Everybody knows who Martin Scorcese is. We best know him for his Mob films and his grittier fare such as Taxi Driver but my favorite era of his was a magical point in the mid 80's I will hereby refer to as his "gonzo period". He made some real top notch (and dark!) comedies during this period of time that for casual fans either take the back burner or have disappeared from consciousness entirely. After Hours is one of these mostly forgotten gems from the cinematic nether regions of 1985.
Trailer anyone?
And yes, the film is just as frenetic as this trailer would lead you to believe.
Plot synopsis (or the best I can do? this shit really IS nuts): Paul Hackett (Griffin Dunne of An American Werewolf In London fame) has a job in a big mid 80's New York conglomobusiness as a word processing guy (you know, back when computers actually were rather difficult to use). He obviously hates his-no pun intended-programmed day. He decides to blow off some steam later that night by reading some Henry Miller at a coffee shop, only to find a beautiful woman named Marcy (Rosanna Arquette) chatting him up. Getting her number and retiring to his apartment, he calls her and begins a dowardly spiraling journey into the night of NYC full of art weirdos, burn cream, suicide, and enough crazies to fill hell's handbag.
Make no mistakes- this movie is really nerve wracking to watch. I don't recommend it to anyone that has anxiety problems because this movie is a tense situation from end to end and you just might wind up bursting into flames midway through it. I fidgeted like you wouldn't believe. I also sat completely stiff for ten plus minutes at a stretch for a good part of it. Nail biters need not apply here.
There's a serious seat of the pants energy in this film that I find lacking in Scorcese's work in the formula we are presented with in After Hours. The editing is super hectic. Tons of snap zooms and quick shots, coupled with practically every style of cinematic lighting ever dreamed of. I don't think I have seen another film quite like it, certainly no other film in the catalog of Mr. Scorcese looks anything even remotely like it. I hope you are curious by now, because I don't know how much further I am willing to tip the hat as you should really be as surprised as I am as to how this film occurs.
The film was made as many genius things are- out of necessity. What do I mean by this? Scorcese had been trying for a good while to have a version of Nikos Kazantzakis' novel The Last Temptation Of Christ come to fruition (he had optioned it back in the 70's), and after the first attempt at production fell through in 1983 poor Martin was devastated. He needed a project that he could just do quick and dirty, experimenting all the way. Tim Burton was originally slated to direct this, but when he caught wind that Scorcese was interested he stepped aside. One wonders what the film would have been like had Burton taken it. Maybe similar but definitely not like this I think.
The casting of this film is really spot on, I simply cannot stress that enough. Look up the list and you will see what I mean. Not one of them is the least bit unmemorable, and their performances only serve to stoke the melting pot of frustration that is the film itself. I should mention that Teri Garr is a total babe in this movie as a Monkees obsessed mod girl, the lady has taste. So is this the movie for you? I cannot rightfully say, but if you enjoy a film that has enough tension to choke a camel (like I do) then this is definitely something you should poke your nose into.
Also, I highly recommend getting this DVD edition of it as it has some really neat special features, including a description of the unshot but would have been super raw ending sequence. I like the way the films ends just fine (it is over all way less psychedelic and more fitting than the alternate one) but catching a glance at what could have been is always a joy.
I was told repeatedly over a number of years that if I loved nuclear apocalypse movies then this was one I needed to see. I finally did see it, and my only regret is not being able to unsee it. At first I thought "hey I'm glad I watched this just to find out its deal" but a few days later it became "this movie blows and I am going to tell the internet why I think so in selfish and base terms". For those of you out there that actually like this film, that's okay by me- you can keep it.
Plot synopsis: Harry (Anthony Edwards of Top Gun fame) meets Julie (Mare Winningham) at the La Brea tar pits and immediately falls in love with her. They spend a sappy romantic almost John Hughesian day together and set up a date for later that night. The power goes out in Harry's apartment so he misses the date (via a HUGE PLOT GAP I will discuss momentarily) and showing up to the coffee shop he leaves a message on her answering machine explaining what happened. Shortly after he hangs up the pay phone begins ringing and he finds the caller (who has misdialed at the worst possible moment) is attempting to warn his dad about the nuclear holocaust that will begin in roughly 50 odd minutes. All hell and insipid mushy love bullshit that would never ever actually occur begin to take place.
Like I mentioned, I have heard from various friends over the years that this was a cult film I needed to see. Too bad all of them were (in my opinion anyway) completely wrong. This movie could have been really honestly good in the most disarming of ways, but really got done over by what seems to me to be the screenwriter/director's (both the same person for this film) unwillingness to really go for it and leap off the edge. Starting out the film paces like a mushy love story which made me very weary indeed, but then the whole pay phone thing throws the film on its head and I was really hoping for it to continue on a maddeningly fast trip downwards into the hell that we all imagine would ensue from the knowledge of catastrophic nuclear armageddon, but...
NOPE.
Sure we do get that for a little while, with lots of jarringly illogical actions by the main characters peppered in to make things unentertaining as possible, but the director goes back to the ridiculous and overused idea of "love conquers all". No it does not, sorry bub. In fact, the way this film was handled made it come out to be nothing more that an apocalyptic date movie. It's like dudes who want to act like they are in to bleak shit want to take their girlfriend who isn't to something they can both enjoy so they pick this.
BOO!
A better title for this film, once all of its romantic trappings are considered, would have been "Love Is Nice". It's almost as if the initial idea for this story was a very bottom of the barrel boy meets girl affair but considering how incredibly worn out that story is it was decided to take the unfinished middle and lackluster end of the nuclear war movie also being scribbled on cocktail napkins at the same time and combine them into one movie that was worse than if both were watched separately.
I had better give you some nitty gritty to back up these accusations, as painful as they are to recount. First things first- the HUGE PLOT GAP I brought up a bit ago: Yes the power in Harry's apartment fails so his alarm clock doesn't work. How is this a problem you ask? HE WASN'T USING A PLUG IN CLOCK. Willing suspension of disbelief is often a very important part of stories that use extreme plot elements like nuclear war, but if you think I'm so fucking stupid that I won't notice the fact that the prop master couldn't spend the extra $4.99 to get a plug in style alarm clock to carry your story to fruition (because the alarm not going off in the first place is what propels this story to its unfortunate conclusion) then you are dumber than you think I think you are. It was a very potent warning sign that this film would not turn out as I had initially hoped.
What else? Well there's a lot but I shut most of it out of my memory in the wild and likely unattainable hope that some day I will forget about this train wreck, so I will narrow it down to a couple of things for the ease of explanation. Harry really fucks up his nuclear escape plan six ways from sunday. How?
(In no particular order, in case you are curious. There are lots more ways than this sure, but these two stick out in my mind most of all)
1) By continuously separating from Julie and saying "Wait here I'll be right back".
THAT SHIT NEVER WORKS IN REAL LIFE, EVEN AT A GROCERY STORE WHEN THERE IS NO NUKE THREAT. Seriously, you tell someone you are going off to grab a tin of pinto beans while you are shopping at Fred Meyer and you tell them to wait for you by the ice cream you are currently standing in front of and they wander off almost immediately making what should have taken thirty seconds go into a fifteen minute long search to find them so you can get back to proper shopping. Why are you doing this to us over and over Harry? Oh yeah I know why- because you're an ignoramus, that's why. That or more likely the screenwriter wasn't nearly creative enough to find a different way to build tension or flesh out what was likely (sans craptastic fluff like this) a 70 minute movie with hum drum "I have to go find this person because I am an idiot and didn't take them with me on my pointless errand" type garbage. Never ever separate in moments of crisis- EVER.
2) By telling everybody about it creating a general atmosphere of insanity and desperation because they want to bring someone with them too.
Everyone he beseeches for help winds up discovering what is about to happen (or at least a version of it because Harry is a lying sack of shit who doesn't even tell the girl he is madly in love with that he has known for like 12 hours the actual truth) and immediately says "I need to get this or that such person". The problem with this is he has less than 50 minutes to get the hell out of dodge and LA is fucking HUGE. How on earth could any of this even work? Think about it for a second.
Try as I might to find the original first draft of the script in hopes that it provided a better bleaker story, I was disappointed. Considering the fact that this film was being touted around Hollywood for a good ten years before it was made and was referred to as one of the best unmade screenplays in 1983 by American Film magazine you would think it would have been posted somewhere by someone. Nope. I can only assume the story sucked this bad the entire time and that was why no studio would pick the thing up. That and the fact that the screenwriter put a clause in there that he would get to direct it. Considering that Steve De Jarnatt (there, I finally gave you his name) had never directed anything before it is unsurprising everybody turned their noses up. Maybe I should have mentioned that bit earlier, but I didn't want to give you any ray of hope for the proceedings here.
I have to say it- the choice of filming locations made me bored as hell. Plenty of films have used bits and pieces of this iconic section of Wilshire Boulevard but it just added to the boredom for me. Granted some of the locations used appeared in movies that came later (which unlike this movie, are actually entertaining in some regard), but I just don't care about would be iconic southern California architecture. Maybe I just don't like affluent rich people areas of cities- yeah, maybe that is the problem because I for one am usually broke. Johnie's Coffee Shop for instance hasn't been open for anything but filming business since 2000. I won't lie I wouldn't half mind drinking a malted in there but it will never happen. There's a yelp.com page entry for it where three people give some reports on what's what.
Perhaps the best one reads as follows:
"Pretty sure this place is only used for filming. I live right by it and have only seen homeless guys peeing on it. Never seen it open, although they do run the lights on the sign at night, my guess is it's an effort to drum up more film business."
The ending is just so sappy and ridiculous I am surprised I didn't taste bile surging up my throat in protest. It was composed of all this mumbo jumbo of our two would be lovers slowly sinking into the mire of the La Brea tar pits and going on about how they will either be preserved by tar to be found by a future race or something (DUMB) or turned into diamonds if they get a direct hit from a nuke so their atoms will be smashed together forever (DUMBER). Even a room full of monkeys hammering away at typewriters couldn't come up with this...
There you have it. I think now is an appropriate moment to give you a very brief rundown of what I would do in the event of an impending nuclear war that I by extreme serendipity of the worst possible kind. As I am disabled by Multiple Sclerosis in real life and to go any appreciable distance over say a block on completely level ground I will give you two separate scenarios based on that and if I were able bodied.
Here goes:
A) Make-believe able bodied me -Probably panic a bunch. -not try to lie to everybody I force into helping me -not tell anyone to "wait here I'll be right back" -Probably be selfish and just leave everyone I know and love behind as survival instinct (no matter how displaced) kicks into full gear -or sit there and wait to be atomized B) Real life disabled me -Probably panic a bunch -Hope I might find some way of escaping knowing I will likely die a horrible slow death from nuclear fallout -go hang out with my girlfriend if I had one at that particular moment -or sit there and wait to be atomized
Face it- nuclear war would be pretty messed up and the rawest of raws. If you don't believe me watch the really excellent BBC TV film Threads made in 1984 for what is likely a very realistic portrayal of what a nuclear strike on Britain would play out like. Expect a review of that in the future when I manage to track down a copy of this rather scarce and bleak gem of television history.
That's about all I have to say about this movie. I don't consider this to be underrated as some online reviews state, and calling it a cult film I feel gives it credit it richly does not deserve. How this has an 86% fresh rating on Rotten Tomatoes I will never ever know come to think of it. Watch it if you are curious, but don't expect anything worthwhile out of this farce. That's all there really is left to say about it. You be the judge, but you were warned ahead of time.
***********************************************************************************************************POST INITIAL POST UPDATE (Timed at or around 2:35pm Pacific time): I forgot to mention that this movies has a surprise appearance by Denise Crosby, most famously known as Tasha Yar from Star Trek: The Next Generation. Terrific, but not enough to make this movie good.
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How I lived so long without having seen this film is a really really good question. I have always had a deep love of film noir and all of its trappings and I cannot readily think of a film that really sets the bar for the rest more than this one. I know that is a bit of a blanket statement considering how many really terrific titles there are in this genre but I am not the only one who feels this way. I wish movies still had snappy hard boiled dialogue like this today, I would be more likely to shell out the pocket money for a ticket.
The film is all about the past of Jeff Bailey (Robert Mitchum), a seemingly normal bloke, and how it catches up with him. He operates a gas station in a small town of little significance, and leads a simple life with his fiancee' Ann Miller (Virginia Huston) until a man from out of town starts asking questions. A major flashback (involving 40,000 dollars and a dame to end all dames) through Jeff's seedy past reveals all to Ann as they drive toward a fateful meeting. Sensing a setup but with no choice left but to finish business he would rather forget, Jeff must confront his past love (Jane Greer) and her maniacal lover (Kirk Douglas) and finally put things to bed.
This movie is a great deal more complex than this of course. What I give you above sounds a great deal like most other noir films but trust me there is far more than that to chew on. Not all films that fit into film noir can boast that, as with anything there are 50 B grade trash fests for every A lister like what we have here. I think that is something that helps the film the most. RKO Radio Pictures had been focusing on the all to lucrative market of B movies for a good while and someone decided it would be a good idea to give Out Of The Past an A budget, and it shows. Director Jacques Tourneur made one hell of a masterpiece with the money they gave him.
But of course flashy cinematography and good casting simply are not enough, the script is what is really important here. Daniel Mainwaring (who later went on to write the screenplay for the original 1956 version of Invasion Of The Bodysnatchers) pulled out all the stops to deliver a screenplay so full of hard hitting dialogue and intrigue it makes my head spin. It is no surprise either, considering he also wrote the novel that the film is based on which was titled Build My Gallows High. The colorful speech used in movies like this has always been a major point of interest for me, and sometimes I wonder if everyone talked this way at one point in time and everyone was magically wittier in the 40's but somehow I doubt it. It's up to us clever folks to make sure that witty comebacks like the ones Robert Mitchum uses constantly in this film never go the way of the Dodo.
In case you have the memory of a goldfish, I mentioned a major flashback during the plot synopsis. The flashback is so major it actually takes up a vast majority of the running time. Much like an over extensive voiceover (think Apocalypse Now for an example of where it actually worked), a flashback of such epic length can be hard pressed to carry a movie. It happens so seamlessly that unless you stop and think about it you forget that a flashback is even happening. Try to think of another movie where this was done and done so very well, I bet you can't. Such a showcase of screenwriting skill is a rare occurrence indeed.
Most of the films I have seen lately have really incredible casting choices, and I have to say this is one more to add on the pile. Not a single dud to be seen anywhere. Robert Mitchum and Kirk Douglas' talents need no introduction. Seeing Kirk Douglas so young however was a real treat (he was around 30 or 31 at the time of release), due to the fact I didn't even read the DVD case to see who was in it in order to achieve maximum surprise. Jane Greer is a supreme femme fatale, displaying both fragility and also deadly cunning. Virginia Huston does an amazing job with the relatively small part she has, and it is a shame that she never got more successful. A car accident broke her back at the height of her fame, and by the time she was healed all she could muster were B level movie roles. A true shame indeed.
There is always so much more to tell with any film I choose to review, but I can never seem to bring myself to go all out (unless the movie in question is a stinker). Besides, part of the fun is letting you discover at least a little bit about a movie yourself. I can't find a single thing wrong with this movie, and I hope you feel the same way too. Color film is great but sometimes black and white can do more than any amount of Technicolor could ever hope for.
**Special thanks to Movie Madness in Portland Oregon for having this on their rental shelf!**
The First World War is a sadly neglected subject in our modern age. Films about World War Two have become quite popular in the past ten to fifteen years as a sudden awareness of how many veterans from the conflict are dying all the time, yet barely a note was played when Florence Beatrice Green-the last known veteran of WW1- passed away in early February of this year. One can speculate why no one (at least of my generation) seems to care all that much. To be fair it was a war that accomplished very little (besides being a major cause of WW2 that is), and this film illustrates that to a tee.
As a trailer for this epic does not seem to exist, you will have to do without. The film follows the activities of a squad of German infantrymen in the trenches of France late in the war. Their life is of course far from idyllic, with death surrounding them at each and every second- you are just as likely to get buried alive in an artillery barrage as you are shot by the enemy. Will the squadmates make it out alive? Watch and see.
You are probably thinking this sounds quite a bit like All Quiet On The Western Front (Also a talkie released in 1930 with similar anti war sentiments) and you would be correct. While the similarities between the two are numerous, both are based on different novels. The main difference between them is Westfront 1918 is by far the bleaker film in overall tone. AQOTWF however has a far more memorable ending and wider distribution which is likely why this film is the much better known of the two which is honestly quite unfortunate once you see both, as each has a very strong statement.
This is Director G.W. Pabst's very first talkie. For those of you who are woefully unaware, he directed many films- perhaps the most famous of which the three which feature silent film goddess Louise Brooks. Pabst does some incredible work in this picture. Whereas American talkies generally feature talking just for the sake of it, Pabst litters the film with normal chit chat and everyday interactions. There really is no plot necessarily, and the film plays like a series of long vignettes. This makes the film feel more like a documentary than a movie played out by actors, which definitely works to its credit.
One thing that really struck me was the amount of tracking shots present. Films of this era often feature static camera work (many early screen actors had theater experience, soit makes sense), and Pabst even went so far as to make sure he had a way for the sound to keep running along with the shot. How on Earth Pabst and his crew managed to do this with 1930's sound technology we can only guess at, but this achievement should not be overlooked. We take it for granted that movies just have sound now and it is easy to lose sight of just how difficult adding sound to motion pictures was in the beginning.
Remember when I said this movie was bleak? I meant it. There's loads of shots of the muddy and barbed wire strewn no man's land to exacerbate the death that surrounds our characters sure, but there's a whole lot more than that going on. One of the most memorable sequences for me was when the character Karl (played by Gustav Diessel, who appeared in Pabst's film Pandora's Box and Fritz Lang's The Testament Of Dr. Mabuse amongst other films) goes home on leave. Upon arriving home he finds his wife in bed with another man. Such an occurrence is most certainly common during wartime and for a film in the 30's to show such frank expression of human sexual needs is equal parts daring as it is accurate.
The DVD I viewed for this review is actually a DVD-R. For reasons unknown to me, this film has never had a DVD release, only VHS. A film of such seminal importance deserves better, and the print used to strike the copy is littered with breaks and abrasions. Interestingly the opening titles of the film are entirely in German yet there are several intertitles that appear throughout the film in English. Why this is I do not know, and I can only assume that they were added to the US theatrical release as the ability to add on screen subtitles simply did not exist. Do not quote me on that last bit, but I do know that redubbing films at this period of time was an incredibly expensive endeavour, so if adding intertitles in English was a way around this (however clunky the finished product) it would make perfect sense to me. Although I do know it was cheaper to reshoot an entire film in a different language than it was to overdub, and I have heard that at least three different versions exist (French, English, German) but cannot confirm this as the German version is the only one I have seen available.
The cut I watched is presumably also missing some footage (total running time for review copy: 90 minutes), as IMDB lists three different lengths for this film depending on where it was released- mot notably the original German cut ran for 97 minutes. That footage was probably lost during later re-edits of the film in its native Germany, where Nazi propaganda minister Joseph Goebbels had the film banned. The irony of banning an anti war film during war time really amuses me to no end. In the end, this film seems to have been all but forgotten by critics and film buffs alike which is a sad fate for a film with such a powerful message to deliver and such a technical and cinematic triumph as well.
If you are interested in talkies or films about WW1 I highly recommend this title. In fact I just recommend it period if you love movies in general. While finding a copy is not necessarily easy (some editions of this film lack subtitles, beware!) the end result of your search should prove worth it. Thankfully for those of you who don't necessarily want a physical copy, someone has uploaded it in its entirety onto youtube in a far better quality print than what I viewed and is from a Janus Films print as well. Considering that Janus is responsible for the Criterion Collection and has not released this yet is truly baffling.
I honestly believe that this is one of the best American films ever produced. The only problem? Most people have never even heard of it. I could be wrong in that fact, but I can count the amount of people I know who have seen it within ten fingers. Sure that makes me bad at statistics but you're picking up what is put down here. Upon first glance the film is a very simple tale but as things unfold it becomes much more complex, revealing much much more than you thought you were in for. Every time I watch this I realize just how magical films of this era can be.
Trailer:
For once I can say I am actually pleased that a film trailer falls short of the mark in telling us what exactly a given film is about. Five Easy Pieces is a simple film but loaded with complex things, something many modern films utterly lack. Plot synopsis you say? Fair enough: Robert Dupea (Jack Nicholson) is a seemingly simple blue collar oil field worker. He drinks beer with his buddies, plays poker, goes bowling, cheats on his girlfriend- you know, the usual. But for all of this image, Robert is actually a former child prodigy pianist, and for reasons unbeknownst to us, has turned his back on his past. After quitting his job and briefly taking off to Los Angeles, his older sister Partitia (Lois Smith) tells him that his father is tremendously ill after having strokes. Bobby sets off with Rayette (who through his friend he finds out is pregnant) to his family home in Washington, but to what end?
I admit I did water that down a little but in my everlasting zeal to not give each and every thing away in a film I truly love gets the better of me. This film is not always 100% serious but still is. I say this because there's a strange interlude on the way to Washington where Bobby and Rayette pick up two women (one played by Toni Basil- known for the 80's hit "Mickey") on their way to alaska. All they talk about is environmentalism and filth. I have a thing for serious messages delivered via comedy and I think they really hit the nail on the head. I won't post any clips of that to ruin it for you, but I just have to put in the infamous diner scene where Nicholson displays his supreme sarcastic abilities to their fullest.
Watch:
I find it hard to believe that a diner wouldn't offer toast but the social context is obvious. So obvious in fact that I won't explain it, because if you're clever enough to be reading this far you probably already get it. But enough about shenanigans, this film has some truly fine acting from all members involved. I can't find one character that is cardboard for so much as a millisecond anywhere in the picture. How Karen Black never got more attention after being Rayette I'll never know (she of course has a terrific back catalog of films to boast of regardless) but after seeing her in this movie you realize she has tremendous acting ability. Susan Anspach (who plays his brother's fiancee') should not be overlooked either. She is a reminder of what Bobby could have if only he would allow himself to love himself, and her lines are so matter of fact I nearly burst into tears from the truth in them.
One really has to hand it to Nicholson as well as he is in top form here. Sure Chinatown is amazing but I feel this is his best effort, and the monologue he has with his disabled father is the clincher. I could post that for you as it is on youtube, but I would prefer you see it in its proper place in the film. Bobby is a man who cannot and will not accept the world as it is, and finds hiding and running away from his problems a more acceptable solution than owning up to them. He both cares and refuses to care. Where this mode of living will take him nobody knows, but such a misanthropic modus operandi tends to catch up with you sooner or later. To Bobby Dupea, everything truly is nothing at all.
One thing I regret not being able to post for you (maybe later but as I have no mp3 turntable so you'll have to wait indefinitely) is the soundtrack. It is a strange mixture of Tammy Wynette tracks mixed with the "five easy pieces" (from an early script reference left out of the finished picture) by Chopin, Bach, and Mozart. Also rare for a soundtrack of its era are loads of dialogue from the film, both as stand alone tracks and as intros and outros to several songs. Unfortunately the rather obscure nature of this film means it will likely never receive a CD release but thankfully the LP can be had for 2 dollars US if you know where to look. Anybody who likes country music of the era and Chopin like I do should love it.
For the sake of reference I will throw in a picture of it below:
Why see a film about a man who cannot be loved because he refuses to love himself? That is up to you to decide. The 70's in American cinema were touched by the misanthropy that lay underneath the nation's collective consciousness. By 1970 the hippie movement was winding down from their stupor and the counter culture started to look inward on itself, and I am glad films like this were the result of that soul searching. One can only talk about peace and love for so long before you realize that it starts from within you. I think it is a period for films that we will never see again, at least not in the way it was the first time around. Sure the tag line on the DVD cover is a bit lame (and I sincerely hope it wasn't used on any theatrical posters at the time), but don't let that deter you should you find this lying around in a Safeway store like I did.
I'm sure a lot of you who read this blog on the regular are more than aware this movie exists, but I have noticed throughout my life that few people outside of their 30's and 40's (sans me of course) have never really heard of it. That fact alone warrants me reviewing it for you here but it also happens to be a fairly entertaining fantasy film despite being rather derivative. I am pretty sure most of you reading this know that already, but I like to keep m bases well covered lest they become "are belong to us" if you get my meaning.
Trailer:
Plot synopsis- On the faraway world of Krull, a hideous creature known only as The Beast and his army known as the slayers is enslaving all in their wake. Two rival kingdoms are joining forces to fight The Beast's armies, but to seal the alliance there must be a marriage between Prince Colwyn (Ken Marshall) and Princess Lyssa (Lysette Anthony). After Lyssa is kidnapped, Colwyn- with the aid of a powerful ancient weapon known as "The Glaive" (which is a pretty kickass looking five bladed flying knife)- must form a makeshift army composed of everything from thieves to a crackpot wizard on a quest to rescue her from the Black Fortress and free his world once and for all.
Sure the plot is really standard fairy book stuff, and if you've ever been exposed to a story where the hero has to rescue the damsel in distress then you know how things will turn out. But come on, this one has a fucking cyclops as a character- A CYCLOPS for crying out loud! Not a CGI one either, but one made with makeup and handcraft. Alas, this movie still manages to have a rather lackluster reputation. I can see why people would feel that way but I obviously don't subscribe to that interpretation. Critics gave mixed reviews upon it's release, probably due to it's similarity in many respects to the Star Wars franchise. Couple that with the fact that it was released only two months after Return Of The Jedi and you roughly wind up with a financial disaster.
Thanks to site like imdb, movie fans like myself can crunch numbers with ease and Krull was a bona fide FLOP. The USA gross earnings were only 16 million dollars of its estimated 27 million dollar budget (some people claim it was a bigger budget than that, but 27 sounds more realistic to me). A lot of care and attention was put into the production of this film, especially where set and costume design are concerned and I find it a downright shame this movie din't manage to find its audience while in the box office. One must never underestimate Star Wars mania.
Sets and costumes aside, this movie is pretty well cast all things considered. There are some surprising appearances in the supporting character roles (perhaps most noticeably a very early film appearance by Liam Neeson). My favorites have to be Freddie Jones and Francesca Annis, their scene together is enough to have made me cry on several occasions. This is one year before they were also cast in David Lynch's 1984 film version of Dune, and it's a pity they never had another scene such as this together. The acting in the movie is so wooden it might as well be a forest, but somehow it doesn't bother me all that much considering the bedtime story type flair the movie has coming out of everywhere.
This film was obviously designed to become a smash hit by the studio judging by the merchandise produced. While not as extensive as some films it did have an Atari arcade game, a board game, an Atari 2600 game a tie in Marvel Comics adaption, and various other brik-a-brak. These plans of course evaporated as I explained earlier. I do rather find it a shame that there were never any Krull action figures though, as a toy of a Slayer would be pretty damn awesome if I do say so myself. Alas, it was not to be, maybe I can get someone to make me one? Thankfully this nice special edition DVD came out a good long while ago and for a movie so harshly put down on it has a real cornucopia of special features.
So yeah, this movie has a hell of a lot of deficiencies. The one that bothers me the most was the obvious overdubbing of Lysette Anthony with an American accent. It is jarring and really unnecessary, and doesn't really help things. Like I already said, the acting is pretty so/so, and the fact that there's a little kid and a comic relief wizard in the mix really fucks things up. One could go on for hours about just what is wrong or perceived wrong with Krull, but at the heart of it it's just a fun fantasy movie and haters are gonna hate. This is one of very few movies I can say that I really liked as a kid and still like just as much now. If you haven't seen it then I definitely recommend giving it a go, you just might like what you see. Like I said, there's a great deal of deficiencies to ignore but let's face it- this ain't Citizen Kane, it's sword and sorcery for christ's sake, and last I checked you're supposed to have FUN when you watch a movie like this.
Critics lambast this as a b-movie, I call it awesome.
When books get transformed into movies all sorts of things get lost in translation. The two different formats offer completely different forms of story telling and seldom do books light up the silver screen effectively without suffering to some degree. While this movie is pretty good, the differences between it and the novel of the same title by Nelson Algren leave them standing pretty well opposed to one another. This is not to say the movie is bad, but to make this film just like the novel would have been pretty much impossible in 1955 if you wanted the film to actually be released.
Trailer:
Plot: Frankie Machine (played to near perfection by Frank Sinatra) is a down and out heroin addict fresh out of prison, whose card dealing abilites are his star attraction. He comes back to his neighborhood where his disabled wife Zosch has waited for him for six months, with a letter from the rehab doctor assuring him a visit with a man who can get him an audition for drumming with a big band. The only problems in his life are everything and everyone. As his underworld connections gnaw at him and his taste for heroin knocks on the door he must make some tough choices if he's going to make out of the downward spiral of his nobody existence.
Like I said earlier, the plot of this movie differs significantly from the novel. Nelson Algren was initially brought in to write the screenplay (a move which made a lot of sense for a story like this) but was reportedly fired. Director Preminger was infamous for firing people left and right as his working style demanded near constant conflict to harbor his creativity. Needless to say, the final script displeased Algren immensely and he distanced himself, and who can blame him? Almost everything that made his novel unique were either changed around, removed, or completely replaced. Some of them that come to mind are switching Frankie's addiction from morphine to heroin, his age (Sinatra was 39-40 at the time of filming, the character is 27 in the novel), mode of dress, and the manner in which he became an addict which roughly equates to everything about him.
Despite the overarching differences, I think this film is actually very good. The cast is stellar, featuring Sinatra in one of his hands down best roles and some of Hollywoods better character actors/main liners of the day: including a great performance by Darren McGavin the low life drug dealer Louie, Kim Novak as Frankie's former love interest Molly, and Eleanor Parker as Frankie's delierious and manipulative wife Zosch. The care and precision with which the cast must have been chosen really comes through as there's so much tension going on you could almost scrape it off the TV and chew on it. Sinatra even spent time researching recovering addicts in hospitals before filming to get himself prepared for the role. He really got the whole attitude of the serious addict down pat, and as he's in almost every scene in the movie you get plenty of opportunity to view his hard work.
This movie was truly shocking when first released. As a matter of fact it almost didn't get released at all! This was before the now familiar Hollywood rating system had been adopted and instead the censorship board had to give a certificate of approval in order for a film to pass for release. In 1955 this was a truly shocking film and Hollywood had yet to deal with all out drug addiction in this manner, so the censors were somewhat less than pleased. Preminger refused to give in to their demand for cuts, (which would have completely castrated the movie) and the public got more and more curious. The film finally opened and was a huge hit, undoubtedly much to the chagrin of the censors and indeed caused by the hullabaloo that they themselves helped create.
I think it's the addiction angle and how it is done that might turn a lot of modern viewers off from this movie. One needs to keep in mind that in 1955 drug use wasn't commonplace in films and wasn't even hinted at on television like it is in countless police and courtroom dramas today. This was truly a brave film effort by everyone involved, and it paved the way for open discussion about drug addiction in cinema on a more realistic level. I've been yammering on and on about all the acting and story and I should really show you a clip from the film shouldn't I? I just get myself so excited sometimes...
See me put my money where my mouth is below:
See what I mean? Every character in this movie is a low life scumbag who wants to get away. Kim Novak's performance is especially terrific and she holds her own with Sinatra in every scene they have together. Her acting talent at age 22 is pretty astounding. Frankie's wife Zosch is one of the more interesting and tortured characters in particular. Frankie caused her paralysis shortly after their marriage in a car wreck. She holds her disability (which is much more real in her head than in reality) like a weapon to keep Frankie all to herself failing to realize that she only propels his need for heroin to greater heights.
The film is also memorable for its opening title sequence, which was designed by Saul Bass (who designed the title sequences for Vertigo, North By Northwest, and many others), who created an animated paper cut that slowly transforms from hectic lines criss-crossing the screen to a mutated rendition of a heroin addicts arm. The mood and tension of the film is set before you've seen one second of acting and it's true brilliance at work. Combined with this was a score by Elmer Bernstein featuring jazz sequences by Shorty Rogers And His Giants (I have one of their LP's from this era, it's pretty good). The score is just as frenetic and strung out as the characters are, only calming down here and there for Shorty's west coast jazz (of which he is a central figure in its creation) to come to the front.
The Man With The Golden Arm is a real piece of work, something which serious cinephiles like myself can get real excited over. Many people get put off by "old movies" a lot and that really bothers me. A film's age does not diminish the quality it holds or the workmanship that went into the production. I think people today in many cases lose touch with that, but thankfully people like you and me are still kicking to enjoy something like this because let's face it- they just don't make them like they used to. Just think, I found this in the $5.98 bin at a grocery store! Talk about a diamond in the rough...
Some people on Earth feel this is a film best left forgotten. I feel it's a film best watched while drinking grape soda. I find this film cringe worthy, laugh worthy, and terrible. I love this movie. Maybe it's best left forgotten and replaced by grape soda, I can't decide. I'm not really that sure I want to. One thing I will decide is that I am really surprised this even managed to get a DVD release. It doesn't even have the trailer as an extra, which makes it about as bare bones as one can possibly imagine, but with a movie like this what the hell do you expect?
Trailer:
Plot synopsis: Winslow Lowry (he played Philo in UHF!) is fucking broke. He's also the nephew of rich octononacentigenerian Albert Dennison (played by Ralph Bellamy, who's career stretched clear back to the 30's, and sadly ended with Pretty Woman). He's a gambling scumbag who owes a literal shit ton of dough to crime kingpin Luis Montana (played by Marco Rodriguez, who you may recognize as convenience store robbers in the films Cobra and Maniac Cop 2) and his ass is going to be grass unless Albert kicks the bucket. Seeing the orderlies he has hired are doing too good of a job at keeping him alive, he goes out in search of the absolute worst caregivers that sleaze can convince to work for him so he can get his inheritence. The logical choice (and due to likely budgetary constraints the only choice you see) are of coure The Fat Boys. Not wanting to get fired from yet another nursing gig (which according to them happens a lot) they accept Winslow's overly generous offer and via a series of cartoon like escapades somehow manage to reinvigorate Mr. Dennison, thwart a robbery, see boobs from far away, and eat a hell of a lot of food.
Let's get one thing straight here: this movie is completely fucking ridiculous. When I say cartoon like escapades I really mean it- each and every time something ridiculous happens (which is A LOT) looney tune style sound effects play over the top of shit. It's basically like Who Framed Roger Rabbit sans animation and alcoholism. It so closely walks the line between borderline retarded and total bullshit that only a very boring person will fail to see the ludicrous amount of entertainment rivaled only by the physical girth of the main characters.
Their introduction in the film alone is worth it, see what I mean below:
Absurdity at its very finest. It really makes me want to chug Nehi soda while watching it, but unfortunately I didn't have the foresight to find the nowhere in my town that sells it. Serious, I get the jones for serious snacking during this picture, it's like a total immersion technique. Enough about food though. One thing that surprises me is the fact that The Fat Boys are actually halfway decent actors. No really! It's a shame this caper didn't lead to any other films (as no more came out, I don't have to take that comment back) featuring them beyond a cameo, because the sheer shenanigan factor here is akin to the Bob Hope/Bing Crosby "Road To..." movies but with crasser dialogue.
Example at time signature of 1:50 below:
However many jokes unfortunately rely on the size of our stars. Like the hot babe insists that fat people aren't attractive and she likes a skinny healthy guy. I dunno, they moved around a ton on stage and for all intents and purposes seemed to be doing okay to me so what's with the chubby bashing? I guess it actually fits in with the bands music but on second thought their songs were more like "I'm fat and I don't give a sweet fuck what you think" rather than "I'm an unattractive loser because of my excessive weight". Also bothersome is the repeated use of a doberman attacking their legs. I don't think I have to explain that one beyond the phrase "civil rights activism", but the asswipe dog does get killed and gets shit talked to its stuffed ass corpse so yeah I guess it turns out funny anyway.
Speaking of shit talking, anytime one of The Fat Boys comes up with a comeback or an insult is basically golden all over. It's a shame they didn't get to do a comedy that was less wacky than this and a little more hard edged so they could lay that shit out actual style. But anyways, this movie isn't really for everybody. A lot of you probably fucking hate it. That's fine by me, but I just so happen to enjoy a good low brow lark like this every once in a while and if you are like me you will too. My one serious complaint is a serious lack of human beat boxing. It's slyly put in with the film score, but to actually see Big Buff Love do it would have been icing on the cake, I mean really- he shoulda been popping that shit out like every five minutes. If he had this might be my favorite movie ever.
HIGH POINTS:
- The Fat Boys are in it
- A BOING noise happens when the old dude gets a boner
- Ever so subtle human beat boxing happening in the background music
- Speaking of music, this movie has maybe one of the stranger appearances by a Bananrama song
If you like movies about safe cracking and haven't seen this then do yourself a favor and get it immediately. This film is well paced yet every frame drips with action even in its slowest moments. Thief was Michael Mann's directorial debut, and I think most film makers should be so damn lucky as to make a powerhouse like this at any point in their career. I also find the film notable for other reasons, such as: James Caan being a super badass, Jim Belushi's feature film debut (It's odd to see him in a non comedic role but he pulls it off really well), and Jerry Bruckheimer helped produce it making it one of the only things (if not THE only thing) he was involved with that is seriously worth a damn.
See the trailer Below:
Plot Summary: Frank (Caan) is a real stand up guy. During the day he runs a used car dealership, and drops by his bar to see how things are going. You know, normal guy stuff. But during the night Frank is a master safe cracker. He's very particular about what he steals (uncut stones ONLY!) and doesn't pay off the cops or crime syndicates. Long story short he's his own man and doesn't take any bullshit from anyone whatsoever. That is until $185,000 of his money falls out a window and an offer he thinks he can't refuse proves too tempting to walk away from...
This film is dark, taught, and gritty. The dialogue is short and direct- when you deal in hundreds of thousands of dollars in stolen diamonds, you can't afford to be misunderstood. The main heist scene alone is worth watching this film for. The best part of this movie is everything is believable because real life safe crackers were technical advisers to the film and even appear in it- ironically as cops! As I was saying this film is really well paced. The scores are lightning quick, while the scenes between Frank and his new wife Jessie (played by Tuesday Weld) or his father figure Oklan (played by Willy Nelson) are slower and more somber but no less important or in any way detracting from the whole package.
As anybody who has seen bits and chunks of James Caan's filmography knows he can be a MAJOR badass, and I think he really has it down to a tee here. You can see that he is a guy who really means business, and what research he did to get the ex con still on the hustle part down so well and so very believable I can only begin guess at. All I can tell you is he really isn't the kind of guy I would ever want to cross, because you know you aren't going to get a second chance. He talks tough and he is tough and you can tell he's one inch away from delivering a knuckle sandwich anytime someone gives him the wrong answer.
Check it out this display of Frank's supreme badassery:
I'll save any of the scenes where he tells the cops to put it where the monkey sticks the nuts for when you watch it because it's seriously off the hook and rife with Chicagoan tough guy talk. Back on subject: The cops are sleazy, and want nothing more than to turn a blind eye and skim off the top of the scores going down all around. The syndicate boss is by far the worst. He's a man who will just as soon skin you alive as he will take you on to do a job, and the guy just makes me throw up in my my mouth a little every time he cracks a grin.. He's such a grease ball but you know he's so powerful that nobody could ever touch him. It's basically one big minefield of underworld sleaze, bribery, and extortion.
Usually safe cracker movies are full of Hollywood slick asswipes with movie star lifestyles but Thief is about real dudes. I'd imagine that if I were a safe cracker I'd just do what Frank is doing, running a business or two and lying low until my next big score comes along. One would think any show off flashing his cash around like some movies do would be in the slammer before he took an uncle Benjamin out of his money clip. The smaller and more normal on the outside the less likely it is that anyone will catch on, right? This movie doesn't have ANY of that bullshit. These guys just want to do what they are good at and get bread on the side. They're normal people who's true talent is highly illegal, but like any serious hard drug how can you ever simply walk away and say "just this one, this is my last score and I'm out"?
I can't find a single thing I don't like about this movie, and I manage to notice something new each and every time I watch it. The DVD edition shown here is great, and features a great commentary track by Michael Mann and James Caan which provides some cool behind the scenes tidbits throughout. A film of this caliber doesn't come along very often, and I am honestly shocked that this film remains relatively unknown and never quite seems to get the recognition it so very sorely deserves. I seriously cannot praise this film or any of its elements enough. Do yourself a favor and go pick it up.
I'll start this review off like any other and be perfectly honest with you: This film is probably one of the most honest and brutal depictions of love/obsession ever committed to celluloid. It is in NO way light hearted viewing. You want bullshit light hearted "it'll all work out in the end" fare, go someplace else. This is no consumer pip consumer pap movie to make you feel good, unless of course you are an incredibly fucked up individual and in that case stay well away from me please.
See trailer below:
The story begins with an ambulance rushing a young girl to the hospital who has apparently overdosed. As the backwards/forwards story unfurls ever so slowly and purposefully (the editing in this film is beyond superb by the way) we find out that as in all things there is far more to something than ever meets the eye. The plot revolves around the affair between teacher/lecturing psychiatrist Alex (Art Garfunkel) and a worldly young American girl named Milena (Theresa Russell). Innocent flirting quickly becomes a full on love affair from apartments in Vienna to the bazaars of Morocco and back. As the strange relationship of white lies that never really mattered and the obsessions that overshadow them flash before us, we see scenes of love making, scenes of violent outbursts and actions, and scenes of deceit. Milena's emergency room operation continually flashes before us and later is taken over by the subsequent police investigation (the lead inspector of which is played by Harvey Keitel) which dredges their past even further and ends with a rather mentally shattering climax. Speaking of the supporting cast, Denholm Elliot (veteran British actor who many of you will recognize as Marcus from the Indiana Jones films) has a wonderfully acted yet brief role as Milena's estranged husband.
From interviews included on this excellent Criterion Collection entry one learns that this film has had a bit of trouble over the years. It was not a smashing success (due to its subject matter no doubt) upon release and was given poor reviews by a number of writers. In the US at least, there appears to be no NTSC VHS release either. If there is, I've not come across one that wasn't PAL. This is likely due to the expense of licensing the soundtrack which features the like of Tom Waits and The Who. Easily done around 1980 when the film was in production sure, but try jumping through all the same hoops again to do more permanent vhs editions. This is why this film has been relatively unavailable here in the states until the kind folks at Janus films decided to do right by us movie lovers and give it the treatment it so sorely deserves.
I'll be perfectly honest, this is a REALLY difficult film to review without simply telling you everything that happens. If you've ever been in a truly serious relationship however I'm sure you can guess with a high degree of accuracy as to the turn of events. The above paragraph regarding the story is all I can really say because I want each and every one of you reading this to at least TRY to watch it even once. I think anyone who has ever truly loved someone will identify with this film even on a cursory level.
The acting is extremely natural between Garfunkel and Russell, as Nicholas Roeg allowed for quite a bit of improv and captured moments you could otherwise never script. The non linear (but simultaneously linear) editing lends a frenetic pace to the proceedings as well (I've said it earlier in the review yes, but cannot stress this point enough). Nicholas Roeg compared the way it was edited to the way people remember a relationship, as we never remember it in sequence but rather particular moments and off of that smaller things- both good and bad (I highly paraphrased that!).
Here's the only clip I could find on youtube to whet your appetite further, it has French subtitles so ignore them and watch the clip instead. The acting and camera work are exceptional in this scene, as they are in every scene in the film. Theresa Russell's acting ability in particular is incredible as she was only 22 or 23 at the time of filming and expresses incredible range and depth here.
Watch:
Romantic/sexual obsession is a difficult and sometimes impossible circle to break, and only one other film I have seen portrays it so well (keep an eye out for a review of said film- Andrzej Zulawski's Possession from 1981 coming soon). I can only hope this review has done the film adequate justice without giving anything away. This is an uncompromising film for uncompromising people. There really isn't much more I can say beyond that.
I first saw this movie on Encore Movie Channel was I was 10 or 11 years old. A lot of people have a hard time believing this fact, but my parents were/are fucking clueless so they paid zero attention to the amazing shit I watched during this period. Back then Encore could only afford gritty low brow 70's/80's movies for the most part, and Cruising is in no way an exception. When the IMDB listed this DVD release in an ad on their frontpage I went out the same day and bought it. Its a peculiar film documenting a pre AIDS facet of gay culture, and I steadfastly believe its an important time capsule of a very strange time and place. Watch the trailer below:
This movie is off the hook, would I lie to you? Watching that gives you a rough idea of what this film is about, but I will give you a little more in depth plot summary anyhow. A serial killer targeting gay men is prowling New York's heavy leather scene. Enter Steve Burns (Pacino), an ambitious and charismatic rookie cop who matches the appearance of all the deceased making him a shoe in to lure the killer in an undercover operation. Offered a straight promotion to Detective once the assignment is complete, he jumps on board. The assignment leads him on a spiral of discovery into a strange and seedy world of cruising and bars where any fetish imaginable is played out in front of your eyes. As the film progresses, it becomes clear that Steve Burns is diving into a world that he begins to find more and more appealing...
During a conversation with his girlfriend (played very well by Karen Allen) about his new job hints are given that Burns might be a closeted homosexual. This makes his leather bar journey more interesting for me as he goes from being a nice "average" guy with a girlfriend into the most extreme scene of gay underground culture possible and simply can't contain himself any longer. While this film is today considered an important document to a time where AIDS was just about to become a horrific epidemic, it was not always held to such esteem by people. The modern gay rights movement was finally gaining steam around the time this film was being produced, and there were many in the movement who tried to routinely sabotage the production any time filming was in progress. Everything from picketing to standing on top of building with mirrors and reflecting light into shots to fuck them up were a regular occurrence. See the documentary on the DVD for more info on this portion of the film's history, its pretty interesting stuff.
This is one of those movies everybody knows about or heard about somewhere along the way but has never seen. I'm really glad this finally got a DVD release as the VHS was long gone and its presented here in widescreen format (not sure if any of the old laserdisc releases were widescreen, chime in if you know, or don't as nobody really comments on here anyway) along with a feature length commentary by director Friedkin giving various (and sometimes hilarious) insights into the production of the film.
One thing I cannot comment on is how this film differs from the novel of the same title (authored by Gerald Walker in 1970) on which this film is reportedly rather loosely based. Highlights of the film include the fact that all of the leather bar sequences were filmed in REAL leather bars with REAL leather bar patrons, a very early cameo by Powers Boothe, the film debut of Ed O'Neil (better known to us as Al Bundy from the tv series Married With Children), an unusual appearance of a song by LA punk band The Germs playing outside of a jerk off booth right before one of the murder sequences, and the fact that this is a movie that Al Pacino REFUSES to speak about whatsoever which is too bad because its one of his better movies I think. All that and a little Joe Spinell mixed in for good measure.
Oh yeah, and this scene:
WHO IS THAT GUY!?!
WARNING: A DISCUSSION INVOLVING A PLOT SPOILER IS ABOUT TO TAKE PLACE BELOW, SO SKIP TO THE BIT WHERE IT SAYS IT IS SAFE IF YOU HAVE NOT SEEN THE MOVIE.
One thing the plot is never quite clear on is whether or not the dude Al Pacino subdues is in fact the wanted man. If one simply follows the plot as is then yes, however with repeated viewings this unravels somewhat. How is this so you ask? I will try explain as best I can. If you look closely you will notice that the killer is played by a different person every time. Sure they have the same voice, same murder weapon, and of course the same outfit, but let me break it down to you: The voice doesn't matter so much. It could be anyone's voice. The murder weapon was a steak knife from practically any restaurant in New York City, and they all had the same outfit. What does that all add up to? The leather scene depicted in the film is a scene that is all about anonymity. One leather daddy looks much like another in a sea of motorcycle jackets and blue jeans. The so called "gay clone" look is in full swing in the cruising circuit at the time and who's to say who really murdered who? Political pressure forced an arrest at any cost so in actuality the cops grabbed the first man they caught with evidence and pinned all the other killings on him while who the hell knows how many random psychos were still killing in the scene. See what I'm getting at?
OKAY DISCUSSION OVER, BELOW IS THE SAFE AND SPOILER FREE ZONE I SO DUTIFULLY PROMISED YOU.
There now that wasn't so bad now was it? No I thought not. Cruising is a strange and dark cop thriller when it all comes down to it. Its one of Friedkin's stranger film outings before he started making super 80's cheese. Some of you won't like it at all, some of you will think its okay, and some of you will think its great. That's all I can really say about it. Now because I love you all so very very much, I have added a special treat to this post: THE SOUNDTRACK! I hope to convert other vinyl only soundtrack tidbits for you in the future so have no fear. It was released in 1980 by Lorimar Records but only featured 10 tracks. This one features a wallopping 16, which include the other five songs The Germs recorded for the film (of which only the song Lions Share was used out of the six) and a suite of Jack Nizsche's film score lifted off the movie itself as none of it was included on the lp. The track order is completely wrong despite my best efforts to correct it which really pisses me off, but this ost is not awfully common and if you really want the proper running order that bad you can do it yourself. Oh, and whoever made this file decided to put dialogue samples before many of the tracks, these are not present on my original lp copy but you're getting it free so who cares. Enjoy yourself by clicking here.
Long ago when I was in high school, my friend Matt told me he saw this on TV and couldn't decide whether it had been a dream or not. Four or five years later I came across it in a Sam Goody (remember when they still existed?) and could hardly believe my eyes. It fits into a narrow genre I like to call cripplesploitation (I coined this in my mind about six months ago and being disabled myself it has taken on a greater meaning for me), and I am slowly searching out more films to fit into the file so to speak. If anybody can find me an NTSC vhs of "The Incredible Mr. No Legs" or can furnish me with a real nice bootleg please hit me up so I can continue to flesh out the hype.
Check out the trailer:
See? I didn't make this up. The plot is pretty standard Hong Kong Kung Fu fare, rife with questionable edits, a formulaic plot, and continuity errors aplenty. But you take it as it is with these types of movies, and I think its these qualities that give these films such charm. Take this and add the surprise element of disabled guys kicking the bad guys collective ass and you have something unique in an otherwise boring sea of films with poorly dubbed english dialogue and pleasingly overdone SFX (which for some reason seem to ALL feature the exact same english overdub voice cast which I can find nothing out about!). I know these types of movies aren't everyone's cup of tea but being such an oddity I can't help but give it a well deserved shout out.
As the plot of these films are SO formulaic in fact, I won't waste time describing it too much detail beyond man with no arms teams up with man with shriveled legs to fight the evil master who crippled them. What I really love about this movie and all martial arts movies) are the training montages and fight scenes. The montages knock the hell out of anything you see in bullshit like the Rocky movies. They always feature improbable scenarios involving water buckets, punji sticks, and several hundred pound wheels of stone being lifted by or tied to someone. The fight scenes are strange here as each one has minute edits before many of the hits. I'm not sure if this was done to make things look blindingly fast or what but it is not the first film I have seen to use this technique.
This film is equal parts entertaining, perverse, and grotesque. I frankly don't know what else to say about it other than it stands out amongst the majority thanks to its odd main characters. The middle plods on a little, but the beginning is great, the fights are excellent, and the finish is both weird and satisfying. Highlights include guy with only one stub arm using a bo staff like a fucking wild man, and man with shriveled legs beating a guy up with his ass. See it, you won't believe it.
While I'm still on the whole cripplesploitation kick, I would love to hear from YOU dear readers about any other action films containing disabled people in leading roles. Don't be fooled because we have crutches or can't walk or whatever- we have rage. We CAN and WILL kick your ass if deemed necessary. Recognize the silent fury, KNOW THIS.
This movie was remade a while back. FUCK THE REMAKE. Do not try and argue otherwise with me.
Anyways...
This movie is yet another horror sleeper hit. I first saw it on cable TV when I was a kid, and its really bleak and atmospheric and also has some class act plot twists throughout. Not only that but it is both well cast and well written with a more than capable cast. What's perhaps most surprising to me is that it was produced by HBO who I forgot made theatrical items. Think of it as a more action packed version of Spielberg's first movie Duel with more characters and some really ace high speed car wrecks and brutal murders. While on the subject of murders, its worthwhile to note that throughout the 98 minutes of the film we never actually see any of the murders take place, only their aftermath. In one cases you don't see the murder at all, just a blood drip, which leaves it up to your own horrific imagination- kudos to you director Robert Harmon! I'll get back to the atmosphere later as I should really talk a little about the plot first.
The film revolves around a young man named Jim Halsey (C. Thomas Howell) who is driving through the desert (Arizona desert maybe? I don't recall) from Chicago to San Diego on a drive away (for those in foreign countries, this is a way of having a car delivered from elsewhere to you by having someone who is moving somewhere get paid to drive the car to you rather than having it shipped at great expense) who makes the mistake of picking up a lone hitchhiker (Rutger Hauer) in the middle of a heavy rain storm. Almost immediately the hitcher tells Jim he is going to kill him. What follows is 98 minutes of tension, isolation, police misunderstanding, and terror. The titular scene in the film involves Jennifer Jason Leigh and a semi truck. I won't say anything more about that.
I have very little experience with deserts. I know they are the following: hot, enormous, and isolating. This is like the exact opposite of my review of Rituals from a couple weeks ago, but instead of a claustrophobic and equally isolating forest we have an oppressive barren desert to reckon with. Rutger Hauer is still in his immediate post Blade Runner badass prime and is a superb murderous creep. C. Thomas Howell is practically exploding with terror, frustration, and grief (I believe this is his best movie by and large) almost the entire film. Jennifer Jason Leigh's part is small but she does a very natural character that in no way detracts from the proceedings and if anything proves to make things slightly more tense.
The hitcher (named John Ryder of all tacky things) is one brutal motherfucker. He kills a number of cops, a family, and who the hell knows how many people before the film began? I'm not sure if this could be considered a slasher movie or not- in fact I'm not sure what to call it. Its definitely a thriller/suspense flick and a damn good one to boot. I want to get into the nitty gritty of the movie, really I do, but I want you to see it for yourself and be as surprised as I was at some of the goings on. Go and do yourself a favor and rent/buy/borrow this and watch it in a dark room by yourself. Just make sure you've done all of your highway driving for the evening first okay?
"You're reviewing a DVD? What!?!" That's what you're thinking right now isn't it? I can review what ever I want, so go put it where the monkey sticks the nuts.
This week I am writing in defence of what has become my definitive favorite Star Trek film: Star Trek The Motion Picture. Yes, that's right- the boring one with the pajama uniforms. This movie has had several versions since it was released in 1979, and has had an almost universally bad wrap ever since no matter which one is being talked about. I don't think it is entirely fair, and I will go about explaining why I feel as such. As many of you no doubt have seen or are already familiar with this film in some way I won't go to the effort of detailing the plot. Onwards and upwards:
I won't lecture you with the full version of the events leading up to the making of this film (which are extensive and for those interested, are interesting believe me), so don't worry. Let's just say a bunch of this and that occurred that led up to Paramount wanting to make a new Star Trek series called Star Trek Phase II. The sets were being built, scripts were being written, the cast was selected, and all was set to make what would have likely become an oppressively tacky and lame late 70's television series (for a tantalizing and informative glimpse at what might have been, check out the book Star Trek Phase II: The Lost Series by Judith and Garfield Reeves-Stevens, its dope!).However all that changed before production began in earnest (insert sigh of relief here).
For some time a Star Trek movie (either theatrical or television) was sought, but the many scripts written didn't quite seem measure up. They included all sorts of cockamamey plots ranging everywhere from the Enterprise going into an alternate universe to find Earth having lizards as the dominant species instead of humans (YAWN) to the Enterprise going back in time and somehow becoming the Titans of ancient myth (YAAAWWWNNN). The script for the proposed Phase II pilot "In Thy Image" however did strike a chord and the idea was green lit rather quickly to become a full fledged theatrical feature albeit with what proved to be (now standard) short sighted Hollywood foresight and planning.
The task of directing the first ever Star Trek feature was handed to veteran film maker Robert Wise (He directed a handful of little known films like The Sound Of Music, The Day The Earth Stood Still, and West Side Story that nobody has ever really seen or heard of), who was given the ludicrous task of completing the film (special effects and all!) a full TEN WEEKS behind schedule before a single frame of film had even been shot. This was due to the production of Phase II being cancelled in favor of the film. To make matters worse, Paramount had PRE-SOLD the film to theaters and promised it to them in time for a December 7th, 1979 release date which was decidedly NOT flexible. Talk about a fucking nightmare. The films production ran so down to the wire an entire soundstage was rented to hold all the film cans for each theater showing it to have the prints rushed over still wet from processing to be sent where they needed to go. Robert Wise physically carried the print to its December 6th, 1979 premiere in Washington D.C. on the plane and to the theater under his god damn arm and handed it to the projectionist personally so they could set it up! For shame Paramount, for shame! My finger wags infinitely at your actions here.
I think all things considered, Robert Wise did a terrific job with the hell bound and completely unrealistic schedule he was handed. The biggest problems with the finished product were the lack of many unfinished or otherwise unrealized effects shots (which Douglas Trumbull and John Dykstra did their very best to get completed working under the same ridiculous time constraints and Wise), and the fact that the film was never even given a sneak preview. That's right, the original theatrical cut was basically a rough cut of the film! That and daily rewrites and corrections by William Shatner and Leonard Nimoy (they had a clause in their contract allowing them to do so if production went beyond a specific time period so I've read), I'm appalled to be honest- and that is putting it rather nicely- by what the studio did. But thankfully Paramount saw fit to let Mr. Wise correct this somewhat in 2001 by allowing him to lead a director's cut of this practically forgotten (by my generation at least) Star Trek Film for a premiere two disc DVD release.
I say "practically" forgotten as every time I mention it to nearly anyone my age (as of this posting I am 26 currently) who is not a big Star Trek fan, they reply "which one is that, First Contact?". I am assailed by fucking idiots at nearly every turn. If I said First Contact was my favorite Star Trek film, I would say "First Contact is my favorite one" not "STAR TREK THE MOTION PICTURE IS MY FAVORITE". Just how lacking in understanding can people be that they guess a film with a secondary title far different than what came out of my mouth!?! Seriously...
Back on subject however:
The movie is distinctive for various reasons. Its the among the first films to have a cable TV version which included footage NOT seen in theaters. Unfortunately, this extra footage in some cases made little sense as it was from and relating to a cut sequence, and in one case featured fully visible stage lights and wooden support beams (which would have obviously been covered with a matte painting if the scene were kept)! It was a sequence in which BOTH Spock and Kirk go inside V'ger to a so called "memory wall" and discover the spacecrafts true nature. This would have gone in place of the later space walk scene with only Spock present but due to time and budget constraints (the cost of wire removal so the actors appeared to be floating in space for example pretty much canned it) left the sequence totally unfinished. Its a pity because this scene would have added a feeling of tension that the second half of the film discernibly lacked.The home video release included extra footage too, and while I have never seen a copy I have read that the original 1981 VHS release was the straight up theatrical cut. I am on the lookout, if you locate one talk with me, I am open to negotiations. The CED Videodisc (NOT LASERDISC- VIDEODISC, LOOK IT UP!) was also the theatrical cut. I have heard rumor of a Blu Ray edition containing this cut along with the director's edition, but fuck that "high def" bullshit. I don't want to know about it.
The directors cut had newly done (and well done may I add!) CGI effects shots to retouch as well as add a few brand new sequences including the first ever FULL VIEW of the V'ger spacecraft! Overly long sequences were trimmed, sound tweaked, and at long last a panned by many fans film was made to look the way it was meant to as much as was humanly possible. My one peeve with the dvd is the fact that while all this work was done, they didn't bother to remaster the image or sound. If you are going to give an mistreated film proper love, go the extra miles guys, please? Not to mention it almost seems like they let this happen so they could slam some promos for that bullshit series Star Trek: Enterprise on the disc..... BOOOOOOOO! NEVER mix promos for another program on a movie commemorating a maligned piece of cinema. Its like trying to steal the limelight, I found it strictly unwelcome and unnecessary.
What I really like about this film is everything that only happens in this movie only and nowhere else in the series. Like those weird uniforms with the boots connected to the pants, those cool wrist communicators, and how thin Shatner was- all of this only happened just this once. This is also the only Star Trek film in which phasers are never fired, and the first movie ever supported by a McDonalds Happy Meal! Don't believe me? Take a look at one of several of the commercials produced:
This movie was a HUGE event, and as such it had a marketing frenzy no other Star Trek film has ever enjoyed since. Name any product you can think and it happened: squirt guns, sticker books, pop up books, viewmaster reels, action figures (I am the proud owner of five of the 12, better complete the set some day), model kits, tee shirt iron ons, instant stained glass window hangings, trading cards, a metal lunchbox (I will do damn near anything for you if you get me one complete with thermos), sew on patches, a novelization (written by Gene Roddenberry!), silly putty, fuck it- ANYTHING! Only Star Wars, which pioneered such widespread marketing in the first place, surpassed the level of merchandising this movie accrued. So much of the marketing was devoted to toys, story book/LP combos, and other children's items which I find odd as this film is actually rather boring and slow paced. I can't imagine too many young kids going to it and being enthralled unless they were already huge fans of the show, all of the two action sequences happen within the first half of the movie for example.
But this what I REALLY like about the movie. It IS somewhat boring (by some peoples views anyway) and is indeed slow paced. Unlike everything that followed it is definitely not an action movie but more character and philosophy oriented. I wish it were more so, but due to the many drawbacks to the script, this film also has the dubious distinction of being the first major hollywood productions to try and wow audiences with special effects in an attempt to make them forget the shortcomings present elsewhere. This has become more and more commonplace in movies as the decades wear on, but at least the effects in this movie were really truly great. The film had a VERY strong opening box office take as well, but tailed off rather quickly causing major disappointment with Paramount execs. Even when adjusting for inflation TMP held the record for a ST films opening take until 2009s JJ Abrams reboot of the franchise. As a result, Star Trek films (at least up until nowadays) never had as high of an SFX budget again which is a shame to say the least.
This film reminds me of the first Star Trek Pilot "The Cage". Yes, the original unaired pilot from 1964 starring Jeffrey Hunter as Capt. Christopher Pike (The character of Kirk was created after Hunter opted to not be in the second pilot which turned out to be a fateful decision as his career nosedived until his death shortly after in 1969). Like TMP, The Cage was more cerebral, more character oriented and featured quite a few "only in this episode" bits and pieces. TMP is no different, and both stand out to me as examples of what I think is "true" Star Trek, where its not about firing a Phaser and blowing something up, its about discovery and reflecting the human condition. While several of the succeeding original crew era movies dealt with issues like how Kirk learns the nature and value of sacrifice in Star Trek II: The Wrath Of Khan (my second favorite, and a great many peoples most fave ST film), but none gave me quite the same feeling as TMP.
And while still on the subject of only in this film, lets take a moment to talk about Captain Kirk's character in this film. In the television series, he was brash, risk taking, clever, and sensible. Here we see him at his darkest in my opinion. He is pushy, conniving, and obsessive for a good portion of the first half of the film. This stems from being promoted to Admiral and being taken off starship duty. His constant frustration with Commander Willard Decker (temporarily reduced from Captain thanks to Kirk) provides some interesting drama for our once proud and unshakeable hero. It all comes to a head in Kirk's quarters when he confronts Decker in front of Dr. McCoy due to Decker belaying one of Kirk's orders due to his cluelessness of the Enterprise's redesign. Bones goes on to explain how Kirk is using the situation to his advantage, and to allow him to retake command of the Enterprise and keep it for himself. Kirk replies "Is there anything else?" to which Bones only says, "That depends on you...". The somber image of the tinted glass doors to Kirks office closing upon his pensive expression are like dark shrouds enveloping his inner motives. This image sticks with me more than any other in the film, why I cannot be certain, but the reversion of our hero to such knowing conceit is interesting to say the least.
Many awful nicknames were given to this picture after release, including: "Star Trek: The Motion Sickness", "The Motionless Picture", "The Slowmotion Picture", and due to the films similarities to the original series episode The Changeling- "Where Nomad Has Gone Before". On an amusing note, I was once told by an IRS worker at the office here in Olympia, WA her friends used to joke with each other saying "Leave it to V'ger", somebody put that on a shirt for me please? I can understand why people don't like it due to it many deficiencies (both real and perceived, its all a matter of taste really) but I beg to differ and will continue to do so for as long as I am so able. Just try and talk shit to me about this movie, I will roll you- even with Multiple Sclerosis!
And now for two things I couldn't find a proper place for in this review. The first is a ten minute short from 1979 showing some great behind the scenes shots and of the filming miniatures/set pieces as well. I can't help but nitpick a little, but at 2:25 they mention the Epsilon IX space station, sorry dudes that's the orbital office complex (reused in Star Trek II as the Regula I lab by removing a bunch of stuff and flipping it upside down!). I also find the shots of the SFX crew blowing up Klingon battle cruisers of interest, as I am unsure why they are doing so. Its either an early effects test for when V'ger absorbs them, or an attempt to film elements of the written but otherwise unused space battle that was to be the films conclusion.
The battle sequence stayed put for a while, and was even storyboarded. The Enterprise was to be severely damaged in the battle and do a SAUCER SEPARATION (that's right!) and return the crew to earth. This sequence was still in when toy company MEGO (pronounced mee goh) made their plastic toy of the ship, you could separate the saucer just in the un filmed sequence! Talk about cool cut scene bleed overs. At 3:45 we see what I thought was never filmed at all- a portion of the memory wall sequence I mentioned earlier in the review! Too bad, because the set looks awesome (SFX test shots with the set are on the aforementioned and pictured two disc TMP DVD)! Here, have a looksee:
The final piece is to prove my devotion for the ages. Take a look:
Yes, that small 1" X 2" rectangle is a bonafide piece of the V'ger miniature along with an autographed 8x10 of William Shatner. Its number 67 of 250 and you will have to pry it from my cold dead hands iffin' ya want it. I got it off ebay as a scratch and dent from the company that sold them via williamshatner.com. There appears to be a small imperfection to the finish on the brass plaque, enough for me to get it for well less than the $299 they were trying to get for them off his site. And for the astute onlooker, yes that IS an original VHS release poster for Jim Wynorski's 1987 classic Deathstalker II poking out behind the plaque- not the canvas reprints people are selling these days (expect a review of that movie some time in this blogs future!). May I also add this gives you the opportunity to see a picture of the handsome son of a bitch responsible for writing everything here. So in closing, Star Trek The Motion Picture is near and dear to my heart and in my opinion one hell of an overlooked gem of science fiction cinema. I am sure my collection of odd bits of memorabilia from it will only increase as time goes by. I hope I've done the film justice with this post.
