Greetings again from the darkness. We should never look to Charlie Kaufman to pull us out of the pandemic doldrums, although he is an absurdly talented writer who specializes in unusual plots and oddball characters. Mr. Kaufman is also an over-thinker and a non-stop thinker – I would imagine his brain rarely goes quiet. This time out, he directs his own adaptation of Iain Reid’s novel, and the result is a mind and time bending existential crisis that leaves us feeling a bit down. Yet, as always, Kaufman’s work keeps our minds racing.
Jessie Buckley, who was so terrific in WILD ROSE (2019), stars as The Young Woman going on a blizzardy road trip with Jake (Jesse Plemons, THE IRISHMAN, 2019), her boyfriend of the last six weeks or so. They are headed to visit Jake’s parents who live in a “farmy” and remote area. Act 1 is spent in the car as the wipers flap, and the woman and Jake hold awkward conversation. We, as the audience, listen to her inner thoughts, including, “I’m thinking of ending things.” She is truly an outstanding actress, and carries much of the weight with this one.
The woman is not really unnamed, in fact, throughout the movie, she has multiple names including Lucy and Louisa. And character names aren’t the only fluid piece of Kaufman’s puzzle. She is variously labeled as studying Quantum Physics, a writer of poetry, and an artist. Are you confused yet? If not, you will be.
Act 2 takes place at the farm house where Jake’s parents live, and it shifts the film from awkward to bizarre. Toni Collette (HEREDITARY, 2018) and David Thewlis (“Fargo”) play his mother and father, both excited for the visit, but unconventional, to say the least, in their social graces. Ms. Collette over-laughs just beyond the point of perplexing and nudges the beginning of downright weird. She and Thewlis are exceptional in their ability to keep Lucy off-balance, and Jake hyper-annoyed. We aren’t sure what to make of what we are seeing … and neither is Lucy. While none of these folks takes a single bite of the dinner spread, the tone turns to surreal. Overlapping time lines of past, present, and future become haunting and hypnotic.
The film itself is disorienting, and Act 3 does little to help us regain our equilibrium. Jake and Lucy finally start their drive back, as the snow begins falling even harder. Throughout the production, Kaufman includes references to William Wordsworth, Pauline Kael, Andrew Wyeth, Mussolini, and more. He also inserts clips of a high school janitor (played by Gus Boyd) as he goes about his duties. This janitor is part of a finale featuring an animated pig and a dance number … both of which occur after Jake and Lucy have debated the importance of Cassevetes’ A WOMAN UNDER THE INFLUENCE, and the performance of Gena Rowlands.
Oklahoma plays a role as both a setting and a reference musical, and a stop for ice cream at Tulsey Town, adds to the oddity and the feeling of dread that encompasses us for much of the movie (when we aren’t chuckling at the absurdities). Kaufman mixes genres with glee – horror, comedy, and psychological thriller all lead us to a dance scene and many unanswered questions about what is real and what is only in Lucy’s mind. We never see what attracted these two to each other, but we do wallow in their misery and discomfort. Charlie Kaufman’s previous screenplays include such brilliance as ETERNAL SUNSHINE OF THE SPOTLESS MIND, BEING JOHN MALKOVICH, and ADAPTATION, although this one may have more in common with his SYNECHDOCE, NEW YORK – a film that can wrestle with this one over which is his least accessible. An existential film where past, present, and future mingle and bizarre observations are made on aging and memory, can only fit into Charlie Kaufman’s oeuvre. It will surely make you think, though it may end with you asking ‘why?’
Greetings again from the darkness. Couples argue. Some more often and more boisterous than others. Things get ugly when friends and other outsiders are drawn into the arguments, which is exactly what we witness (in exaggerated form) with this film from director Robert Schwartzman and writer Zac Stanford(THE CHUMSCRUBBER, 2005). Schwartzman is also a musician and composer, and is the son of ROCKY actress Talia Shire, and the younger brother of actor Jason Schwartzman (MOONRISE KINGDOM, 2012).
Lisa (Emma Bell, A QUIET PASSION, 2016) has just finished her first acting gig (other than a cameo in her husband’s film) in a stage production of Mozart. Her husband Jack (Dan Fogler, FANTASTIC BEASTS AND WHERE TO FIND THEM) is simultaneously happy for her and insecure. His insecurity stems from his lack of success as a writer, and his suspicion, bordering on jealousy, of Lisa and her co-star Paul (Tyler James Williams, “Everybody Hates Chris”). The film picks up at the intimate after-party at Lisa and Jack’s home. It’s here where we meet Paul and his friend Trina (Cleopatra Coleman, “The Last Man on Earth”), and married couple Brett (Danny Pudi, “Community”) and Sarah (Maggie Q, “Nikita”). Brett is Jack’s literary agent, and he’s about as successful as an agent as Jack is as a writer. Sarah is an Entertainment Lawyer, who is as bored with the party as she was with Lisa’s play … she just wants to go home and sleep.
The party ends abruptly when Jack and Lisa get into a fierce argument. Alone in the house, neither accepts the blame, so of course, it escalates. The unconventional solution reached is to recreate the sequence of events with the same people saying and doing the same things they said and did that first night. Then they do it again. And again. A montage of do-overs causes us to lose track of just how many times these poor people re-live a forgettable and unpleasant evening.
A tonal shift occurs when Jack “casts” the party with actors, while still inviting the same friends to watch. Rather than exaggerated relationship issues, we get an exaggerated look at actors finding their characters … characters who happen to be sitting in the same room! This jolt of fresh faces transforms the film from quirky to slapstick, and it’s quite likely you’ll enjoy one segment more than the others. The “new” actors bring their own comedic style to the roles: an amped up Mark Ryder (“Borgia”) as Jack, actor-within-an-actor Nathan Stewart-Jarrett (“Misfits”) as Paul, a subdued Karan Brar (DIARY OF A WIMPY KID) as Brett, a willing Charlotte McKinney (FANTASY ISLAND) as Lisa, and Marielle Scott (LADY BIRD) as Trina.
The do-overs are a creative approach in attempting to solve the argument, but this movie is at its best, not in deep psychological analysis of relationships, but rather in the simple comedy elements on display. Relax and take it for what it is … a way to laugh at the problems of others without feeling an ounce of guilt. Just please don’t throw the pie.
Greetings again from the darkness. I’ve lost track of the number of times I’ve read F. Scott Fitzgerald’s 1925 novel “The Great Gatsby.” In an effortless manner, it sweeps the reader into a magical world through prose that brings the parties and characters to life. Nick, Jay, Daisy, Tom, and Jordan become people we know … some we may like, others not so much. We precisely envision Gatsby’s estate, Nick’s bungalow, and that speeding yellow car. There have been multiple movie versions, with the most famous being 1949 with Alan Ladd, 1974 with Robert Redford, and 2014 with Leonardo DiCaprio.
In 2013, Robert Steven Williams and Richard Webb began a project documenting the five months in 1920 that Scott and Zelda spent in Westport, Connecticut. A 1996 article in “The New Yorker” magazine by renowned writer Barbara Probst Solomon gave credence to the idea that much of Fitzgerald’s inspiration for “The Great Gatsby” (and West Egg) came from those few months spent in Westport, Connecticut. Now you might think, ‘yeah, that’s kinda interesting’, but in the literary and academic worlds, it caused quite an uproar and backlash. See, foremost Fitzgerald expert and biographer Matthew Bruccoli was adamant that Great Neck, Long Island was Fitzgerald’s only inspiration for the classic novel … and Bruccoli staked his career and reputation on it. He scoffed and refuted any such notion that Westport played a role.
Filmmakers Williams and Webb proceed to systematically examine evidence, even though many literary scholars were, at a minimum, quite skeptical. Some background on Westport is provided, including noting its two most famous residents, Paul Newman and Joann Woodward, the 1956 movie THE MAN IN THE GRAY FLANNEL SUIT, Rod Serling’s “Twilight Zone” episode based there, and an entire season of “I Love Lucy” where Ricky and Lucy were living in the town. Numerous writers spent time in Westport, though few of the town’s current residents are aware of Scott’s and Zelda’s summer of 1920.
We see the cottage they lived in. She was only 19 years old, and the couple had been married only a short while. What’s most compelling is that during that summer, an eccentric and private millionaire named F.E. Lewis resided in the massive estate adjacent to the Fitzgerald house. Lewis was a mysterious man who threw lavish parties at his mansion overlooking the water. Sound familiar? Was Lewis the inspiration for Jay Gatsby?
An academic conspiracy doesn’t gather much interest outside the ivy walls, but Williams and Webb make a very compelling case that deserves consideration. It has always been presumed that Long Island was the basis for the novel, but even Scott’s and Zelda’s granddaughter, Bobbie Lanahan, believes it’s obvious that a writers experiences can be blended into a composite for fiction. Further evidence is offered by the previously unknown McKaig Diary, which details much of what occurred that summer.
Williams enlists the help of actor Sam Waterston (who played Nick Carraway in the 1974 film version) and narrator actor Keir Dullea (Dave in 2001: A SPACE ODYSSEY) to guide us through the journey. Clips from the movies and an analysis of Scott’s other writings, as well as Zelda’s novel “Save Me the Waltz”, lend credence to the thought that those 5 months in Westport made quite an impact on ‘America’s first pop stars.’ Most of us simply prefer to enjoy a good book, but for those who must know the background and what influenced the writer, the documentary makes a very good case for the important role of Westport, Connecticut for Fitzgerald’s “The Great Gatsby”.
Greetings again from the darkness. Election Day 2020 is only two months away. Our nation is divided into two vocal factions … those for President Trump and those against him. There seem to be very few who fall into the “undecided” bucket, and that’s with no head-to-head debate yet. Because of this, we might question the “why” of Dan Partland’s documentary. However, what it does is condense three and a half years of President Trump’s actions and words into about 80 minutes of jarring psychoanalysis.
The film kicks off by informing us the President of the United States, as a result of taking office via election, is not subject to passing the mental fitness evaluation required by the military … yes, the military of which he is now Commander-In-Chief. We then hear from a steady stream of psychologists who offer up their diagnosis, though admittedly, none of met with Trump personally, and their analysis is based solely on observation and experience. They are in agreement that he fits the personality disorder known as a “malignant narcissist.” This label has four key elements: narcissism, paranoia, anti-social behavioral disorder, and sadism (the pleasure of harming others).
Labels are in vogue here. We hear from many psychologists and some previously associated with government and/or the administration, and each one has a label for Trump. The overriding question of Mr. Partland’s film appears to be, “Is Trump fit to be President?” In addition to the psychologists, we get interviews with George Conway, Malcolm Nance, and Anthony Scaramucci. Conway labels Trump as a “practical joke that got out of hand”, while Scaramucci (who lasted a total of 11 days in the administration) offers up a defense of Trump by stating, ‘Obviously he’s an a-hole, but he’s not a racist. He treats everyone like s___.”
Malcolm Nance offers up the most substantive insight into how government officials view the President, but it’s sportswriter Rick Reilly and author Tony Schwartz whose recollections are most memorable. Reilly tells the remarkable tale of how Trump cheats at golf (a gentleman’s game of integrity) and Schwartz, who co-wrote the book “Trump: The Art of the Deal”, states matter-of-factly that the President has no empathy for others.
The psychologists explain The Goldwater Rule and how The Tarasoff Rule overrides it. Bottom line, they are speaking out because of what they perceive to be their duty to warn society of impending danger. It should be noted that John Gartner is writing a book about Trump and his infamous tweets, and it is fascinating to see Jane Goodall’s study on chimps correlated to Trump and our society. The Hitler and Mussolini comparisons are discussed, as is the rise of fascist leaders in Brazil, The Philippines, Turkey, and other countries.
Is Donald Trump fit to be President? The argument is made here that he’s not, though we don’t hear any input from those who believe he is. Character and judgment have been on display since January 20, 2017 (and even before inauguration), so voters will decide. The film ends with discussions of nuclear threats and responsibilities, as well as how the Coronavirus was initially handled. Trump is given credit for drawing out what is referred to as the “tribal nature” in folks”, but mostly what we are left with is that Trump believes it’s all about him. Perhaps the impact of the documentary would have been greater had there been statements and input from those who support him. Instead, it comes across as confirmation for those who agree with this sentiment, and noise for those who don’t.
Available September 1, 2020 on digital and cable VOD
Greetings again from the darkness. One need not be a Dickens expert to enjoy this re-imagining of his “The Personal History, Adventures, Experience and Observation of David Copperfield the Younger of Blunderstone Rookery (Which He Never Meant to Publish on Any Account)”. Yes, that’s the novel’s actual title, so there is little wonder it’s typically referred to by only the main character’s name.
The film opens with David Copperfield (Dev Patel, SLUMDOG MILLIONAIRE) reading his autobiography to a mesmerized audience in a beautiful theatre. Yes, we hear the iconic opening line, “Whether I shall turn out to be the hero of my own life …”, and then Copperfield turns and walks into the backdrop which comes alive as he, in fact, steps into his own life. The film is episodic in structure as we are presented with segments of Copperfield’s life that shaped his writing – from his birth at The Rookery, to his inquisitive nature as a young boy, through his cruel banishment to factory work, on to his life living with his eccentric aunt and his time at boarding school, and finally, with his time as a proctor, courting Dora, and focusing on writing. It’s a fascinating life, with many elements pulled (or enhanced) from Dickens’ own.
Director Armando Iannucci (IN THE LOOP, creator of “Veep”) and co-writer Simon Blackwell are frequent collaborators renowned for their expertise in satire. Iannucci is an admitted fan and student of Dickens, and he’s assembled quite a sterling cast for his take on the classic story. In addition to Patel as the older Copperfield, we have Jairaj Varsani in his first film as young David, rising star Morfydd Clark (PRIDE AND PREJUDICE AND ZOMBIES, 2015) in dual roles including the enchanting Dora Spenlow, Hugh Laurie as the King Charles (and his head) obsessed Mr. Dick, Aneurin Barnard (DUNKIRK) as David’s friend Steerforth, Darren Boyd and Gwendoline Christie as the wicked Murdstones, Peter Capaldi (“Doctor Who”) as the dodgy Mr. Micawber, Daisy May Cooper as trusted handmaid Peggotty, Nikki Amuka-Bird as the concerned Mrs. Steerforth, Benedict Wong as the sherry-loving Mr. Wickfield, and Ben Whishaw is a standout as conniving Uriah Heep. And if somehow that’s not enough, the brilliant and eclectic Tilda Swinton shines as Aunt Betsey Trotwood.
Each of the segments brings something different to the party – some of it bleak, and some of it cheery. Of course the dialogue has dashes of humor, but much of the comedy comes courtesy of the talented cast. It’s been said of writers that they should write what they know, and David Copperfield literally writes what he lives … through piles of scraps of paper, each holding a moment of life or the essence of a character. Watching this is a bit like camping out in a writer’s head and twisting through their thoughts … Mr. Dickens would be proud.
Greetings again from the darkness. I’m not Catholic and did not grow up learning much about Catholicism. However, I have heard the story of Fatima, Portugal and the 3 young shepherds who claimed to have seen the Virgin Mary. Writer-Director Marco Pontecorvo and co-writers Valerio D’Annunzio and Barbara Nicolosi deliver a dutiful re-telling of the events that led up to the Miracle of the Sun.
The movie begins in 1989 as Professor Nicols (Harvey Keitel) visits Sister Lucia (Sonia Braga), now an octogenarian, at her nunnery. The professor is quite the skeptic, but it’s crucial to his new book project that he question the Sister about what she experienced in 1917. We then flash back to that era when 10 year old Lucia (Stephanie Gil) and her cousins, 7 year old Jacinto (Alejandra Howard) and 8 year old Francisco (Jorge Lamelas) are youngsters working as shepherds for the family flock of sheep. One day, a vision appears to the three children. It’s the Virgin Mary (Joana Ribeiro) offering words of hope and a request for praying and strong faith.
Of course kids are kids, so their secret gets spilled almost immediately. As you would expect, no one believes them. Not their family or those in the small Portugal village. The townspeople gather regularly in the square to hear the Mayor (Goran Visnjic) read the names of the local boys and men who have been killed in war. It’s a gut-wrenching occurrence for all involved, and yet another opportunity for the mean-spirited folks to accuse the kids of lying about what they’ve seen. The local priest (Joaquim de Almeida) tries to frighten them out of the story, and even Lucia’s mother (Lucia Moniz) scolds and belittles her.
“The faith of a child” has rarely been more evident than with young Lucia. She stays strong despite being ostracized by the villagers, the church, and even her family. The film makes clear observation about faith and religion. What is religion but believing and having faith in something intangible – something that can’t be seen or touched. Director Pontecorvo delivers a faith-based film, yet one that is not preachy. It does make us wonder why the religious leaders are themselves so lacking in true faith, and why the politician is envious of the youngsters who draw an audience. Photographs of that day in 1917 … the “Miracle of the Sun” … are shown as part of the closing credits, while Andrea Bocelli’s remarkable voice sings out. It’s a low-budget film with some overacting (from adults), but the message and the performance of young Stephanie Gil make it worthwhile.
Available in theaters and On Demand August 28, 2020
Greetings again from the darkness. He’s now 98 years old. Is it even possible to separate Pierre Cardin, the man, from Pierre Cardin, the global brand? Co-directors P. David Ebersole and Todd Hughes take on the fashion icon in the latest documentary focusing on the biggest names in the industry … and there may be none bigger or more important than Cardin. We begin with a montage of folks pronouncing his name in various dialects, and with the utmost respect.
“Who is Pierre Cardin?” After saying his name, many of those same people then struggle with how best to describe the man. Cardin himself cuts right to it, “It’s no longer me. It’s a brand.” The public brand was created by a private man – one who has never authorized a biography, which may explain why the filmmakers actually get very little direct input from Cardin himself. Instead, we get archival footage and a stream of admiring talking heads discussing his influence.
It’s a bit surprising to learn that this famous French designer was born in Italy. Cardin’s family relocated to France when he was young and Mussolini was in power. His fashion career got a boost when he met director Jean Cocteau and worked on costumes for the classic BEAUTY AND THE BEAST (1946), and then was named head designer at Dior. In 1950, when Cardin left to open his own house, Christian Dior was quite supportive of his pupil. Cardin followed that example, and mentored young designers over many decades.
This is an informative profile, and clearly outlines Cardin’s global vision. We learn he was the first to expand internationally into Japan, Russia, and China … and there is an entire segment devoted to his impact on China fashion. We see his number one model in the 1960’s, Hiroko Matsumoto, and Naomi Campbell explains how Cardin was the first to hire a diverse troupe of models from many races. He even had the first men’s fashion show, something that seemed quite extreme for the time, although he also designed suits for The Beatles. So much of Cardin’s career is detailed here – his initial foray into Ready-To-Wear, realizing his goal of designing not just for the privileged, but also the masses.
The Cardin brand has found its way into so many industries and on to so many products. This includes furniture, cologne, and even cars – specifically an AMC Javelin. Cardin became a pioneer in fashion eyewear, and as with his clothes, his modern approach was often ahead of its time. The film proceeds to go into his purchase of Maxim’s, the famous Paris restaurant (which he later franchised), as well as his passion for the theater, and the purchase of Espace Cardin in 1970. Cardin’s connection to Gerard Depardieu, Dionne Warwick, Marlene Dietrich, and even Alice Cooper are discussed, and we also hear from Sharon Stone and Jean-Michel Jarre, among others.
Despite all we learn, by the end of the documentary, Pierre Cardin remains a bit of an enigma as a person. His personal life includes intimate relationships with Jeanne Moreau (labeled his “life companion for years”) and Andre Oliver (who died of AIDS in 1991). Pierre Cardin is a designer and fashion icon who has a museum dedicated to his work … work to this day that he maintains a finger on the pulse. In fact, when asked the secret to youth, Cardin replies, “Work. Work. Work.” And we know he means it.
The film premiered at the 2019 Venice Film Festival, and will open in Virtual Cinema on August 28, 2020, as well as On-Demand to coincide with New York Fashion Week on September 15, 2020.
Greetings again from the darkness. In this time of pandemic, we may not yet have a cure for the virus, but music video director Ninian Doff serves up his first feature film as a vaccine for those who have been stuck in the house for too long. It’s really a mash-up of comedy-horror-thriller-buddy film, with a dash or two of hip-hop and social satire. Mr. Doff also wrote the screenplay, and the film originally played SXSW under the title, “Boyz in the Wood.”
Three friends/delinquents from school are on the verge of expulsion, and their punishment is being sent on the Duke of Edinburg adventure, a program established in 1956 with the objective of getting kids out of the city and into the country. Dean Gibson (played by Rian Gordon) is the leader of the trio, while DJ Beatroot (Viraj Duneja) dreams of becoming a star hip-hop artist, and Duncan (Lewis Gribben) mostly creates chaos at every turn. They are joined on the trip by their personality opposite, Ian (Samuel Bottomley), a home-schooled boy who actually volunteered for the trip in hopes of padding his university application.
The Scottish Highlands serve as the life-sized game board where the boys take their wilderness trek. Substitute teacher Mr. Carlyle (Jonathan Aris) hands them a map and takes a picture of the group in front of a bulletin board filled with missing kid flyers. That’s just a taste of the humor that awaits. Ian is the only one treating the journey seriously, while the other three are wise-cracking, experimenting with drugs, and putting up with DJ Beatroot’s meanderings about his music “career”. At first, the boys are oblivious to the fact that they are being stalked (or hunted) by a couple of elites played by the always entertaining Eddie Izzard as The Duke, and his partner in crime (literally), Georgie Glen as The Duchess.
Simultaneous to this Highlands’ action, we are treated to a look inside the police station where Sergeant Morag (Kate Dickie) and PC Hamish (Kevin Guthrie) generate some laughs with their excitement over hip-hop terrorist zombies in their area. They find this significantly more intriguing than “the bread thief” which was previously the number one crime to solve. At times, it’s difficult to know which group is the most talented at bumbling – the boys, the rich hunters, or the police.
The Duke of Edinburg award is earned by combining “Teamwork, Orienteering, and Foraging.” For this group of boys, it also involves drugs, hip-hop, and staying alive. Director Doff infuses a zany absurdity to the action, and with some of the set ups, he perhaps could have even gone further – although the bits on rabbit pellets and a fork as a weapon are to be admired. One of the songs drags on a bit too long, but mostly the creativity is fun to watch, as is the collision of teenage group dynamics, the generational clash, and the social commentary. The film is in the mode of some of Edgar Wright’s best work, so if that’s your style, you’ll find this a treat.
Greetings again from the darkness. A phone call from her divorce attorney awakens Rachel. She’s already running late for work and for dropping her son Kyle at school. Her estranged husband is being ruthless in the negotiations, while her mother’s health is deteriorating. Her hairdressing gig is falling apart, and the financial strain is becoming too much. Rachel is having what most of us would agree is a bad day. But when she lays on her horn at the truck in front of her at a signal light, the man confronts her. She refuses to apologize for not offering up “a courtesy tap”, and the man’s demeanor immediately shifts as he spouts, “I don’t even think you really know what a bad day is.”
Thanks to the prologue, we see the man in the truck (Russell Crowe) pop some pills, break into a house, severely beat a man, and proceed to set the house on fire. This human wrecking ball is the same man Rachel (Caren Pistorius) refuses to apologize to. Her morning has been hectic and stressful, but his has been disastrous. Her bad day is about to get much worse. Imagine if “Mayhem” from the Allstate commercials was in a bad mood and ready to seek vengeance. Crowe plays the menacing man in a menacing truck.
Director Derrick Borte (THE JONESES, 2009) and writer Carl Ellsworth (the underrated horror thriller RED EYE, 2005 and DISTURBIA, 2007) have created an extremely volatile dangerous cat and mouse between Rachel and The Man. As he proceeds to destroy those in her life, she fights to save her son by using her wits. During the film, we see some vicious acts of violence and some spectacular car crashes. There is also a lesson about cell phones – the remarkable handheld computers that we run our lives from – in a battle of convenience versus security risk.
Over the opening credits we see and hear a montage of road rage episodes of real people “losing it”, and the corresponding commentary. It sets the stage, but not for what our initial impressions tell us. While a statement is made about de-funding or under-funding the police, the filmmakers avoid turning this into a giant political agenda. Instead, it’s a good old fashioned manic-thriller in the vein of Spielberg’s underrated DUEL (1971), THE HITCHER(1986), and FALLING DOWN (1993). Extreme stress can generate anger which results in a loss of control, and that’s what we witness here in extreme form.
20 years ago Russell Crowe won the Oscar for GLADIATOR, and his current bloated face and body are picture perfect for a man who has slipped over the edge. Two scenes allow him to flash some of that extraordinary talent: the initial interaction with Rachel and son Kyle (Gabriel Bateman), and then again in the diner with Rachel’s attorney played by Jimmi Simpson (“Westworld”). Caren Pistorius holds her own as the frantic, perpetually late mother, but that’s not surprising given her excellent work in the underrated SLOW WEST (2015). Keep Shelly in Athens offers up a nice remake of “Don’t Fear the Reaper”, as we are reminded to always keep an eye on your candy cane scissors.
This was the first film to open wide in theatres since the pandemic began.
Greetings again from the darkness. This is the next entry in my “Revisited” series, where I re-watch and then write about (not a traditional review) a classic movie. “City Slickers” could have been an apt name for this 1972 film, though it would have forced a new title for Billy Crystal’s 1991 comedy. DELIVERANCE was directed by John Boorman, and the script was adapted from James Dickey’s 1970 novel by the writer himself. Many have referred to this as a man-against-nature film, and it certainly works as an adventure tale; however, I find the psychological elements just as fascinating – the primal instincts and the personal transformations.
Those nine notes are every bit as iconic as the JAWS theme. “Dueling Banjos” always sends a chill up my spine, as I recall certain scenes from the film that are forever etched into my memory. We don’t even have to wait long to hear the song. It’s the first real sequence after the opening credits which feature only the banter of four buddies animatedly discussing their weekend canoe trip down the Cahulawassee River before a dam is built and the area flooded for a hydro-electric plant. During the banter, in a bit of foreshadowing, we hear Ned Beatty’s character ask, “Are there any hillbillies” where they are headed. The first glimpse of the four men occurs as they stop for gas and interact with the locals.
The personalities of each are quickly established. Lewis (Burt Reynolds) is the alpha male, and the one pushing the group to take the trip. Ed (Jon Voight) is Lewis’ friend who wants to be like him, though he lacks the confidence. Bobby (Ned Beatty) is an insurance salesman, who looks down on the locals and would rather be playing golf. Drew (Ronny Cox) is a nice guy, and the one who connects musically for the guitar and banjo picking with the local boy (Billy Redden) perched on the porch. It’s a fun, yet unsettling, scene to watch as the two pick away on their instruments. Their smiles end abruptly when the boy turns away in disgust as Drew tries to shake his hand. It’s not the last time the outsiders will be rebuffed.
These are suburban men, settled in life, being pushed outside their comfort zone by wannbe-adventurer Lewis, who is the epitome of 1970’s machismo. His angry proclamation that “they’re drowning a river” is followed up with “because it’s there”, as an answer to why they are taking the trip. Lewis’ life vest flaunting his arms and chest, and his aggressive oratory (including the ironic, “You can’t judge people by the way they look, Chubby”) contrast with the conservative dress and mannerisms of the other men: Ed smoking a pipe, Drew strumming a guitar, and Bobby’s squishy body. For the first half of the film, Reynolds mesmerizes as the cocky Lewis.
As the men make their way down the river, they experience the sudden adrenaline rush that Lewis promised. Shooting the rapids on the river is truly man-against-nature, and the adventure that director Boorman and writer Dickey want us to initially believe is at the heart of the story. One of the key exchanges occurs at the campsight that night as Lewis acknowledges Ed’s “nice life, nice job, nice wife, nice kids”, and then asks him directly, “Why do you come on these trips with me, Ed?” It’s clear Ed is happy with his life, but he desperately wants to feel the power of being a survivalist and “real man”. It’s because of this exchange, that we find Ed’s hunting trip and face-to-face with a deer the next morning so gut-wrenching.
The second day finds some truly peaceful times with nature, and some stunning camera work and shots of nature courtesy of cinematographer Vilmos Zsigmund. It’s in these shots where we “get it” – the appeal of becoming one with nature. Of course, it’s once things seem so right, that things go so wrong. A drastic shift occurs. Ed and Bobby are confronted by local hillbillies in the most despicable way. Fear fills the screen and our minds. The menacing mountain men are played by Herbert “Cowboy” Coward (not really an actor) and Billy McKinney (whom you’ll recognize from FIRST BLOOD, THE OUTLAW JOSEY WALES, and many other roles). Still today, the sequence is terrifying and difficult to watch, and it’s when “squeal like a pig” entered our lexicon, while “He got a real purdy mouth” became seared into our brain.
Immediately following the nightmare sequence with the hillbillies, comes one of those psychological exchanges that elevate the film to greatness. Four frantic and desperate men debating “the law”, when in actuality, they are debating self-preservation. The close-up of Ned Beatty’s face says as much as any line of dialogue, and, as is often the case, a moral dilemma is resolved by choosing the path of least resistance. The day presents more horror, as Lewis and Drew meet with disaster, while Ed’s transformation takes place. It should be noted that the film’s budget was so tight, the actors performed their own stunts – including Jon Voight’s tense (and impressive) climb up the face of the rock cliff.
Director John Boorman was a 5-time Oscar nominee, including HOPE AND GLORY (1987). He also helmed one of my sleeper favorites, THE EMERALD FOREST (1985), as well as coming right out of the gate with his first feature (and cult favorite) POINT BLANK (1967), starring Lee Marvin and Angie Dickinson. Writer James Dickey wrote the 1970 novel and adapted his own novel for the screen. He was a novelist, poet, and college professor, as well as being named U.S. Poet Laureate. My favorite Dickey quote is, “The poet is one who, because he cannot love, imagines what it would be like if he could.”
For Ned Beatty and Ronny Cox, it was their feature film debut. Mr. Beatty had a 40 year acting career (he retired in 2013), and notched an Oscar nomination for NETWORK (1976), while seemingly appearing in most every movie in the 1970’s and 1980’s. He may be best remembered as Lex Luthor’s bumbling henchman in SUPERMAN (1978) and SUPERMAN II (1978), and kids today would recognize his voice as Lotso in TOY STORY 3 (2010). He also became good friends with Burt Reynolds, and was cast in many of Reynolds’ later films. His career allowed him to play a widely diverse roster of characters, and one of his often-forgotten best was in THE BIG EASY (1986). Mr. Cox is approaching a 50 year acting career, and he is also a talented singer-songwriter. His best known roles are as the Police Lieutenant in BEVERLY HILLS COP (1984) and BEVERLY HILLS COP II (1987), and as a corporate executive in both ROBOCOP (1987) and TOTAL RECALL (1990). In addition to his many movie roles, Cox appeared in numerous TV series throughout the years, and one of my favorites was a small town family drama entitled “Apple’s Way”, which ran for two seasons, 1974-75.
Jon Voight is an actor every movie lover is familiar with. As he approaches his 60th year in the business, the highly decorated actor has been nominated for four Oscars, winning for COMING HOME (1978), starring opposite Jane Fonda. His other nominations were for playing a gigolo in MIDNIGHT COWBOY (1969), a bad guy in the thriller RUNAWAY TRAIN (1985), and as Howard Cosell in ALI (2001). More recently he has been recognized for his stellar work in the superb cable TV series “Ray Donovan”. His daughter is Oscar winner Angelina Jolie, and Mr. Voight has had such memorable roles as boxer Billy Flynn in THE CHAMP (1979), Jim Phelps in MISSON: IMPOSSIBLE (1996), a sleazy hunter in ANACONDA (1997), and President Franklin Roosevelt in PEARL HARBOR (2001). And of course, we must mention the classic Jon (“John”) Voight episode of “Seinfeld.” JAWS fans might be surprised to know that he turned down the Hooper role that ultimately went to Richard Dreyfuss.
A remarkable 60 year career ended when Burt Reynolds passed away in 2018. Reynolds was a star running back for Florida State University before an injury ended his pro aspirations and caused him to pursue acting. For an extended period of time in the 1970’s and 1980’s, Reynolds was the biggest box office draw among actors. Some of his most popular films during the streak included: THE LONGEST YARD (1974), the SMOKEY AND THE BANDIT franchise (1977, 1980, 1983), SEMI-TOUGH (1977), SHARKY’S MACHINE (1981), THE CANNONBALL RUN (1981) and II (1984), and THE BEST LITTLE WHOREHOUSE IN TEXAS (1982). Most of these films played off of Reynolds’ extraordinary charm and good looks (and iconic cackle), while he often strutted tongue-in-cheek as he worked extensively with a close group of friends. He later experienced some personal relationship issues, financial difficulties, and extreme health scares. Although he continued to work during the late 80s and early 90s, it was his excellent supporting work in STRIPTEASE (1996) and BOOGIE NIGHTS (1997) that really vaulted him back into the Hollywood scene. The latter of those two movies nabbed him the only Oscar nomination of his career. Reynolds continued to work right up until the end of his life, spanning a career of almost 200 credits (TV and movies). Some of you fellow old-timers out there might recall Reynolds’ first recurring role was as Quint in “Gunsmoke”, the longest running TV series until eclipsed by “The Simpsons” (and by “Law and Order” in seasons, though it has about 150 fewer episodes). In DELIVERANCE, Reynolds’ Lewis is “a man’s man” – the kind of guy the other suburban dads aspired to. His on screen magnetism is obvious, and stardom followed. Reynolds spent most of his adult life in front of a camera – either movies, TV, paparazzi, or talk shows. And lest we forget, though he claimed to have tried, Reynolds became the first male centerfold for “Cosmopolitan” magazine in 1972, the same year this movie hit. That smirk, cigar and bear rug created quite a sensation at the time – brilliant marketing from editor Helen Gurley Brown.
While the Cahulawassee River is fictional, the filming location was most decidedly real. Cinematographer Vilmos Zsigmund captured the stunning beauty of Tallulah Gorge and the Chatooga River in northeastern Georgia. His camera work leaves no doubt as to nature’s double edge sword of beauty and danger. Mr. Zsigmund was a 4 time Oscar nominee, winning the award for CLOSE ENCOUNTERS OF THE THIRD KIND (1977). He was also responsible for THE DEER HUNTER (1978), HEAVEN’S GATE (1980), THE TWO JAKES (1990), and THE BLACK DAHLIA (2006). Editor Tom Priestley received his only Oscar nomination for his work on this film. Mr. Priestley also served as Editor on THE GREAT GATSBY (1974), TESS (1979), and 1984 (1984), and is the son of English writer John Boynton Priestley.
Ned Beatty’s wife and John Boorman’s son have brief appearances as Ed’s family, and writer James Dickey has a small but key role as the hulking Sheriff of Aintry, who doesn’t buy the men’s recap of events. Reynolds dominates the screen for the first half of the movie, and Mr. Beatty shines in his degradation, but it’s Voight’s transformation into a semblance of Lewis that proves most remarkable. Rarely have primal instincts and survival mode been more effectively presented on the silver screen than in this film. This “guys’ weekend” turned nightmare received 3 Oscar nominations (Best Picture, Best Director, Best Editor), but this was the same year that CABARET beat out THE GODFATHER in a couple of categories, so DELIVERANCE took home no awards … although we will always have those 9 notes.
*Note: “Dueling Banjos” was credited to Eric Weissberg and Steve Mandel, but there was a lawsuit filed by Arthur “Guitar Boogie” Smith, who wrote “Feudin’ Banjos” in 1955.
As a bonus for reading this far, here is a short video of Steve Martin and Kermit the Frog performing “Dueling Banjos”:
Greetings again from the darkness. We should never look to Charlie Kaufman to pull us out of the pandemic doldrums, although he is an absurdly talented writer who specializes in unusual plots and oddball characters. Mr. Kaufman is also an over-thinker and a non-stop thinker – I would imagine his brain rarely goes quiet. This time out, he directs his own adaptation of Iain Reid’s novel, and the result is a mind and time bending existential crisis that leaves us feeling a bit down. Yet, as always, Kaufman’s work keeps our minds racing.
Posted by David Ferguson 
