Drafthouse Films

Underground cult hit ‘Dangerous Men’ picked up by Drafthouse Films

 

After a packed house witnessed the iconic film from John Rad DANGEROUS MEN at Fantastic Fest, Drafthouse Films has acquired the long lost project. The passion project of Rad is a gutter punk phenomenon that was lost in the LA theater scene for sometime. Drafthouse has now acquired the rights to distribute the film and is set to bring it to theaters on November 13th. This is truly an inspiring pick up from them so read ahead for the full details on the acquisition. DANGEROUS MEN will also receive a home release in December.

Drafthouse Films, the curatorial force behind exceptional repertory releases such as the ninja-blasting synth-rock monolith Miami Connection, the psychedelic sci-fi brainmelter The Visitor, and the most dangerous movie ever made, Roar, have announced the acquisition of their latest cult sensation, Dangerous Men, following a packed-house screening of the film at Fantastic Fest.

The fanatical brainchild of Iranian polymath John Rad, Dangerous Men is a passion project that remained in obsessive production for nearly two decades before finally debuted in Californian theaters in 2005. An unflappably prodigious creative force, Rad handled much of the technical duties of the film, appearing multiple times in the film’s credits as the director, writer, location scout, producer, executive producer, and more.

Despite initially languishing at the box office during its limited theatrical release, and never finding a likeminded audience before Rad’s untimely death in 2007, Dangerous Men developed a devoted following before vanishing as mysteriously as it appeared. Chief among them was Hadrian Belove, of the independent Los Angeles theater The Cinefamily, who saw the film multiple times during its brief theatrical run, and alerted Drafthouse Films and Alamo Drafthouse Cinema programming teams to the existence of the film. Working with the late artist’s family, the team worked tirelessly alongside the American Genre Film Institute to locate and restore the original film.

“It took us almost three and a half years of continuous begging, pleading and debasement before John Rad’s family agreed to license us the film,” said Drafthouse COO James Emanuel Shapiro. “It was well worth it! We are immensely proud that we’ve carved out our own niche of mind-shredding repertory releases and beyond thrilled to unleash what should very much be considered the Holy Grail of Holy F*cking Sh#t on audiences worldwide!”

 

Dangerous Men will storm screens nationwide starting Friday, November 13th, and will hit multiple video on demand platforms in December. A home video release on Blu-ray, DVD and VHS is planned for early 2016.


Teaser:

 

Killers. Perverts. Bikers. DANGEROUS MEN.

In 1979, Iranian filmmaker John Rad moved to the U.S. to shoot his dream project, a rampaging gutter epic of crime, revenge, cop sex and raw power. Just 26 years later, he completed an American action film masterpiece that the world is still barely ready for today:

Dangerous Men.

After Mina witnesses her fiancé’s brutal murder by beach thugs, she sets out on a venomous spree to eradicate all human trash from Los Angeles. Armed with a knife, a gun, and an undying rage, she murders her way through the masculine half of the city’s populace. A renegade cop is hot on her heels, a trail that also leads him to the subhuman criminal overlord known as Black Pepper.

It’s a pulse-pounding, heart-stopping, brain-devouring onslaught of ’80s thunder, ’90s lightning, and pure filmmaking daredevilry from another time and/or dimension. Blades flash, blood flows, bullets fly and synthesizers blare as the morgue overflows with the corpses of

Dangerous Men.

JOHN RAD: FILMMAKER, COMPOSER, VISIONARY, DANGEROUS MAN

In 1936, Jahangir Salehi Yeganehrad was born in Iran, the son of an army physician. He studied at Cambridge, and later became a massively successful architect at home in Tehran. In his rare moments of relaxation, he composed over a thousand poems and songs. Eventually he succumbed to the siren call of cinema, and directed eleven features in Farsi before he narrowly escaped his home country in the midst of political upheaval, leaving behind his fortune and extensive body of work.

Yeganehrad arrived in Los Angeles in the late ’70s and found himself wildly inspired by endless creative possibilities. In this new milieu, he availed himself to return to the work that he left behind in Tehran, and within a decade had rechristened himself as the artist John Rad. Rad was consumed with a burning, unquenchable need to write, direct, edit, produce and score his own explosive, independent action epic: Dangerous Men.

While Rad was a lifelong and demonstratively fearless creative force, he had never before tackled anything like this. Though he had no funding or connections, he powered forward, casting local hopefuls and finding a way to triumph despite every conceivable limitation.

 

The feature took him two full decades to complete, and audiences can divine his efforts and tenacity as they glow blindingly in every scene, as does his unique worldview. Characters interact like desperate androids, emotions flare and vanish within a breath, sexuality is brandished in ways unconsidered in cinema since Bunuel, and the plot and tone of the film churn and shift with mercurial lawlessness. When watching Dangerous Men, everything you experience through your eyes and ears is distinctly, purely, impossibly Rad.

2005: THE YEAR OF LIVING DANGEROUSLY

In the summer of 2005, with his finished feature in hand, Rad embarked on his single greatest challenge to date: the journey to find its audience. Festival bookings and traditional distribution were a dead end, so he brashly chose the route of “four-walling,” an industry term for a theater rental, simply to allow the film an exhibition at any possible public venue. Rad coordinated screening times with a half dozen independent cinema owners, placed miniscule, affordable ads in neighborhood newspapers, and even took to the airwaves on local access television and radio (in both English and Farsi), then waited for the people of Los Angeles to discover his masterwork.

Then a strange thing happened…they did.

Not many, at the outset. Supposedly, box office revenue from the first week totaled $70 despite a glowing review in LA Weekly at the time that aligned the film amid some of the greatest auteurs in the canon of cinema: “Not dissimilar to David Lynch’s funicular emotionalism, Buñuel’s epistemological sight gags, Godard’s formalistic intrusions or the conceptual hysteria of something like Andrzej Zulawski’s Possession. It’s as if somehow, miraculously, our own present-day Ed Wood suddenly walked among us.”

 

But a few enterprising theatergoers had fallen under the magnetic pull of Dangerous Men, including Cinefile Video partner Hadrian Belove. In the week of the film’s release, Belove traveled to a neighborhood fourplex to watch it three separate times. He continued to sing its praise for years, including as he co-founded the Los Angeles theater The Cinefamily, which quickly became one of the country’s most revered destinations for film lovers.

“Seeing Dangerous Men on its first, fly-by-night, fractional release I thought maybe it was some insane hoax, a prank played on the tiniest of audiences,” recalls Belove. “From its first explosive title card to catchy-kitsch simple-synth music to John S. Rad’s too-perfect name, it seemed too wild, too weird, too good to be true. Once it disappeared back into the ether, those few of us who’d seen it were stricken with an obsession to see it again, and failing that, it became some kind of campfire legend that we could recount to each other, savoring every perverse and insane detail of its blissful madness.”

Sadly, John Rad passed away in 2007. But by that time, Belove and others had made their appreciation of his work known. Later, Dangerous Men played at The Cinefamily, annihilating the crowd and planting the seed of genuine obsession in everyone who experienced it. Among them were Drafthouse Films, the Alamo Drafthouse programming team and the writers from Bleeding Skull, who themselves became infatuated with Rad’s singular expression of street violence and creative daring. After years of tracking down rights and elements, Rad’s daughter Samira agreed to work with Drafthouse Films to present her father’s incomparable feature to the world again for the first time.

“The Alamo Drafthouse has made many great contributions to the world of cinema,” says Belove, “But saving Dangerous Men may be the single most important thing they ever do.”

It doesn’t seem possible that a film so indisputably bizarre could be so relentlessly rewarding, or that a production built on decades of struggle would end up a fully realized triumph.

But, in the words of John Rad himself, “THE IMPOSSIBLE IS IMPOSSIBLE.”

 

We’re pleased to present to you… DANGEROUS MEN.

 

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