THE IMMACULATE CONCEPTION OF LITTLE DIZZLE || 2009, USA || Science Fiction || Directed by – David Russo / Written by – David Russo / Produced by – Peggy Case, A. Joel Eisenberg, David P. Glickman, Carr Godfrey, Malayka Gormally, May L. McCarthy, Alan Pruzan, Lance Rosen, Michael Seiwerath, Menno van Wyk / Music by – Awesome / Cinematography – Neil Holcomb / Editing by – Billy McMillin / Production designer – Chris Swenson / Art direction – Joe Rynearson / Starring – Marshall Allman, Jeanette Maus, Sean Nelson, Vince Vieluf / Running time: 98 mins.
After losing his job as IT manager as a result of a breakdown, Dory is forced to take up a post as a janitor. Things, however, surpass their expectations quite soon, as he is introduced to his wild and fun loving co-workers and as they all develop a strange and dangerous addiction to a special brand of cookies. As strange as it may seem, David Russo’s mixing of toilet humour and existentialism is quite intelligent and impressive.
It never feels like it’s The Immaculate Conception of Little Dizzle‘s prerogative to fool the viewer that they are watching a film which spirals out of a concept that is anything but totally bogus, and yet what the filmmaker is able to do with such an apparently silly plot is impressive to say the least. Aside from the rapid-fire succession of events being legitimately entertaining, and its relocates ride type of motion, the film also explores some more sweet and delicate themes along the way. For instance, throughout its duration, Dory, the unlikely hero of the tale, searches for a higher spiritual answer to life through his dedicated study of all kind of religions. Satirical digs at such things as class division and the art world further enhance what seems to be the film’s ultimate goal of exploring a perennial search of fulfillment in life; whether it is through achieving spiritual enlightenment, earthly success or appearing on the Howard Stern Show.
The Immaculate Conception of Little Dizzle is eccentric, loud, vibrant and in some more graphic sequences, horrific and disgusting. The hyperstylization presented through various creative styles of visuals and effects, as well as an energetic use of music, embrace its drug-induced rhythms, whether psychedelic or synthetic. After all, this is a film about addiction, with a storyline that recalls Sesame Street‘s cookie monster. While its approach is prone to excesses, and tends frustrate as well as entertain its viewers, its energetic impulsiveness is infectiously captivating, and as far as modern arthouse indie B-movies go, it could certainly teach other contemporaries a thing or two. And, as a side note, janitors in film have arguably never been cooler. – 4/5