Archive for Barbara Hershey

Rush Job

Posted in FILM with tags , , , , , , , , , , , , on September 26, 2017 by dcairns

Filmed mainly around California’s famous Hotel del Coronado, its plot involves a fugitive protagonist in disguise hiding in plain sight with a showbiz job, but it’s not SOME LIKE IT HOT, it’s THE STUNT MAN, which I finally saw after having it at the back of my mind ever since seeing Peter O’Toole promoting it on a talk show in 1981. I distinctly recall the clip where Steve Railsback’s character (doubled, one presumes, by a real stuntman) crashes through a skylight and plummets towards a bed, from which a copulating couple separate and roll off instants before his impact. I can still hear O’Toole’s amused voice intoning, “actually the woman was a man, and her bosom was rubber.” My fourteen-year-old self had perked up at the fleeting glimpse of nudity afforded by the clip, and was now disappointed and a touch confused that the stimulating frames had actually depicted a bloke with prostheses.

Without being aware of the fact, my teenage self had also seen another film by the same director, Richard Rush, the notorious FREEBIE AND THE BEAN. When you’re a kid, provided you’re fairly unenlightened, that’s a great movie. Car crashes, violence, antisocial behaviour… When you’re an adult, it SHOULD be profoundly problematic: sexist, racist and toxically, deeply and violently homophobic.

This all came back to me only while watching Rush’s own making-of documentary — during THE STUNT MAN I had fondly imagined it to be the deranged product of a cultish one-hit wonder. And then I remembered THE COLOR OF NIGHT and the tacky video effects of the doc started to make sense — what we have here is a macho yet somewhat self-questioning, brazenly vulgar sensibility which uses style as a decorative element rather than a constructive one. I’m not sure such a sensibility could ever make a perfect film, but maybe it could manage a really good one. I’m still not sure if THE STUNT MAN is this film (FREEBIE and COLOR sure ain’t). But it’s interesting.

Steve LIFEFORCE Railsback, troubled Vietnam vet, is on the run from the law when he blunders onto the location of director Peter O’Toole’s WWI epic, accidentally killing a stuntman. O’Toole covers up the fatality by getting Railsback to replace the slain man, which apparently his cast and crew are all happy to go along with. Over the course of the next two hours, Railsback falls for movie star Barbara Hershey, takes part in a series of insanely elaborate stunt sequences, and comes to suspect that the Mephistophelean O’Toole is plotting to murder him and get his death on film.

We were watching this because Richard Lester had mentioned to me that Lawrence B. Marcus, who wrote the final draft of PETULIA had written it, and it was odd that it didn’t lead to more and bigger things. I looked up Marcus and was surprised to learn he’d been writing movies since 1950’s DARK CITY. His IMDb bio is fascinating — there’s a Lester story I didn’t know. I suggested that THE STUNT MAN may not have boosted Marcus’s career as much as you’d think, despite his Oscar nom, because it was such a troubled production. “But interesting!” said Lester, enthusiastically.

O’Toole is excellent — his post-CALIGULA career was kind of ice-cold at this time, but he followed this up with MY FAVORITE YEAR — both films somehow suit his premature elder statesman quality — he seemed like some kind of survivor of a bygone age when I saw him on TV as a teen. (He was just a little older than I am now, but had, you know, done a lot of living, something I’ve done my best to avoid.) His and Richard Harris’ interviewers always seemed amazed he was alive, though it would have been even more startling, surely, had they been dead and still appearing on Parkinson. Barbara Hershey is also very good, though Rush apparently likes big and loud and frenzied performances. Hershey’s ability to look unbelievably gorgeous while twisting her face up in the throes of whatever passion is required by the action at hand seems like a special effect in itself.

Allen Garfield is not quite as glamorous as all that. I hope I can say that without causing offense. But he’s really good as the film’s writer, and it’s nice to see him not playing a sleaze, unbeatable though he is at that.

Leading man Railsback is, arguably, more problematic. Though much better than he was in LIFEFORCE, for sure — I think he’s hampered by the lunacy of every line and situation in that film. But the facial muscles that stood him in such good stead to play Charles Manson in Helter Skelter on TV do make him seem a little edgy, even for this movie. It’s fine that we think his character may have a serious criminal past (quite believable whenever he smiles), and may have combat shock and be delusional (believable during all the other facial expressions, and there are many), but perhaps a problem for the film that one is fighting a recurring impulse to lash out in self-defense with the nearest blunt instrument (in my case our Tonkinese cat, Momo). In a sense, despite the crime and insanity, his character is supposed to be a sort of innocent, out of his depth amid the madness of a film shoot.

But that doesn’t stop the film being interesting, it just makes it work differently. Perhaps less well. But it’s still an intriguing show. The movie O’Toole’s character is making looks dreadful, which is often a problem in behind-the-scenes dramas — the film being made never seems to hang together. But if you had a fully functional movie idea, why wouldn’t you be making that, instead of making THE STUNTMAN?

As befits the title, the stunt sequences are spectacular, even if the realistic acrobatics, pyrotechnics and daredevilry are somewhat undercut by the preposterous duration of the sequences being staged — I always assumed they’d break these things down into simpler, less risky and more controllable segments, although I’ve seen some bits of behind-the-scenes stuff from John Woo shoots which were eye-opening.

Rush’s appearance in his own documentary seems to explain his films nicely. Big hair, porn star mustache, deep, deep tan, muscles, corny sense of humour, adam’s-apple the size of a Fabergé egg — he seems Hemingwayesque, in a seventies kind of way. The rambunctiousness, the vulgarity, the thrust towards deep and meaningful statements, the energy (cranes, helicopters, steadicams whenever possible), the gaudiness (starburst filter! animated blast of light to take us into the next scene!) all makes sense when you see him. And for all the negative qualities associated with macho intellection and showy zooms and rack-focuses, he and his film are oddly likeable.

Also the score, by Dominic Frontiere, which contributes to the off-balance tone by adopting a circus attitude, pushing a light-heartedness that the movie only occasionally reaches for otherwise. Rush says it took them ten years to get the script made because the tone was so intentionally erratic, the subject unfamiliar (HOOPER and other stunt pics got made first, which actually helped them look like a bankable proposition), and studios couldn’t think how to sell it.

O’Toole loved his crane, apparently.

“I don’t think this music is right for this film,” protested Fiona.

“Well, it’s not obviously right… it’s interesting.”

 

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Public Anomie

Posted in FILM with tags , , , , , , , , , , , , , , on April 29, 2014 by dcairns

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“You’ve got to have a good beginning,” Roger Corman told Scorsese as he prepared to shoot BOXCAR BERTHA, “because the audience wants to know what it’s about, and you’ve got to have a good ending, because they want to know how it all turned out. Nothing in between really matters.”

Scorsese would later call this, “The best sense I ever heard in pictures,” but at that time he was only able to fulfil the latter half of the success formula. BB opens with a really pathetic biplane crash (obviously an AIP feature could afford to crash a plane for real, so Scorsese cuts to horrified onlookers – he would make up for this in THE AVIATOR), but it ends with a cattle car crucifixion and a really dynamic shotgun massacre which has clearly been storyboarded and then executed faithfully – the wildest shot is the trackback POV of a guy who’s just been blasted off his feet by the shotgun. Compared to the bloodbath that climaxes TAXI DRIVER, it’s very cartoony, but effective. (And during the shoot, Barbara Hershey gave him a copy of Nikos Kazantzakis’ The Last Temptation of Christ.)

Scorsese’s struggle to maintain quality in his low-budget period romp is interesting to bear in mind when watching DILLINGER, which proved to be the best John Milius film I’ve ever seen. It never feels like they didn’t have enough time or money to do what they wanted to do, there are spectacular sequences (gun battles to beat HEAT) and beautiful shots, and not a bad performance in it – a considerable feet for a movie with scores of speaking parts, an inexperienced director, and a limited budget.

The very first shot (top) made Fiona cheer, and packs in more excitement and movie-star charisma than the whole ninety hours of Michael Mann’s PUBLIC ENEMIES – and it’s all done with Warren Oates’ expressive kisser and impactful comicbook composition. The Oates countenance: a kind of tapioca mudslide, like the bags under his eyes decided to strike out and form a face of their own. Everything is yielding to gravity, as if only loosely fastened to the crumbly skull beneath, and yet there’s a contradictory sense of hardness and permanence that stops you from thinking he’s about to disintegrate and pool on the floor this instant. The impression is of a real tough guy who can kill everyone in the joint between cigar puffs, but who carries his own eventual dissolution wrapped up inside that bullish carcass.vlcsnap-2014-04-29-00h04m44s149

Milius/Oates’ Dillinger is amoral, charming and forceful, just as he should be. I did feel the lack of a real love story — what’s missing is an intro scene to the relationship with Billie Frechette (Michelle Philips — the plain one from the Mamas and the Papas — who has a great rake-thin 1930s shape and a great 1970s slouch) — Milius admitted not being too great at writing women, I believe. Here the couple just slap each other and he tears her dress off, and it’s rather hard to read this as the beginning of a great love story or anything other than plain brutality. As with most Milius films, there’s greater interest in bromance.

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The real passion is between Dillinger and Melvin Purvis (Ben Johnson), the G-man who was sworn to smoke a cigar over his bullet-ridden corpse. The balance between twin protagonists — a device Milius tried again in THE WIND AND THE LION — works well here because it helps stop the story being purely a glorification of Dillinger. Despite the horror of the shoot-outs, JM probably IS in love with his outlaw protag (going on his form elsewhere) but we get to opt out if we want. It’s necessary, I think, to like Conan, but it’s not necessary to like Dillinger — you can get away with just finding him interesting, a compelling problem for society to solve.

In one nice, mythic scene, Melvin Purvis fails to impress a small boy at a shoeshine, demonstrating that being a G-man is nowhere near as cool (or lucrative) as being an outlaw. Especially if the outlaw is called Dillinger and the G-man is called Melvin Purves. This isn’t enough to motivate the man’s later suicide, but it’s one note of unease more than Michael Mann thought to supply — in his movie, it’s a complete mystery why he chose to disclose this fact about Purves (a very minor nonentity in his film).

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Bonus Richard Dreyfuss, Harry Dean Stanton, Geoffrey Lewis (that moustache actually normalizes his weird Hanna-Barbera head!), Cloris Leachman.

Kurosawa influence (see also CONAN) very much in view — Johnson walks into a house where a bandit is staked out, we hear screams and shots, and the bloodied perp staggers out and dies — NOT in slomo, however. Milius evidently felt there was a limit to what he could steal. That’s what makes him different from his hero, I guess.

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