TOP GUN (1986) revisited

February 13, 2013

top gun1 “I feel the need … the need for SPEED!”  A recent one week run of the re-mastered 3D IMAX version of Top Gun provided the opportunity to re-evaluate the 1986 film that catapulted Tom Cruise to the highest level of movie stardom.  It seems my initial reactions 27 years ago were spot on.  The best parts are still exhilarating and pure joy to watch, while the worst parts are still cringe-inducing and torturous to sit through.

Testosterone overload, hyper-competitiveness, and Type-A personalities were perfectly displayed thanks to the cocky actors that made up the Navy pilot training class: Tom Cruise, Val Kilmer, Anthony Edwards, Rick Rossovich, Barry Tubb, Tim Robbins and Whip Hubley.  Whether these guys are prepping for flight, ruling the skies, or peacocking afterwards, they are a blast to watch and perfectly capture that familiar pilot-persona. The Navy cooperated with the filmmakers … producers Don Simpson and Jerry Bruckheimer, and director Tony Scott … to ensure the top gun2training was realistic and the flight sequences were breath-taking.  Additionally, some high-powered and experienced Navy pilots were brought in as consultants.

Tom Cruise was considered an up-and-coming actor when cast as “Maverick”. His 1983 film Risky Business brought him much notice … especially for dancing in his tighty-whities … but this is the role that vaulted him into leading man status.  What’s interesting is that many critics pegged Val Kilmer (Iceman) as the future star.  While Mr. Kilmer has had a very impressive career, it certainly doesn’t compare to that of Mr. Cruise.  The female lead went to Kelly McGillis (Charlie), whose star was rising quickly after Reuben, Reuben (1983) and Witness (1985).  Instead of this being her breakout, that label instead went to Meg Ryan (Goose’s wife) who turned a minor role into almost two decades of cute blonde roles in box office favorites.

top gun5 The sequences featuring the fighter jets and pilots in action are some of the best ever captured on film. We never get the feeling that we are being tricked with slick editing or special effects.  On the contrary, it feels like we are in the cockpit and involved in extended dogfights. Another superb element comes courtesy of the two Commanders featured.  James Tolkan plays the cigar chomping Commander of the USS Enterprise, while Tom Skerritt plays Viper, the super pilot and Commander of NAS Miramar’s Fightertown, USA … better known as Top Gun. The real life Viper, Pete Pettigrew, is seen on screen as Charlie’s date Perry in the first bar scene (just after Maverick sings “You’ve Lost That Lovin’ Feeling”).

Over the years, there has been much analysis, speculation and even spoofs concerning the supposed homo-erotic undertones … especially the infamous volleyball game. At the time, no one would have guessed that the real sexual complexity and confusion would come courtesy of a Kelly McGillis confession twenty years later.

top gun3 The “worst” parts referred to earlier include the post-production add-on scenes filmed to allow for a wider audience (interpretation: to appeal to more women). The love scene between Cruise and McGillis is filmed in the shadows and made even more painful by the blasting of Berlin’s “Take My Breath Away”.  The shadows were necessary due to hair style and color changes of the leads since production had wrapped weeks before. That scene and the elevator scene were added because test audiences were disappointed the sparks between Cruise and McGillis had previously dead-ended. Those scenes combined with the “Miami Vice” feel of many of the non-pilot sequences, and the Kenny Loggins “Danger Zone” agony, provide the Jekyll and Hyde feel that wreaks havoc on the viewer.

top gun4 The changes translated into major profits for the filmmakers as Top Gun became the highest-grossing film of the year. It was nominated for four Academy Awards and won for Best Song (“Take My Breath Away”).  Although composer Harold Faltermeyer was not nominated for his Top Gun score, he was nominated the following year for his song “Shakedown” from Beverly Hills Cop II.  Simpson and Bruckheimer were the Super Producers of the 1980’s with other hits like Flashdance and Beverly Hills Cop.  Mr. Simpson died in 1996 at age 52, and Bruckheimer has gone on to produce Pearl Harbor, the Pirates of the Caribbean franchise, and TV series such as “The Amazing Race” and “CSI: Miami”.  He is consistently rated as one of the most powerful people in Hollywood. Director Tony Scott mastered his domain in the Action-Thriller genre with Crimson Tide, Man on Fire, and Unstoppable. Mr. Scott, who is the brother of director Ridley Scott, died in 2012.

Should you feel “the need for speed”, Top Gun is a great call … except when it’s not.

**NOTE: It’s difficult to imagine anyone but Tom Cruise as Maverick, but the role was first offered to others, reportedly including Michael J Fox and Scott Baio. Oh my.

**NOTE: Rick Rossovich who plays Slider is the brother of Tim Rossovich. Tim was a Pro Bowl Linebacker for Philadelphia Eagles, Tom Selleck’s roommate at USC, and had a nice acting career as a movie and TV tough guy.

**NOTE: The Navy capitalized on the popularity of the film by setting up recruiting tables at the largest theatres where the movie was showing.

watch Tom Cruise (Maverick) put his best move on Kelly McGillis (Charlie):

http://www.youtube.com/watch?v=HVNWSEX-WqU

 

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Posted by David Ferguson

SATURDAY NIGHT FEVER (1977) revisited

February 11, 2013

sat night Strutting, Smiling, Smirking, Sulking.  This was a young John Travolta at his best.  It was also director John Badham at his best, as he and screenwriter Norman Wexler adapted a New York Magazine article written by Nik Cohn entitled “Tribal Rites of the New Saturday Night”.  Their work, along with Travolta’s dance moves, changed the way young adults spent their weekend nights.

Given his recent disturbing mentions in the news, it might be difficult to imagine, but in the mid-1970’s, Travolta as Vinnie Barbarino on “Welcome Back Kotter” was idolized (and lusted after) by just about every teenage girl on the planet.  At the peak of that TV show’s popularity, Travolta exploded onto the big screen as Tony Manero, the king of the disco dance floor.  It wasn’t long before every guy’s wardrobe included multi-colored polyester shirts and maybe even a white 3 piece suit.  This movie now serves as a time capsule of the disco era.  But it’s also much more.

Saturday Night Fever can be viewed from a couple of different perspectives.  Many view it as a snapshot of the short-lived disco era, replete with the clothes, music, drugs and preening.  I have always found it even more effective as a coming-of-age story for working class youngsters trying to make sense of the world as they head into adulthood.  Tony realizes he won’t fit in much longer living with his family, but the tough love and advice provided by his paint store boss (Sam Coppola) falls on deaf ears. When Stephanie (Karen Lynn Gorney) starts spouting off her “whole other world” stories from Manhattan, Tony realizes brawling with his buddies is no answer to life’s mysteries.

sat night4 Tony is a 19 year old living at home with his traditional Italian parents. His mother, played by Julie Bavasso, is a religious woman who takes great pride in her eldest son Frank Jr (Martin Shakar) being a Priest.  His father, played by Val Bisoglio, is a recently unemployed emotional man who takes his anger out on the family by lashing out. Their family meals are loud and aggressive events filled with pride, physicality and hurtful words. Tony’s joy in receiving a raise at work is quickly shut down thanks to the belittling reaction from his father. Dancing at 2001 Odyssey is Tony’s escape from the realities of his world … and the only place where he is admired for being something special. It’s a feeling he relishes and one everyone should experience.

As viewers, we recognize that this little world of Tony’s threatens to lead him down an obvious path where he will wake up 20 years later as a bitter 39 year old, not so different from his father.  Hanging out with his friends, each searching for their own path while trying not to appear desperate, provides momentary escape but no promise of a brighter tomorrow. When Stephanie enters the scene, Tony sees her as a guiding light to a new world. As viewers, we easily see her insecurities and faux-cultural maturity, but to Tony she offers a ray of hope.  A way out.

sat night5 Tony’s buddies are entertaining in their own ways. Joey (Joseph Cali) and Gus (Bruce Ornstein) are just good, solid guys.  Double J (Paul Pape) is the quietly aggressive one.  He’s the guy that views every day as a chance to seek revenge on anyone who might have done him wrong, even if accidently. Mr. Pape went on to become a prolific voice actor (more than 500 credits).  That’s a bit ironic since he is the quiet one of the group.  Bobby C (Barry Miller) and Annette (Donna Pescow) are the ones who break your heart. Bobby’s girlfriend is pregnant and he is desperate for a magical solution, while longing to be as cool as Tony … or at least not invisible.  Annette is a sad creature who just wants to be loved.  She misreads Tony’s signs and covers her grief with booze, drugs and regrettable sexual activity.

John Badham was mostly a TV director when he assumed the helm for Saturday Night Fever.  He had some Hollywood success the year before with a Negro League baseball comedy featuring Richard Pryor and James Earl Jones called The Bingo Long Traveling All-Stars & Motor Kings. Mr. Badham, the brother of Mary Badham (Scout in To Kill a Mockingbird), went on to have some box office success with War Games and Stakeout, but in 1997, he returned to TV projects and has remained there since.  The film is also known for launching the hugely successful soundtrack, which was the top selling album of all-time until passed by Michael Jackson’s “Thriller” in 1983.  Many of the Bee Gees songs are still played on classic stations today, and “Stayin’ Alive” became the title for the film’s sequel.  The 1983 movie followed Tony’s attempt to break through on Broadway and was directed by Sylvester Stallone. It received brutal reviews and has since faded into oblivion.  In another example of how small the Hollywood community is, Stallone’s girlfriend in Rocky was played by Talia Shire.  Ms. Shire’s first husband was David Shire, who composed the score for Saturday Night Fever.  When they divorced, Mr. Shire married Didi Conn, who co-starred with Travolta in Grease.

Travolta is clearly the most interesting story here. Seemingly at his peak, his career took another leap forward when Saturday Night Fever producer Robert Stigwood hired him for the musical Grease the following year.  In 1980, Travolta was again front and center in a cultural shift as his turn in Urban Cowboy shifted focus from disco dancing to the Texas Two-Step, and the subsequent trend towards mainstream “country” music.  Travolta’s career then went quiet until his first comeback with Look Who’s Talking in 1989.  His second comeback came thanks to Quentin Tarantino casting him in Pulp Fiction.  What many don’t know is that while filming Saturday Night Fever, Travolta’s love interest, actress Diana Hyland died of cancer.  Ms. Hyland had appeared as Dick Van Patten’s wife in season one of “Eight is Enough” and upon her death, his character was presented as a widower.

sat night2 It’s interesting to note that a substantial number in the cast were making their feature film debuts.  That includes Fran Drescher (“The Nanny”) who plays local girl Connie.  Her dancing skills, or lack thereof, lead Tony to make assumptions about her other talents. Also making quick appearances are Travolta’s sister Ann (as the pizza girl) and his mother Helen, who scolds him in the paint store for making her wait so long.  The posters in Tony’s room include Al Pacino in Serpico, Stallone in Rocky, and the iconic Farrah Fawcett swimsuit poster.  Travolta had a key role in the horror classic Carrie, and just missed out on being cast as Meadows in one of my favorite movies The Last Detail.  Randy Quaid was ultimately cast.  The great film critic Gene Siskel always said Saturday Night Fever was his favorite all-time movie and he even purchased and displayed Tony’s white suit from the film’s climax.

Regardless of how you view it, this little film certainly has its place in Hollywood lore. It launched the film career of John Travolta, changed the cultural nightlife for a generation, taught us not to play on bridges, to take only your allotted time when sharing the backseat, to always chew your food, and whether you are feeling up or down … it helps to strut.

watch a clip of dinner with the Manero’s:

http://www.youtube.com/watch?v=GSruhwZsc9c

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Posted by David Ferguson

GOODFELLAS (1990) revisited

February 7, 2013

goodfellas1 “As far back as I can remember, I always wanted to be a gangster.”  That’s how Henry Hill introduces himself.  He is the narrator and key figure in director Martin Scorcese’s 1990 masterpiece.  What follows Mr. Hill’s intro is the film version of Nicholas Pileggi’s non-fiction book, Wiseguy: Life in the Mafia Family (published 1986).  Every so often the perfect match of writer, director and cast occurs, and Goodfellas is one of those rare treats.

Viewing a 35mm print at the historic Texas Theatre just seemed apropo.  Knowing that this is the realized vision of Mr. Scorcese and his long time editor, Thelma Schoonmaker, caused the numerous VHS and DVD viewings over the years to simply fade away.  The silver screen works wonders for a film with such “big” characters, such startling violence, and such a perfectly inter-woven soundtrack.

Ray Liotta plays Henry Hill, the real life gangster who ended up snitching on the mob and entering the Federal Witness Protection program.  This should not be considered a spoiler because Hill’s story is known worldwide and, well, the movie is 23 years old!  Liotta was a relative newcomer when he exploded onto the screen in Jonathan Demme’s Something Wild in 1986.  His manic performance in that movie led Scorcese to cast him as Henry Hill.   The real life Hill spoke at length with Pileggi for the novel, and the result is a very detailed and nuanced look into the life inside a New York crime family.

goodfellas4 The fascinating aspects are too numerous to touch on them all, but there are some that really stood out in this latest viewing. First, Lorraine Bracco plays Hill’s wife Karen. Watching the development of her character is pure gold on screen. She starts out as a fresh-faced blind date, who pulls no punches in putting Hill in his place after he stands her up … and right in front of his fellow gangsters, no less.  Watching her fall for “the life” is like watching someone get gradually intoxicated.  She seems aware but numb to the rational side of her brain. As Karen develops, she battles through some really tough situations, continues to be Hill’s biggest supporter, and finally his cohort in crime near the end.  She is one of the most interesting and best developed female characters from any gangster movie.

Another really fascinating character to follow is that of Tommy Devito played by Joe Pesci. Tommy is a tough guy born into the life, but the prime example of just never being satisfied. His short fuse temper is responsible for some of the most memorable scenes in the movie.  The “funny like a clown” scene and the fallout from “go home and get your shinebox” are two of the more goodfellas2frightening sequences ever seen on screen, and are perfect examples of what a loose cannon Tommy is. This character is based on the real life Tommy “Two Gun” DeSimone, muscle for the Lucchese crime family.

In addition to Karen, Henry and Tommy, the other main character is Jimmy Conway, played by Robert DeNiro. Conway is based on the real life Jimmy “The Gent” Burke, who was supposedly the mastermind behind the infamous Lufthansa heist depicted in the movie.  The Conway character perfectly represents paranoia and greed, while hiding behind the mob loyalty pledge. DeNiro never once overacts here, but his Conway dominates the screen despite the strong presence of Liotta and Pesci … and even Paul Sorvino, who plays mob boss Paulie.  Paulie is based on Paul Vario, the head of the Lucchese crime family. Sorvino plays him as quietly powerful and a guy with a phone phobia (for good reason). Sorvino’s Paulie is the centerpiece of the mob and is totally believable as a guy you better not cross.

goodfellas One of the more memorable scenes features Jimmy, Henry and Tommy stopping off at Tommy’s mother house to pick up a shovel … and a large, useful knife.  While there, Tommy’s mother (played by Catherine Scorcese, Martin’s mother) not only makes them a huge 3 am Italian meal, but also shows off some of her artwork, and even tells a joke!

What’s really fun to watch as the film progresses is the change of pace and camera work. Watching young Henry earn his stripes is treated with a light, almost comical touch.  As he becomes fully entrenched, we see a young man enjoying the power and respect of his position. This is crystallized by Scorcese’s infamous long-tracking shot through the back entrance and kitchen of the Copacabana as Henry and Karen end up front row by the stage. The downward spiral is much more frenetic with fast cuts and a desperate feel. Scorcese helps us feel the drug-induced paranoia that dominates Henry.

David Chase has stated that Goodfellas had quite an impact and inspired him to create “The Sopranos”, and the marks are goodfellas3quite clear. There is even a significant crossover in the cast as both feature Frank Vincent, Tony Sirico, Frank Pellegrino, Michael Imperioli and, of course, Lorraine Bracco (who was Tony Soprano’s psychiatrist).

Goodfellas was nominated for six Academy Awards, and Joe Pesci was the only winner (Best Supporting Actor).  It lost out in the Best Picture category to Dances with Wolves.  Scorcese has since directed two other critically acclaimed gangster films: Casino (1995, from another Nicholas Pileggi book), and The Departed (2006, which won Scorcese his first Oscar and also won Best Picture). You might also like to know that Pileggi is the creator of “Vegas”, the new TV show starring Dennis Quaid and Michael Chiklis.  The show is about the mob’s influence in the early “wild west” days of Las Vegas.

For years, movie lovers have been debating whether The Godfather or Goodfellas is the best gangster film. As much as I love debate, I see no reason to choose … they are both exquisite filmmaking, though quite different in style. Both films have provided us direction in life.  The Godfather informed us that “It’s not personal, Sonny. It’s strictly business”.  Goodfellas counseled us “Never rat on your friends, and always keep your mouth shut.”   Far be it from me to question the source of good advice!

***PROFANITY WARNING***  This is the unedited “funny like a clown scene” and it’s definitely NSFW!!!

http://www.youtube.com/watch?v=E84VqqCPI7w

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Posted by David Ferguson

BUTCH CASSIDY AND THE SUNDANCE KID (1969) revisited

February 5, 2013

butch Westerns tend to be one of most divisive film genres.  “I hate westerns” is proudly proclaimed by otherwise intelligent and open-minded movie goers.  Ask these anti-western types for specifics on what it is they don’t like and their answers often include:  boring/slow pace, hard to relate to characters, simplistic dialogue, too few women characters and too much machismo.  Western lovers wouldn’t attempt to argue any of those points.  Instead, we prefer to believe that some of those are the BEST features of westerns!

What’s fascinating is, despite the haters, westerns have achieved immense popularity through the years.  Some have provided us the strong, quiet hero: High Noon, Tombstone, The Magnificent Seven.  Many have shown us the joy of revenge: True Grit, Django Unchained, The Searchers.  Some provided us with wonderful villains: The Wild Bunch, Once Upon a Time in the West (nice guy Henry Fonda as a badass).  Still others offered up the conflicted gunslinger: Unforgiven; The Good, The Bad and The Ugly.  Westerns can even be tearjerkers: Shane; comedies: Blazing Saddles, City Slickers; and animated: Rango.

butch5 The one western which seems to be the exception … it’s even beloved by western haters … is Butch Cassidy and the Sundance Kid.  It’s a mainstream film with three movie stars, a strong director, a renowned writer, one of the best ever cinematographers, a love story, a #1 charting pop song, enough action (but not too much), and a level of comedy that is witty and quotable.  Released 44 years ago in 1969, it was recently part of Cinemark’s Classic Film series.

Paul Newman (Butch) and Robert Redford (Sundance Kid) charmed audiences even as they made their way through the west robbing banks and trains.  It’s interesting to note that Steve McQueen was originally cast as the Sundance Kid.  Unfortunately, there was a disagreement over top billing and McQueen dropped out.  Newman and McQueen wouldn’t work together until 1974 in Towering Inferno.  On the bright side, Newman and Redford were terrific together and would team up again in 1973 for The Sting (Oscar winner for Best Picture).  It’s no coincidence that George Roy Hill directed the Newman/Redford duo in both films. He was known as an “actor’s director” and recognized the mass appeal of these two.

butch6 “Much of what follows is true” is our introduction to the film, along with a polychromatic montage of film clips and photographs of Butch and Sundance with The Hole in Wall Gang (renamed from The Wild Bunch, to avoid confusion with Sam Peckinpah’s recent release).  Butch (Robert LeRoy Parker) and Sundance (Harry Longabaugh) were real life outlaws in the early 20th century.  The Wild Bunch is pictured at left.  The real Butch is seated on the right, and the real Sundance is seated on the left.  Of course, many of the facts from the wild west have been displaced by colorful legend and lore.  It’s apparently true that their holdups rarely involved violence and they were in fact pursued by a posse, which in the film is portrayed as the Dream Team of posse’s assembled by Mr. E.H. Harrison of the Union Pacific Railroad.

One of the first real scenes in the movie has Sundance playing poker and being accused of cheating.  And we all know what that means in a saloon card game – it’s time for a gunfight.  The young stud making the accusations is none other than Sam Elliott, making his big screen debut.  Elliott went on to star in many movies and TV shows, and of course used his manly voice for “Beef. It’s what’s for dinner”.  In 1984, Elliott married Katharine Ross (they are still married today).  Ms. Ross became the dream woman of the 1960’s for many after appearing as Elaine in The Graduate and Etta Place in Butch Cassidy and the Sundance Kid.

butch2 There are many individual scenes or moments that have become classics over the years: the bicycle scene while BJ Thomas sings “Raindrops Keep Fallin’ on My Head”; watching the great Strother Martin call Butch and Sundance morons as he spits chewing tobacco while riding a mule; the looks on their faces as Butch, Sundance and Etta arrive in the garden spot of Bolivia.  It also remains one of the most quoted movies with eternal lines such as:  “Who are those guys?”  “I’m better if I move”  “I’m not crazy.  I’m colorful” “Think you used enough dynamite there Butch”  “Are you crazy?  The fall will probably kill you” and my personal favorite “You just keep thinking Butch.  That’s what you’re good at”.

Although it’s certainly a star vehicle for Newman and Redford, and to a lesser extent, Katharine Ross, the supporting cast is diverse and exceptional.  In addition to Strother Martin and Sam Elliott, Butch has an infamous knife fight with Ted Cassidy (as Harvey Logan).  Cassidy is the 6’9” actor who also played Lurch on TV’s “The Addams Family”.  He is not 7’2” Richard Kiel who played Jaws in two James Bond films, though many people get them confused.  75 year old Percy Helton plays Sweetface.  Mr. Helton had over 200 career screen credits dating back to 1915. Henry Jones plays the opportunistic bicycle salesman, George Furth plays the young and loyal Woodcock, and the still active today (at age 86) Cloris Leachman plays the working girl who is so giddy to see Butch again.

butch3 The movie received 7 Oscar nominations and won 4: Cinematography (Conrad Hall), Original Score (Burt Bacharach), Original Song (“Raindrops Keep Fallin’ on My Head”), and Original Screenplay (William Goldman). It was also nominated for Best Picture, but that award went to the controversial Midnight Cowboy and its director John Schlesinger.  It should also be noted that there was a 1956 movie titled The Three Outlaws that featured Neville Brand as Butch, and Alan Hale, Jr as Sundance.  Mr. Hale is best known as the Skipper on “Gilligan’s Island”. In 1979 a pre-quel was released, Butch and Sundance: The Early Days. It featured Tom Berenger as Butch and William Katt as Sundance.  Mr. Katt is best known as the unfortunate prom date in Carrie.  Most recently, in 2011 Sam Shepard starred in Blackthorn, a film about an aging Butch Cassidy quietly hiding out in Bolivia.

So whether you “like” westerns or not, if you have never taken in the exploits of Butch Cassidy and the Sundance Kid, I would encourage you to do so.  If, after that, you still don’t like westerns, all I can say is “Boy, I got vision and the rest of the world wears bifocals.”

here is one of the short original trailers:

http://www.youtube.com/watch?v=X41Ylp02NRs

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Posted by David Ferguson

THE SHINING (1980) revisited

January 29, 2013

shining Greetings again from the darkness. One of the keys to my love of cinema is what I term the “three D’s” – Dispute, Discussion and Debate.  Legendary director Stanley Kubrick directed only eleven feature films, each a perfect fit for the “three D’s”.  Now combine Kubrick with renowned author Stephen King, and the result is 33 years (and counting) of ongoing dispute, discussion and debate.  The Shining is considered one of the best horror films of all-time and limitless in its ability to entertain … even after the closing credits.

Kubrick and his co-writer, novelist Diane Johnson, took the already twisted source material and delivered a film focused more on the downward spiral towards madness than King’s supernatural story.  Sure Kubrick gives us ghosts (Lloyd the bartender, Grady the butler, the two girls and the women of Room 237), but the bulk of time is spent watching the three members of the Torrance family each breakdown in their own special manner.

shining7 The ambiguities of the story are intensified on the closing shot of the 1921 photograph featuring the likeness of Jack Torrance (Jack Nicholson). The various interpretations over the years have only added to the cult status and overall perplexity associated with this masterpiece.  The historic Texas Theatre in Dallas presented a 35 mm print this past weekend and it was a thrill to once again watch the movie on the big screen with a full house.

There are so many elements that elevate this one above most horror films. The claustrophobic feel that comes with an isolated hotel snowed off from society is complimented by a cast of actors who fully commit to what must have appeared ludicrous on the script pages.  Jack Nicholson was at the peak of the acting profession (just a few years after Chinatown and One Flew Over the Cuckoo’s Nest) and really creeps us out with his aggressive descent into insanity.  Shelley Duvall survived an actor’s nightmare during filming as Kubrick was relentless in his efforts to make sure she shining5was constantly hysterical and on the verge of tears.  Yet, she never fails in convincing us that she is frantically grasping for sanity as she works to save herself and her son.  Despite having no previous acting experience, six year old Danny Lloyd won the role of Danny, who is blessed/cursed with “the shining” – a psychic ability to see the past and the future.

Over the years, conclusions have been reached that Kubrick was making a statement on topics ranging from the slaughter of Native Americans, the Holocaust, the supernatural, alcoholism, and the hollow institution known as family. Regardless of your interpretation, it’s impressive that a horror film can generate such divisive thoughts. Even more impressive is how the movie sucks you in with a methodical pace and  deliberate build-up to a wild ending … an ending missing a key hospital scene that was cut by Kubrick AFTER the film was initially released.

Known as The Overlook Hotel in the movie, it’s really a conglomeration of many different hotels. The exterior shots are of Timberlake Lodge in Oregon.  Much of the interior, including the Colorado room where Jack writes, is patterned after Ahwahanee Lodge in Yosemite, though the red bathroom is courtesy of the Arizona Biltmore (and Frank Lloyd Wright).  The giant set was built shining3in England and included the shrubbery maze that is front and center come climax time.  Stephen King was inspired to write the story after staying at The Stanley Hotel in Estes Park, Colorado. In 1997, he personally oversaw a TV mini-series that stayed true to his original story … and was filmed at The Stanley.

Scatman Crothers is best known as a musician and composer, but immediately became well respected for his role as Dick Hallorann, the hotel’s chef.  The scene where he discusses the meaning of “the shining” with Danny became infamous for the 148 takes demanded by Kubrick. His penchant for multiple takes nearly broke the actors and the crew, but most since then have acknowledged the grueling approach provided the edge needed for the dramatic effects seen in the movie.

Some other interesting aspects of the movie include the numerous “classic lines” such as Nicholson’s ad-libbed “Here’s Johnny!” and “Little Pig, Little Pig”; the controversial line from Grady (Philip Stone) stating Torrance has “always been the caretaker”; Torrance’s exchange with Lloyd the bartender (Joe Turkel) when he calls alcohol the “white man’s burden”.  It’s also interesting shining2to note that the visual of the two girls was influenced by Diane Arbus’ famous photograph.  Ask yourself; prior to seeing this movie, would you have recognized REDRUM?  Since this was in the days before computers, a secretary spent months typing up (yes on a typewriter) the hundreds of pages that read “All work and no play make Jack a dull boy”.  In the Gold Room party scene, that’s 17 year old Vivian Kubrick (daughter of Stanley) smoking a cigarette while sitting on the sofa. And a special note to my fellow baseball lovers, Shelley Duvall whacks Nicholson with a Carl Yastrzemski model Louisville slugger.  Of course, Stephen King is a lifelong Red Sox fan, so this was a nice touch.

It’s understandable if you consider the movie more disturbing than horrifying. Kubrick would take that as a compliment.  As for the complexities and contradictions, nothing is more frightening than the unexplained and the unreasonable. Without an obvious roadmap to a tidy conclusion, Kubrick keeps us guessing and leaves us uncomfortable by what we have seen. Maybe most remarkable is the incredible way this movie impacts you EVERY TIME you watch.  This is quite an accomplishment for the horror genre, since most depend on visual tricks, cheap scares and over the top gore.  If you are waiting for more, Stephen King is scheduled to release “Dr. Sleep”, which is the story of an adult Danny (no word on whether Tony is with him) who now works with those who share “the shining”.  Just don’t expect Danny Lloyd to reprise his childhood role.  He hasn’t acted in over 30 years and is enjoying his career as a science teacher.

check out Danny’s big wheel scene:

http://www.youtube.com/watch?v=bCeBeS_OGso

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Posted by David Ferguson

filming PARKLAND in Austin, TX

January 16, 2013

This was posted January 2013.  In August 2013, the trailer was released and I posted an update:

https://moviereviewsfromthedark.wordpress.com/2013/08/21/update-parkland-trailer/

Filming has begun on Parkland, a movie that will capture the chaos of November 22, 1963, the day President Kennedy was shot.  Based on Vincent Bugliosi’s book “Reclaiming History: The Assassination of President John F. Kennedy”, the adapted screenplay was written by journalist Peter Landesman, who also directs.   The movie should be released later this year to commemorate the 50th anniversary of the assassination.

Parkland Hospital in Dallas is where President Kennedy was taken after the shooting, and for the movie, Austin State Hospital will “stand in” for the hospital.  The film stars Paul Giamatti, Zac Efron, Marcia Gay Harden, Billy Bob Thornton and Jacki Weaver. It’s being produced by Tom Hanks’ production company.

My niece Hannah lives at Scottish Rite Dormitory and took some time to watch the filming at the nearby church.  Below are a couple of photos: one of Hannah on the set with some of the classic cars from the era, and another of Paul Giamatti in action.

parkland3

parkland2

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Posted by David Ferguson

Best of 2012

January 10, 2013

My BEST OF 2012 has now been posted.  Please check it out and let me know your favorites … also, I’d very much appreciate you sharing this with other movie lovers!  You may access from the link below or under the “Annual Best” list on the Home Page.

https://moviereviewsfromthedark.wordpress.com/annual-bests-2/best-of-2012/

best of 2012c

 

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Posted by David Ferguson

Christmas movie mash-up

December 13, 2012

die hard “Ho-Ho-Ho.  Now I have a machine gun.”  Those words appear in a most creative manner, and jolt us back with a violent reminder  that the action in Die Hard is actually taking place during an office Christmas party!  The Christmas holiday … and all that entails … has played a role in countless movies over the years.  Some of these are sweet, some are funny, some are action-packed, some play to our family emotions and insecurities, some are downright crass, and many are blatant reminders of what’s really important in life.

The following Christmas movie mash-up was posted to YouTube and does a pretty interesting job of capturing the many approaches we have seen in this genre.  It starts nice and easy with Bing Crosby singing, and ends with the glorious sound of Judy Garland.  In between you will see a bit more action within the holiday spirit!

http://www.youtube.com/watch?v=hnqe0_z2UAk&feature=youtu.be

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Posted by David Ferguson

PULP FICTION (1994) revisited

December 9, 2012

pulp5 Greetings again from the darkness. Typically, I don’t get too serious about a film’s place in history until at least 20 years pass since release. Cinemark presented Pulp Fiction in its Classic Film Series, so the timing seems right … despite it being only 18 years (1994) since Quentin Tarantino’s film won the Palm d’Or (best film) at Cannes Film Festival.  While challenging today to understand the buzz created as it made the festival rounds, there is no question it solidified Mr. Tarantino as the next generation’s auteur … though some would argue that occurred with Reservoir Dogs two years prior.

The lasting impact of some classic films stems from the emotional connection of their loyal viewers.  Casablanca and The Sound of Music are two examples. Others, like Citizen Kane and 2001: A Space Odyssey made their mark through technical achievements.  Adapting a classic novel was the key for To Kill a Mockingbird and The pulp2Godfather.  Still others reached the classic level via spectacle and by becoming an event unto themselves … Jaws and Star Wars.  Pulp Fiction is one of the few films that has so clearly defined a generational change in filmmaking style by influencing and motivating writers and directors.

When asked, I never really answer the “What’s your all-time favorite film?” question. I can name my favorite car, my favorite boss, and even my favorite dessert.  I can’t name my favorite kid or my favorite film … for much different reasons.  Without a doubt, there are numerous films that belong to the “list” of my all-time favorites, but not one is clearly THE best or most favorite on every single day.  There are a few that fall into the elite category AND also into ‘must stop’ category – should they happen to pop up on a movie channel.  Pulp Fiction is one of the chosen few for me.  I realize this opens me up for less-than-flattering judgment, but sometimes we don’t choose the movie … the movie chooses us.

pulp3 Unfortunately, this movie proved to be the end of the highly creative partnership between Tarantino and Roger Avary.  Former video store co-workers, these two had a nice run with True Romance, Reservoir Dogs and Pulp Fiction (for which they won the Best Original Screenplay Oscar), but ego conflict messed up The Beatles and had no less effect on these two writers.  Still, the stars aligned and provided us a non-linear collision of multiple story lines and dialogue unlike we had previously heard on screen. Additionally, it proved to be the career defibrillator for John Travolta, and allowed Samuel L Jackson to deliver one of the most powerful non-biblical bible verses ever.  For most us, it was the first time we had ever seen the plunging of an adrenaline filled syringe through a comatose woman’s breastplate. Quentin Tarantino made no effort to hide his fascination with Uma Thurman’s bare feet … a fetish we would again experience in Kill Bill. We were reminded of the cool effect provided by the “trunk shot” and baffled by the MacGuffin (the glowing briefcase). Vincent Vega (Travolta) taught us that due to the metric system, we would need to order a Royale with Cheese while visiting France, and Christopher Walken explained the, um, depths some would go to pass along a gold watch to a soldier’s son.  The debate of what constitutes a miracle was no less than interesting than watching The Wolf (Harvey Keitel) take charge of a messy situation.  It’s kind of funny to watch Steve Buscemi as Buddy Holly the Waiter since as pulp4Mr. Pink in Reservoir Dogs, he refused to tip for food service.  While Tim Roth and Amanda Plummer discovered the brilliance of holding up restaurant patrons, we were also shown the possible downside to such a plan.  However, the key lesson we all learned, and all hope to avoid ever needing, was that if you are dumb enough (Bruce Willis) to double-cross a gangster (Ving Rhames), you sure as heck better rescue that same gangster from Deliverance-style pawn shop owners.

Tarantino showed us how multiple viewings are rewarded by keeping track of the numerous pop culture homage’s and by realizing just how perfect were his choices of single songs (no film score) for particular scenes.  Listening to Dick Dale strum “Misirlou” over the opening credits still gets me going!  In fact, the only two things I picked out that show a bit of aging are Vincent’s disbelief in a $5.00 milkshake and when Jules calls one of Big Brain Brad’s team “Flock of Seagulls”.  So if you are taken aback by Pulp Fiction as one my all-time classics, my only response is … “Say ‘what?’ again”.

here is a video of Dick Dale playing “Misirlou” in 1963:

http://www.youtube.com/watch?v=ZIU0RMV_II8

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Posted by David Ferguson

FRANKENSTEIN (1931) BRIDE OF FRANKENSTEIN (1935)

October 26, 2012

 Greetings again from the darkness. It’s pretty easy to underestimate the importance of a couple of monster movies from 80 years ago.  Since TCM and Cinemark teamed up for this double-feature, it seemed worth revisiting and discussing.  Most people are aware of Mary Shelley’s 1818 novel (published when she was 21) and have probably seen some of the many screen versions throughout the years. It is interesting to note that while the brilliant (and often misunderstood) novel was the source, it was really these two films that jolted the monster film genre to life … and careers for many actors, directors, make-up artists and set designers.

When Carl Laemmle, Jr assumed control (from his father, the legendary producer and studio founder) of struggling Universal Studios in 1928, he was very aware that something special and different was needed to save the business. A string of Universal horror movies soon followed: Dracula (1931), Frankenstein (1931), The Mummy (1932), The Old Dark House (1932), The Invisible Man (1932) and Bride of Frankenstein (1935).  Two driving forces of this period were director James Whale and actor Boris Karloff. While Dracula with Bela Lugosi hit theatres first, it was Karloff as “The Monster” who really captured the interest of the movie-going public.

Frankenstein was Karloff’s 81st film and he was only cast because Lugosi turned down the non-speaking role.  Wearing over 60 pounds of make-up, prosthesis and padding … including 26 pounds of shoes to make him over 7 feet tall …Karloff still managed to bring personality to the creature created by Dr. Henry Frankenstein (Colin Clive).  Yes, HENRY.  Though named Victor in the novel, the name was “softened” for the film.  In the film, Dr. Frankenstein is on a mission to create life from body parts and organs of the dead. His stated goal of a man-made race at his beck and call was a clear indication that his God complex was out of control.  His fiancé is played by Mae Clarke.  Ms. Clarke went on to Hollywood infamy when she took a grapefruit in the face from James Cagney in Public Enemy.

 The enormous success of Frankenstein begged for the first real sequel.  Bride of Frankenstein was released in 1935 with Karloff and Clive reprising their roles. Elsa Lanchester was cast as Mary Shelley (the writer of the Frankenstein novel), and we even get a scene with characters representing her husband (the poet Percy Shelley) and Lord Byron.  Of course, Ms. Lanchester became famous for her Bride’s iconic hairstyle, as well as her hissing and screaming.  Taking Mae Clarke’s place as Elizabeth was Valerie Hobson. Ms. Hobson later became famous as the stand-by-her-man wife of disgraced British Secretary of War John Profumo. Profumo lied to the House of Commons about his relationship with Christine Keeler, the mistress of a Soviet Spy. The “Profumo Affair” forced his resignation in 1963 and was the source of the 1989 British film Scandal.  Bride of Frankenstein is also renowned for the mad scientist Dr. Pretorius played by Ernest Thesiger. Much was made at the time of his “probable” homosexuality and, combined with the multiple crucifix imagery, the film was banned in some markets. It should also be noted that the film utilized a full score … just the second film after King Kong to do so. Previously, film music was thought to be distracting to viewers.

 When discussing these early monster movies, revolutionary make-up artist Jack Pierce must be noted. He created the bolts/electrodes and flat head look for the monster, and even came up with the now-famous green make-up that looked ash gray in Black & White films. Mr. Pierce is easily the most famous of the early movie make-up artists and made his mark during the Universal horror period of the 1930’s-40’s.  Director James Whale turned to monster movies after tiring of war films. His impact was felt as he turned the Frankenstein monster into a sympathetic character, and later added much humor to Bride of Frankenstein.  Unfortunately, once he tired of monster movies, his career and life took a dark turn, and he took his own life in 1967.

Numerous remakes, spin-offs and spoofs have been released over the years and, tip of the cap to Abbott and Costello, the most famous is probably Mel Brooks’ Young Frankenstein. It is a brilliant tribute and spoof, while also standing on its own as one of the best all-time comedies. With such creative works based on her writings, Ms. Shelley would surely be impressed to know that nearly 200 years after her novel; this can still be said about her monster …. “It’s Alive! It’s Alive!”

watch the trailer to Bride of Frankenstein:

http://www.youtube.com/watch?v=r9t6NHlPJHA&feature=related

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Posted by David Ferguson

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