Archive for Louise Fletcher

Men from Mars are from Mars

Posted in FILM, literature, Science with tags , , , , , , , , , , , , , , , , , on September 13, 2016 by dcairns

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Tobe Hooper’s INVADERS FROM MARS — part of a set of actually quite interesting semi-bad movies he made for bigtime schlockmeisters Cannon (I would never have believe the daywould come when I might feel nostalgic for Cannon, but here we are). LIFEFORCE is a sort of laughable Quatermass-for-and-by-teenage-boys (the monster is the scariest thing ever, a naked girl) and TEXAS CHAINSAW MASSACRE II is genuinely fucked-up and harrowing, if somewhat incoherent. See it — you’ll be punch-drunk afterwards.

In the 50s, designer-director William Cameron Menzies (name-checked in the high school in the 80s version) made an uncategorizable B-movie sub-classic, which tried its damnest to use a juvenile it-was-all-a-dream structure in an interesting way. I never felt it quite worked but always felt it was interesting, and Menzies’ expressionist child’s-eye sets are terrific.

One surprise with Tobe’s remake is how it doubles down on precisely the elements of the original that seemed dangerously hokey thirty years earlier and were least likely to find favour, one would have thought, with an 80s audience. Though there had been a spate of fantasy films with kid protagonists, IFM was never going to be another ET, was it?

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The central conceit is that of the genuine psychological condition Capgras Syndrome, in which one imagines intimates have been replaced with impostors. Or, in this case, taken over with NECK IMPLANTS. Neck implants appeared in Menzies film before they became part of the mythos of true life alien encounters, which maybe tells you something about true life alien encounters — but maybe only some of them? The cast essay a wide range of approaches to alien possession: Louise Fletcher does her patented ice bitch act, but more manic, but the best players at this are mom Laraine Newman and especially dad Timothy Bottoms, who is helped by Dan O’Bannon & Don Jakoby’s script, which gives him lots of quirky schtick like gulping scalding coffee supersaturated with undissolved sugar. But his stilted line readings and spooky demeanour are a constant joy. When he unexpectedly appears from behind a bush with a man from the telephone company (everyone hates the telephone company) the scenario seems redolent of cottaging, and Bottoms does great work with his explanation: “He’s from the switching department,” delivered as if this goofy remote-control meatpuppet WANTS the ordinary humans to pick up some Hidden Meaning.

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The other best bit of business for the mandroids is when Fletcher, for no discernible reason, starts reciting “A-E-I-O-U” repeatedly and then launches into a bit of Magwitch’s dialogue from Great Expectations (“get me a file and some wittles”). Interestingly, this is the bit right before Magwitch describes his friend who can crawl through tight spaces and eat your liver — a character who became serial killer Eugene Tooms in The X-Files. Magwitch never mentions that his friends sleeps in a newspaper nest like a hamster, but we can still agree that Great Expectations has had more influence on science-fiction than any other Dickens novel. Apart from Rod Serling’s Carol for Another Christmas, and at least until someone makes a post-apocalyptic version of Little Dorrit. Fletcher’s incongruous recital is wonderful precisely because nothing whatsoever can account for it — she’s a science teacher, not an English teacher, and anyway, WTF?

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Great-beyond-great Stan Winston aliens — he obviously got the same note about this being a pastiche that Bottoms got.

Hooper seems to be riding the Louma crane for the whole flick, serving up sinewy, twisting moves that may not add tension but certainly impart elegance.

I recently interviewed the film’s production designer, Les Dilley, but failed to ask him about this one. Tough brief — the film doesn’t replicate Menzies’ distorted perspectives designed to make the child hero extra-diminutive and overwhelmed, but it still embraces a form of theatrical stylisation unfashionable at the time (same year as BLUE VELVET, though, interestingly). And then there’s a Geiger-ish sensibility to the aliens’ underground lair. The difficulty is, the first INVADERS was replicating the non-cinematic media influences a child of the era would have, from pulp magazines to comic books, bubble-gum cards, radio shows and maybe TV. In all of which, space and space invaders were a definite thing, with set generic qualities (Menzies dutifully includes Bug Eyed Monsters and a Little Green Man). That world of influences has irreversibly split in a thousand directions by the 80s, so the film struggles to create a unified sensibility that feels like it could be a small boy’s dream, though there are some nice details like a NASA security device that beeps like a digital alarm clock. This is all happening in a suburban bedroom…

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And then there’s Bud Cort, who is just insanely wonderful for about five minutes before he gets disintegrated. Most untimely disintegration in sci-fi history, unless you count the guy in ANGRY RED PLANET who waits until the third act before getting dissolved, when he should have taken a Captain Oates long walk as soon as possible and spared us our misery.

There’s a thing: in ANGRY RED P, the Martians warn us to get off their dusty red lawn, but in INVADERS FROM MARS they’ve come here uninvited and dug ruddy great holes. It’s a bit rich, that.

Oh, Karen Black. Nurse. I hope I get sick.

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Once Upon a Time in Indiana I Wept…

Posted in FILM with tags , , , , , , , , , , , , on December 7, 2013 by dcairns

I asked my friend Ted Haycraft if he’d care to write something about ONCE UPON A TIME IN AMERICA, since he’s a huge Leone fan. He demurred, modestly. I nudged him with my sharpest elbow. And LO —

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PRE-TITLE SEQUENCE: I was nine years old going on ten when I was exposed to the world of Sergio Leone. There I was packed in a station wagon with my family of five watching the Man With No Name in action from dusk to dawn (the newspapers ads exclaimed “Spend a Night with Clint Eastwood!”) and my world was never the same! The extreme use of the widescreen frame, the strange and cool soundtrack, the filth, dirt and desolation of the landscape and towns (surely this must what the West was really like?!), the laconic hipness of Joe/Manco/Blondie, the deep gravitas of Colonel Mortimer, and so much more…I was so gone! At first my focus was mainly on Clint Eastwood even to the extent that I haunted an art supplies store that stocked a batch of ‘hippy’ clothes where I was hoping to find a poncho and of course once I got older I was going to grow a stubby beard, smoke short little cigars and squint a lot (I would eventually do my 8th Grade Term Paper on him concluding he was going to be a big star – I received an A+ on it!). But as I matured and my critical facilities started to kick into higher gear I became aware that it was the Italian film director with the name of Sergio Leone that was truly the most important creative force behind these films. I was becoming to discover that he was the reason that I loved them so much. I had been reading comic books since before I could actually read and then became a devoted film fan as a child thanks to my father’s love for movies (I was watching films meant for adults at a very early and impressionable age due to him!) but once I laid eyes on Leone’s trilogy of Westerns my adoration for all things cinema really began and needless to say he became my favorite film director forevermore…

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ONCE UPON A TIME IN INDIANA I WEPT…

It had been 12 long years since a new Sergio Leone film had been in the theater. I had seen DUCK, YOU SUCKER at the drive-in in my hometown of Evansville, Indiana during its first run (so it hadn’t been re-titled as A FISTFUL OF DYNAMITE yet) way back in 1972 and it felt like an eternity if we were ever going to get to see a new film from him! So here it was the summer of 1984, the month of June to be more exact, and I was filled with excitement as I headed off to a theater on the north side of my town Evansville, Indiana) to see ONCE UPON A TIME IN THE THEATER back-to-back with Walter Hill’s STREETS OF FIRE (1). Of course I was also very apprehensive about seeing OUATIA since I had been following whatever news on its production I could get my hands on at the time (how did we ever exist in those ancient pre-internet days?). I knew it had been tampered with but surely not to an extent that it wasn’t worth seeing? Of course I watched Siskel & Ebert on TV back then religiously and their review of it that aired the previous month was very damning. I recall it actually instilled a sense of dread in me and I began to fret over how I would feel once I got a chance to see the film for myself.

By the mid 80’s my very frequent movie going habit had started to become a solo affair for the most part and with these two films I wasn’t about to delay seeing them, waiting for someone’s schedule to be in sync with mine. So there I was on opening weekend (I seem to recall it was specifically Sunday afternoon) sitting for 3 hours (2) or more anxiously and feverishly devouring the images of two of my favorite directors. Afterwards as I sat in the theater in my solitude since nobody had sat through the end credits (which are simply heresy to me!) quietly contemplating what I had just viewed…and I silently wept.

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Okay, okay…maybe I’m exaggerating a wee bit about weeping in the theater but that’s the way I love to tell and retell this story since that sad, sad day. Siskel & Ebert and other critics were correct that this American release of OUATIA was a travesty. Sure there was enough individual scenes of cinematic beauty and resonance along with the Ennio Morricone score – so unbelievable gorgeous it was almost unbearable to listen to (and a major crime that it didn’t receive an Oscar (3)) – that I was able to get through the film. Now even though that’s how I felt about it, that I just barely ‘got through it’ and even with it being a very frustrating and sad experience, it still was a Leone film (of sorts) up there on a big screen. As I leerily watched the film unspool before my eyes one thing that struck me was where was Louise Fletcher? Earlier in the year I had seen a teaser trailer for the film that consisted of stills of the cast which included Fletcher. Factoring that in with what I already knew about the editing of this version before it was release I knew I was being exposed to a mangled mess. Unfortunately there was no way I could hop on a plane to zoom over to Europe to see the 229 minutes version (4) with all the flash-forwards and backs in place and the version that the critics were much happier with so I had to settle for this for the time being.

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I also had a perceptive feeling that it wouldn’t linger too long locally so I was determined to at least see it again since it might be another 12 years before the next Leone epic. So for my second go round I grabbed my best friend and we headed over to the theater on a Monday evening to see it. I was prepared to even sit through this frustrating weak shadow of a masterpiece for a second time and prepped my friend what he was about to witness. Why we weren’t aware of this ahead of time I can’t recall but when we got to the theater we discovered that there had only been one evening showing and we had missed the start time. Now I hope one can see the irony in this? One of the main reasons that OUATIA was chopped down so the theater owners in America could have more showings of it! Well, apparently at 144 minutes this was still too long for the manager of this theater to have two evening showings. Since I wasn’t about to join a film already progress (a cardinal sin for me!) my best friend and I settled for a showing of STREETS OF FIRE. (5) I never again got to see OUATIA up on the big screen – it was gone within a week – and my work schedule at the time prevented me getting another showing in before it left. Such a bittersweet and maddening experience which turned into devastation five years later after the news came to me of Sergio’s way-too-soon passing.

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POSTSCRIPT: I wasn’t able to see the eventual theatrical release of the 229 minutes in the USA but I certainly watched it right away as soon it was released on VHS. Of course I was very relieved to see this version that was much closer to what Leone had envisioned. At that time since I was so exhilarated to finally being seeing it that I didn’t seem to consciously key into the fact how melancholy the film is and how most all of the main characters can be very unsympathetic depending on how you approach the film (they were even more so it seemed when the story played out in chronological order!). It’s only now over the recent years I see how for some this can possibly be a tough film to watch. The film however seems to always rank fairly frequently on all sorts of lists (Best of the ‘80’s, Best Gangster Films, etc.). Recently in response to one of these lists I was sharing via an e-mail a professional writer friend of mine and a huge Leone fan admitted that OUATIA can be a difficult watch. In preparing for this essay I began to watch the opening moments of the film and weirdly enough I was a little startled on the how brutally violent the scenes are that it opens up with (I guess I didn’t realize that it’s been quite a while since I’ve watched it!?!). And of course there’s been a lot of negative critical attention heaped upon the two rape scenes within the film. Ruminating on these elements as I was writing this article I have concluded these were part and parcel of Leone’s intention with the film – he wasn’t about to avoid the brutality of this world and its characters even though his undeniable film-making artistry certainly sugarcoats it to a certain extent. It seems to me (if this makes any sense at all and if it doesn’t please forgive me) that the violence in The Man With No Name Trilogy was mostly used for comedic effect and the violence in the first two films in the Once Upon Time Trilogy (6) could possibly be referred to as romantic and distant due to the era they take place in. With OUATIA being set in our ‘modern’ age maybe the violence hits to close to home for us? We can only wonder how Leone would have staged the horrors of WWII with his next planned film centered on the siege of Leningrad.

Ted Haycraft

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(1) I had recently become a diehard Walter Hill fan mainly due to THE LONG RIDERS and SOUTHERN COMFORT. So now after his huge box office hit 48 HRS., here comes a total hardcore action film mixed with iconic heroes and a very hot-at-the-time music video look and feel – how could it fail?!?? Ironically since I had my expectations set so low for OUATIA I had them set way to high for STREETS OF FIRE and I was frustratingly disappointed with it!!!

(2) OUATIA was 144 minutes in length, STREETS OF FIRE at 93 minutes.

(3) Apparently some needed paperwork wasn’t properly filed for the soundtrack to be considered for an Academy Award nomination!?!! (I used the main theme for a video I put together for my sister’s wedding and when I showed it to a friend to see how it was working he said why such sad music?)

(4)  Little did I now at the time even in the 229 minutes version of the film Louise Fletcher’s character still didn’t show up!!! It’s only now in the recent Film Foundation restoration of the film will we get to see her scenes.

(5) With my expectations out of the way, my second viewing of STREETS OF FIRE went down much easier and actually over the years I come to like it quite a bit with some reservations. Unfortunately though it never became the ultimate Walter Hill action epic masterpiece that I thought for sure it was going to be back in 1984.

(6) I’ve always been a little dubious whether Leone had always originally intended for ONCE UPON A TIME IN THE WEST, DUCK, YOU SUCKER and ONCE UPON A TIME IN AMERICA to make up a second trilogy. He had originally planned not to be the director of DUCK, YOU SUCKER (Peter Bogdanovich…really?) and since maybe since OUATITW had done so well in France that’s why it was specifically titled as ONCE UPON A TIME THE REVOLUTION for its Gallic release. Plus I thought it was weird how a trilogy of America takes a sidestep into Mexico with its second part. If I recall correctly it was only during or after the release of OUATIA that Leone began to tout how this was officially a second trilogy.