Archive for 99 and 44/100% Dead

Stockyard Churning

Posted in FILM with tags , , , , , , , , , on May 2, 2015 by dcairns

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PRIME CUT, an atypical Michael Ritchie film, keeps throwing up WTF moments that keep you watching, alright. The opening slaughterhouse sequence makes you quite anxious that you’re going to see real cows get killed onscreen, but instead shows you something far more peculiar.

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The next cow in line for slaughter has a naked person draped over it. Said person is then rendered down into sausage-meat and mailed to Chicago. The film’s theme is this established in quite a visceral way: Is man no more than this?

Then Lee Marvin is brought in by the mobbed-up Chicago meat industry to take care of some dissident criminals in the Kansas meat industry, who turn out to be led by Gene Hackman. Marvin in this flick is a lot like Richard Stark/Donald Westlake’s Parker character, who he sort-of played already in POINT BLANK, only Parker was always an independent operator and Marvin here is strictly for-hire.

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Anyhow, with a group of associates, Marvin drives to Kansas and starts teasing the sleeping tiger that is Gene Hackman, until things eventually get bloody. And then bloodier.

The next moment when you have to collect your astonished eyeballs off the rug, run them under a tap and reinsert them, is when Marvin walks into a barn where Hackman and cronies are socialising around pens full of doped-up naked girls. Herein lies the problem with Robert Dillon’s script, at least as it reached the screen. The plotline involving an orphanage furnishing its barely legal inmates to the sex trade would seem to be trying to make a point about the exploitation of women, but the film is interested in naked females’ bodies at the expense of their characters. Sissy Spacek, as Lead Naked Girl, is portrayed as having basically no mind at all, kind of a cringeworthy male fantasy of the uneducated sexpot. Her friend Janit Baldwin gets horribly gang raped offscreen, is rescued, but then totally disappears, as if she could be of no further interest to us once soiled. Spacek never displays any curiosity about her fate.

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But Dillon does admittedly keep serving up odd and memorable bits, as in the Frankenheimer mob comedy 99 & 44/100% DEAD, which he also scripted. Ritchie is right there along with him, driving into a prairie storm and lingering lovingly on a prolonged sequence in which a combine harvester eats a car, presented as a kind of automotive cannibalism. The clincher is when a great bale of grassy machinery drops out of the back of the harvester, like a vehicular stool. Half-wheat, half car, it reminded Fiona of Brundlefly’s mashed-up remains at the end of THE FLY.

Truly great Lalo Schiffrin score, archetypally beautiful/ugly 1970s lensing by Gene Polito.

Ritchie’s documentarist eye is also active, singling out grotesque bits of business, strange faces and quirks of behaviour or scenery at every turn.

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The reason for all the disgustingness is apparently an investigation, by the film, into man’s claims to being a higher organism, despite being made of meat and prone to the same base appetites as the supposedly lower animals. When a wounded thug begs Marvin to finish him off, saying, “You’d do it for a beast,” Marvin points out, “You’re a man.”

“There’s no difference.”

“Yes there is.”

Marvin walks away, leaving him to bleed out in agony — so there’s a difference between men and beasts, but it isn’t necessarily in favour of the men.

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Explosive

Posted in FILM, MUSIC, Politics with tags , , , , , , , , , , , , , on February 23, 2013 by dcairns

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“What’s with the Frankenheimer kick?” asked Fiona. She’s a great fan of SECONDS, in particular, but even she was puzzled by some of the crap I was watching.

“I just think he brings a professionalism and a stylistic brio to anything he does,” I explained. “So I’m looking for the worst film he ever made.”

So far THE HOLCROFT COVENANT might be it, but even that was entertaining in a “was that meant to be funny?” way. I still have PROPHECY to enjoy. Given that it’s about a mutant grizzly bear, I have a suspicion it might be Frankenheimer’s most autobiographical work.

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99 AND 44/100% DEAD is such a terrible title, I’d always avoided watching the thing, but I think it was Glenn Kenny who mentioned its pop art credentials and that got me intrigued. It’s a queer thing, marrying said Lichtenstein visuals to an episodic, shambling narrative about warring gang lords, and throwing in lots of gratuitous grotesquerie along the way. Chuck Connors as a hitman with a steel claw that takes various attachments (bottle opener, cat o’nine tails) seems to have inspired a similar character in Joe Dante’s INNERSPACE.

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Irish people — please explain Richard Harris’s hair to me. I know the top part is a toupee. But that part’s practically normal compared to those weird flanges at the sides. He’s like a cross between an Elizabethan clown and a zombie Michael Caine.

Pointlessness hangs heavily over the thing, as with much of Frankenheimer’s expensive, explosive work, but much of it is amusing in a nihilistic sort of way — Bradford Dillman invents one of the screen’s most distinctive villainous laughs, sucking in air through pursed lips like a man whistling in reverse — Edmund O’Brien seems to be on hand to evoke THE KILLERS or D.O.A. but just makes me think THE GIRL CAN’T HELP IT — Henry Mancini provides a great score, adding a lot of wit to the scenes that don’t feature sewer alligators, giant inflatable lady sculptures or crowds of bodies in concrete boots standing around the bottom of the East River.

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The cops and even the regular population seem indifferent to the mass slaughter being waged around them, and its strange to see the characters walking casually down the street one moment, just after being chased by machine-gun wielding assassins. Don’t they ever get nervous?

DEAD BANG seemed like it was going to be true shit, but it really wasn’t. Don Johnson is a cop on the edge, chasing neo-nazis… The story is rather televisual, especially how it ends (monologue from about-to-be-slain baddie, freeze-frame on shit-eating grin from Johnson), but the script adds surprising details and funny bits (a hungover Johnson throws up on a suspect) and Frankenheimer aggressively hurls production values at it. A car ride to investigate a white supremacist church rates a big crane shot AND a helicopter swoop.

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The Frankenheimlich manoeuvre.

Don Johnson may be a furious drunken maniac, but he gets results, damnit. Amusing to see his character intimidate, infuriate or repel virtually everyone he meets. In common with BLACK SUNDAY, the movie suggests that torture is really your best bet if you want to achieve anything good in this world. Odd that Kathryn Bigelow is picking up so much flak over ZERO DARK THIRTY when US cop movies have quite blatantly endorsed torture and the threat of torture for decades. DEAD BANG makes DIRTY HARRY look quite nuanced in this department.

Not, I have to say, a very good title. A friend suggests that having a title people are embarrassed to say is probably unhelpful. “You wanna go see DEAD BANG?” But I did like the idea of a drunkard cop who fights crime by puking on it. THE EMETIC DETECTIVE should have had a whole series of movies made about him. “Don Johnson is a cop on the edge… of nausea.” “Crime makes me sick!” It’s not too late for a sequel, in which Johnson (trailing glory from his DJANGO comedy turn) could come out of retirement/rehab to take on one last case and barf on it. “It takes guts to be a cop, and Don Johnson is going to empty them all over this city!”

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