a groundbreaking approach to filmmaking, pushes the boundaries of what can be considered a movie. It challenges traditional conventions and narrative tactics to provide more than just passive entertainment – it engages the viewer in a deep psychological and philosophical interaction with the medium of cinema.