The Fabulous Baker Boys

Tags

1980's, Beau Bridges, Comedy, Drama, Jeff Bridges, Michelle Pfeiffer, Steve Kloves, The Fabulous Baker Boys

Film Title

The Fabulous Baker Boys

Director

Steve Kloves

Starring

• Michelle Pfeiffer as Susie Diamond
• Jeff Bridges as Jack Baker
• Beau Bridges as Frank Baker

An enchanting comedy-drama of music, family and dreams, The Fabulous Baker Boys provides laughs and pathos with a fine trio of central performances by Jeff and Beau Bridges, and especially the lovely Michelle Pfeiffer.

Jack and Frank Baker are the eponymous, travelling musical duo; piano playing brothers who perform regularly and are opposites in almost every way. While older brother Frank is the responsible sibling who is always organised, Jack is a sometimes sullen man who has grown tired of their long running act despite being the more talented one. With business slipping and them having to perform in less than glamorous lounges as a second-rate act, both are feeling the strain of what their careers have become. Frank enjoys his music and does it to support his family, while Jacks feels the emptiness of it all. They have the idea to audition a female singer, to breathe some life into their act and hopefully drum up some business. The first few ladies they get are all pretty bad and it looks like the guys will just have to continue their act just the way it is. That is until former escort Susie Diamond walks in to audition, even though she’s an hour age a half late. Gorgeous, witty and with a take no bull honesty, she wins Jack and Frank over when she starts to sing. Now feeling a bit more rejuvenated, the group begins experiencing success with Susie as the star attraction. But with the success comes doubt and frustration, as Frank becomes concerned that Jack is romantically pursuing Susie. He worries that this will jeopardize all of them if everything gets too personal, and sure enough it does. This throws a spanner in the works and as both of them having to deal with dormant feelings of being failures and still trying to go on. While on the road touring, the dynamics of the brothers change as both, along with Susie, have to contend with disillusionment and the wanting for something more in their lives.

Steve Kloves both writes and directs this beguiling and elegant piece of film. And considering it was the first movie he directed, his inexperience doesn’t show. In fact, the easy confidence and attention to character are spectacularly done, displaying his gift for letting his actors do their thing and not being overly flashy with overt style. Kloves sprinkles an Old Hollywood feeling to the work, that’s mixed with a contemporary sensibility and nuanced depth. Comedic moments abound, with the crackling screenplay firing zingers throughout, while balancing the character’s shaky relationships and desires. Laughs and sadness seem to go hand in hand in The Fabulous Baker Boys, making it a whole experience. The occasional meandering moment can be ignored because of how well-defined and invested the characters are, plus the fact that we do like watching their wishes and dashed dreams unfold. As music is a big part of it, The Fabulous Baker Boys doesn’t disappoint on that score.  And what beautiful music it is! Silky smooth jazz grooves and slinky torch songs, lend both a sexiness and melancholy to the overall picture. And speaking of sexiness, I can’t review The Fabulous Baker Boys and not mention it’s most famous scene. In it, Susie, clad in a figure hugging, red dress, lounges across the piano and sings ‘Makin Whoopee’. Backed by the impressively warm and sultry cinematography that hovers over everything, it’s a sizzling high point of a fantastic movie.

While it is The Fabulous Baker Boys who have the title, the film really is a show for the talents of Michelle Pfeiffer. As the effervescent Susie, she displays a whole multitude of sides and angles that are natural and convincing( plus showcasing some gorgeous vocals). She’s tough yet vulnerable, hardened but dreamy and both nervous and seductive. Pfeiffer completely owns the role with a deft assurance. It’s a plum role for any actress, but Pfeiffer makes it so you can’t imagine anyone else playing it except her. For my money, this is one of the finest hour’s from one of my favourite actresses. Ably complimenting Pfeiffer’s excellence are the eponymous duo, envisioned by real life siblings Jeff and Beau Bridges. The chalk and cheese nature of the characters is nicely observed through the work of them both; Jeff’s charm and quietly seething demeanor as Jack counteracted by the more savvy but fussy personality displayed by Beau as Frank . I really got into their bond that they shared, which while shaky and volatile, still had a depth of heart ever-present. Being real life brothers obviously lends itself excellently to the often volatile relationship of the duo. The chemistry is natural and when the deeper feelings emerge, it’s intriguing to ponder whether it is just acting or something much more personal. Whatever the view, the Bridges Brothers bounce off one another effortlessly, while highlighting a certain weariness and quiet rivalry.

A slice of life drama and comedy, that has sparkling dialogue and an undercurrent of wistfulness, The Fabulous Baker Boys is sublime entertainment, well performed and nicely crafted.

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Road Games

Tags

1980's, Jamie Lee Curtis, Richard Franklin, Road Games, Stacy Keach, Thriller

Film Title

Road Games

Director

Richard Franklin

Starring

• Stacy Keach as Pat Quid
• Jamie Lee Curtis as Pamela “Hitch” Rushworth

A tight and bristling with tension thriller that takes a leaf out of Hitchcock’s expertise with suspense, Road Games makes for quite a ride that begins slowly and then gets quicker. Peppered with unexpected touches, it’s undoubtedly an underrated thriller.

Pat Quid is a sardonic truck driver in Australia who specialises in the transportation of meat. He picks up his latest load of pork in Melbourne and then deliver it to Perth. To pass the time, he often speculates on the lives of those he passes on his long journey on the Nullarbor Plain. Quid is a man of tall tales and almost endless trivia, which he regales his pet dingo Boswell with. A lot of this is to make the journey he’s taking to deliver the goods more bearable and quench boredom. On the large and arid Nullarbor Plain, he becomes aware of a certain green van that he saw earlier on his journey. It was at the motel he couldn’t check into and Quid becomes suspicious about this van that always seems to be there and who the person behind the wheel is. After hearing on the radio of a maniac who has been murdering young women, he starts to believe that the man in the van is the culprit. Around this time he picks up Pamela Rushworth, a young woman looking for adventure and who he nicknames Hitch. Bouncing off each other’s humour and ideas, the two play the idea of catching the killer. Hitch believes Quid’s story, even though the police don’t. The duo take it upon themselves to solve the mystery, as no one will listen due to a lack of evidence. The thing is the killer always seems to be one step ahead, and through a sprinkling of breadcrumbs, implicates the innocent Quid. When the killer seems to up the stakes, it becomes a game of cat and mouse as Quid attempts to bring him to justice. It’s a matter of proving it first that is the problem and when Hitch disappears, Quid is put into action.

Richard Franklin is on good form directing this slow building ride into creepiness. His measured pacing is peppered with a certain humour(which I’ll come on to soon) and a feeling of something very sinister around the corner. The Nullarbor Plain makes for a fascinating landscape to set Road Games due to its vast and unpredictable nature. Plus it provides a beautiful backdrop for the tension to take residence in subtle ways. The homages to Hitchcock are well worth the price of admission, with the basic premise of thinking you know something but without any prove is highly reminiscent of the great Master. While it references him, it never becomes a parody and stands on its own merits and talent. What sets Road Games apart from some thrillers is that while the main premise is morbid, the interactions between Quid and Hitch are funny and endearing. Going from a sassy script that sets up a nice rapport, the scenes of them deliberating are funny and sparkle with witty observations. And this extends to scenes of Quid with just his dog as he watches other drivers go by and guesses what they are like, much like the protagonist in Rear Window debates the lives of his neighbours. And while a thriller, Road Games has a lot in common with the road movie genre, only adding a darker and more inquisitive angle to it. The odd misstep now and then does nothing to diminish the effectiveness of Road Games in creating an atmosphere of burgeoning suspense. And because Quid is so tired by his job and worn out by the endless journey, there is that suggestion that maybe he is in fact making up something fanciful. We know there is a murderer on the loose, but is it the person in the van that Quid thinks it is? That very idea is alluded to in some surreal scenes of overlapping road marks and sweltering heat that show him under pressure. This adds a little more mystery to the already curious story that is woven with flair and precision. Road Games is one of those slow burns that is filled with a real dread that becomes more pronounced in the latter stages, which suits it down to the ground. The sheer atmosphere and possibility of Quid maybe not being the most reliable character in his thoughts is a great strength of the picture. A shimmering, adventurous and even jaunty tone to the music is perfectly counterbalanced by the gradual suspense it produces, filling the two capacities of fun and sinister.

Stacy Keach wonderfully plays Quid as a snarky, wise ass with bundles of imagination to spare. His world-weary demeanor and one liners make him a character you enjoy being in the company of, especially when he becomes suspicious of something deadly ahead. The fact that he is prone to imaginative ideas is also addressed, but Keach overall makes Quid a likable, every man hero in the narrative. Jamie Lee Curtis has fun as the sassy hitchhiker with a smart mouth and a quick talking way. Although young, she has a certain maturity that is put along her desire for something exciting to happen in her life. As they are the two principal people throughout, they are very charismatic and enjoyable to watch together. And the platonic chemistry that is filled with heart and a genuine care( not to mention sparkling banter) makes for cool watching.

A Hitchcockian thriller with a surprising amount of snap and verve gone into it, Road Games is both fun and tense, gaining mileage from a witty script, a growing feeling of dread and the main pleasure of and Jamie Lee Curtis.

Dressed to Kill

Tags

1980's, Angie Dickinson, Brian De Palma, Dennis Franz, Dressed to Kill, Keith Gordon, Michael Caine, Mystery, Nancy Allen, Thriller

Film Title

Dressed to Kill

Director

Brian De Palma

Starring

• Angie Dickinson as Kate Miller
• Michael Caine as Dr. Robert Elliott
• Nancy Allen as Liz Blake
• Keith Gordon as Peter Miller
• Dennis Franz as Detective Marino

A mystery thriller with a lacing of dark humour, Brian De Palma’s Dressed to Kill is a relentless excursion into sinister mood and sleight of hand tricks that are for the most part strikingly done. The plot gets a bit overwrought, but the various surprises and mood is what this movie is all about.

Kate Miller is a dissatisfied and sexually starved housewife in New York, who can’t escape her feeling of loneliness. Although she has her young and bright son Peter, her marriage is largely devoid of much passion or excitement. She attends therapy with a psychiatrist by the name of Dr. Robert Elliott, where she unloads her problems to him. Although she flirts with him, he rebuffs her because of professional ethics and wanting to keep a distance. Later, the bored Kate visits a museum, where she is pursued and herself pursues a mysterious man, culminating in a sexual encounter. After this, Kate plans to leave but shockingly discovers that her conquest appears to have contracted a sexually transmitted disease. Reeling, she runs out of his apartment and heads for the elevator, contemplating what to do. Kate’s troubles get a lot more deadly as she is slashed to death in an elevator by a mysterious blonde woman, whose appearance is obscured by dark glasses. Just after the horrific murder, streetwise hooker Liz stumbles upon Kate and briefly catches a glimpse of the killer. Liz is then suspected of the killing, the main detective on the case not believing that there was someone else in the elevator. Desperate to prove her innocence and scared for her safety, Liz teams up with Kate’s smart son Peter(who is already investigating by himself through his collection of devices he has made) to uncover the identity of the killer, before Liz ends up the next victim of her slaying. Meanwhile Dr Elliott keeps getting threatening phone messages from a patient of his, who may very well be the killer and someone who enjoys taunting him. Things turn out pretty unexpected for everyone involved.

It’s an overblown film to be sure, but that is why it attracts in the ways that De Palma uses that melodrama. To be honest, I don’t think he is going for a really subtle approach. And given his signature style, he’s not just going to tone it down, he’s going to go to places that shock and surprise with his liberal use of theatricality along the way. What we are left with is a film that is more concerned with mood and atmosphere than plot, that still bears that feeling of tension, mixed with archness that De Palma does so well. The perverse yet riveting atmosphere is apparent in the dreamy, surreal soft focus of two pivotal scenes pulls you in, while obviously paying a debt to Hitchcock’s iconic Psycho. But the most sterling example of craftsmanship is the museum scene. In it Kate catches the eye of a stranger and the two engage in a stalking game that plays out spectacularly and seductively. The roles of cat and mouse switch between the lonely Kate and the stranger, ultimately making us part of the voyeuristic tapestry at work . Without barely a line of dialogue, De Palma pulls out every trick in the book; finding an array of expressive angles and movements to put us in the moment and tell a story simply through visual impact. It’s a scene where everything comes together as an example of pure cinema that should be celebrated. I think to appreciate Dressed to Kill it is best to watch it a few times to take in how well crafted it all is. You genuinely notice little bits that seemed trivial at first, yet have a massive bearing on the creeping proceedings, something which Brian De Palma chooses to have fun with. So for all the head-scratching moments that don’t make sense, the hints and symbolism of Dressed to Kill gleefully toy with our ideas of what we think we know. This frequently is the case of us being devilishly lead astray and made to believe one thing( when in fact it’s something quite different) and that’s where quite a lot of the watchability of Dressed to Kill lies. The macabre humour seeping through Dressed to Kill also adds to this; finding irony in pretty dark and perilous situations before turning up the chills for effect. Granted, some instances feel a bit much, the level of dark comedy is a welcome and quite unexpected quality put into often sardonic effect here. Dressed to Kill is a little bit over praised at least in my book, but that shouldn’t detract from the fact that it’s still a pretty nifty and swift thriller of panache that still made an impact on me. A gloriously grand and frequently alluring score plays into the dark and sexually prominent tones of the film right off the bat.

Angie Dickinson is very effective( especially given the fact that most of her performance has no dialogue). Through the little nuances of her face, we witness her boredom and sadness with her marriage, as well as how she craves sexual excitement. A beautiful woman with an aura of class and sexiness, Angie Dickinson plays the ill-fated woman exceptionally. Michael Caine is rightfully detached and urbane as the psychiatrist who seems relatively calm, but who may in fact be something else. With sublime subtlety, Caine brings a level of class and maybe a touch of enigma, without going overboard which is a credit to his abilities as an actor. Nancy Allen is pretty good as the quick talking Liz, who is sucked into the most twisted case and must prove her own innocence. The part is pretty much a standard hooker with a heart of gold trope, but Allen plays it well and makes her a likable girl sticking to her wits. The unlikely hero role of Kate’s investigating son Peter is filled out splendidly by Keith Gordon, whose gawky appearance and unwavering collection of detective moves make him a relatable down-to-Earth teenager looking for answers in his mother’s death. In a flashy supporting role, Dennis Franz provides a lot of the sardonic humour as a tough-talking and hard-boiled detective, with a seasoned attitude to match. He’s not in the movie a lot, but when he is, Franz is a delight as the salty and uncouth man investigating the baffling murder.

Silly as parts of it get, Dressed to Kill stands out for its visual impact and De Palma verve on display. Logic is not exactly present, but the fun of Dressed to Kill lies in its often shocking and macabre content that ratchets up suspense and sprinkles it with a knowing, ironic wink. At tad overrated in my book, but still a highly effective and surprising thriller displaying the skill of Brian De Palma.

Cujo

Tags

1980's, Christopher Stone, Cujo, Daniel Hugh Kelly, Danny Pintauro, Dee Wallace, Ed Lauter, Horror, Lewis Teague, Stephen King

Film Title

Cujo

Director

Lewis Teague

Starring

• Dee Wallace as Donna Trenton
• Danny Pintauro as Tad Trenton
• Daniel Hugh Kelly as Vic Trenton
• Christopher Stone as Steve Kemp
• Ed Lauter as Joe Camber

Although a terrifying and tense film based on the Stephen King novel, Cujo falls down in pacing and a sometimes over the top nature. It’s thankfully saved due to some horrifying sequences and a powerful turn from Dee Wallace that raise Cujo up a few levels, even if the overall product is flawed.

In the opening, we observe the friendly St. Bernard named Cujo chasing a rabbit. He gets his head stuck in a cave when looking for the rabbit, but awakens the bats that reside there. His presence scares the bats(which are rabid) and they respond by biting him. Slowly, Cujo begins exhibiting signs of rabid behaviour, that no one seems to notice. Meanwhile, in the town, various dramas are at play. Housewife Donna Trenton is married to advertiser Vic and has a young son named Tad. Although she cares for both, she has grown restless and dissatisfied. This has led her into an affair with local stud Steve Kemp, although Donna attempts to resist this. A problem with the family’s car forces them to visit alcoholic mechanic Joe Camber, who is the owner of Cujo. The dog is progressively getting more frightening and infected, but everyone is concerned with other things to truly take note of it. Donna, feeling guilty about her indiscretions, admits to her affair to Vic. Having to deal with a crisis at work and the knowledge of his wife’s affair, Vic leaves for business, which makes Donna be in charge of sorting the failing car and grappling with not knowing what the future holds. Little realising what awaits them, Donna and Tad head to Camber’s house to finally get the car sorted out. Unfortunately, by this point Cujo has become a rabid animal that has killed Camber and his friend. The dog soon sets upon Donna and her son, isolating them in their car that the battery has run out of. Trapped inside the car and terrified, Donna must summon up all the resolve she has to survive the attacks of Cujo and ensure the safety of her son.

Lewis Teague makes a good stab at directing this horror tale and does manage some very scary moments. His control over pacing and narrative is less assured, as he could have brought a bit more immediacy to things to increase the shocks. When the movie gets the nitty-gritty of the rabid dog attacking people and ultimately trapping Donna and Tad , is where the big strength and effectiveness of Cujo lies. It’s the build up to the unleashing of violence that provides a stumbling block for the movie. In one respect, some of it builds suspense and comments on how wrapped up everyone is in their own lives, that they fail to notice a change in Cujo. Yet the other narrative points are too melodramatic and soap opera style that they feel extremely out-of-place. It’s a conundrum to be sure, and just when you may consider turning the movie off, the horror kicks in and the better parts of Cujo become noticeable. With odd camera angles and a frenetic energy, the latter half of Cujo makes up for the stale first part. It gets straight to the fear of Man’s Best Friend going awry, which is a frightening notion brought to shocking life here. The use of what at first looks likes the point of view of the beast, that ultimately isn’t is impressively used when Cujo jumps out of nowhere and puts your body in a jolt. The dog of the title is terrifying yet pitiful, as it isn’t the dog’s fault that it became rabid. Still, the sheer size and appearance of the animal is ferociously rendered and towering when it menaces Donna and Tad. Above all, the theme of a protective mother and her child is brought forth, and is what gives Cujo the life-blood it needs to be memorable. Watching as they are holed up in the run-down car, near dehydration and completely traumatised makes for some nerve-shredding suspense and a sympathy for their plight. A creeping and capricious score enables suspense and terror to influence the atmosphere in the film and make it stick.

For all the flaws that Cujo boasts, the main acting from Dee Wallace is not one of them. She really convinces as the desperate mother in a battle to save her child, while almost at the point of exhaustion. Wallace searingly plays the protective mother with committed energy and depth; you genuinely feel worried for her as the attacks from Cujo become more frequent and she must gather what’s left of her strength to fight. Between vulnerable and strong, Wallace brings a much-needed dose of power to the film that is a chief asset among the other less compelling parts. Young Danny Pintauro gets it right as the absolutely terrified child, in a horrific situation. I’ve heard some people say that he’s annoying because he screams a lot in the film, but he is a child and just think how you’d react if there was a rabid dog attacking you. The other roles in the film are OK, but nothing like that of Wallace and Pintauro. Christopher Stone does what he can with the part of spurned lover, but Ed Lauter overdoes it as the hard-drinking owner of the eponymous threat. Saying that, Lauter does have very good and shocking death scene that really kicks the film into gear

An uneven slide of horror that nonetheless has its moments of greatness, Cujo can best be described as a mixed bag. If things had been a bit more focused, it may have attained excellence. Overall a creeping atmosphere, some outstanding camerawork and fine central performance are the redeeming factors that keep you watching Cujo.

Tightrope

Tags

1980's, Alison Eastwood, Clint Eastwood, Dan Hedaya, Geneviève Bujold, Richard Tuggle, Thriller, Tightrope

Film Title

Tightrope

Director

Richard Tuggle

Starring

• Clint Eastwood as Detective Wes Block
• Geneviève Bujold as Beryl Thibodeaux
• Dan Hedaya as Detective Molinari
• Alison Eastwood as Amanda Block

A thriller that functions as a study of the lines between the hunter and the hunted blurring and strange sexual predilections, Tightrope retains an impact as it explores one man’s journey into murky waters that are complicated by startling links with a killer.

In New Orleans, a spate of sexual murders among prostitutes and massage parlour girls is baffling the police. Experienced and tough Detective Wes Block is the main person investigating, while having his own demons to contend with. His wife left him a while back and he is caring for his two young daughters. While he’s a dedicated father, there is a void in his life that he fills with a dark and possibly damaging string of nocturnal activities, they will become integral later on. Beryl Thibodeaux works at a council centre for a rape prevention program that teaches women self-defense and offers shelter from abuse. She advises Block on certain aspects of the case, but Block is initially standoffish with her. Investigating further, Block discovers that he shares quite a lot of similarities with the killer; the main one being the frequenting of downtown New Orleans for hookers in exchange for kinky encounters. This profoundly disturbs Block, who is trying to balance the dark and good of his life carefully. Unfortunately the killer is very much on his tail and when women that Block has employed the services of start to fall, it starts to get extremely personal for Block. Added to this are his growing feelings for Beryl that seem almost foreign as he’s met by a woman who takes no guff and is far from willing to surrender. He must now track down the taunting killer, who seems to know about his own dark needs and is using it to his advantage to torment him.

The unobtrusive direction brings more attention to the story than just having visuals( which are very good at setting the seedy atmosphere) doing it for them, letting it play out as a slow burn that takes its time with what it wants to say. Richard Tuggle is in the director’s seat, though there have been claims over the years that Clint Eastwood actually directed most of it. Whatever the case with who directed it, Tightrope grabs the attention in a way that isn’t obvious, but still enthralling to watch nonetheless. Where Tightrope particularly soars is in the exploration of how Block sees women, and how his deviant side is given a kicking once the killer latches on to him. This proves to be fascinating to watch, particularly in how his relationship with Beryl forms and he begins to let his guard down, for perhaps the first time in a while. What Tightrope sometimes lacks in tension, it makes up for in character development and thematic value. Saying that, there are a number of chilling scenes, not least when Block’s family are targeted by the killer and the case gets very anguishing for him. It’s more the examination of the man and his attitudes that really makes Tightrope worth the watch, with the thriller parts still there but exceptionally allowing the other content to emerge. The seedy underbelly of things is never far from view as Tightrope isn’t afraid to project the unusual sexual angle to the murder, but these are thankfully not just there for sick exploitative material. They actually serve a purpose and to be honest, a lot of the horrible things that happen occur off-screen. Jazz is featured heavily in the film and excellently counteracted by an electronic pulse whenever darkness drives on the scene, providing a flip on the usually relaxed big band stuff that we hear in the beginning.

Clint Eastwood, through subtle degrees of vulnerability and encroaching shock, excellently layers his performance as the detective haunted by his own behaviour and having it replayed in grisly fashion. Just a stiffening of his neck or a slight uneasiness in his eyes says a lot more than simple dialogue can. Eastwood wisely doesn’t make Block an out-and-out creep, rather a tormented man who wants control and finds it through strange sexual activity. This is offset by his clear love for his daughters and how much he cares about them. Bringing the two sides together makes for one of Eastwood’s most understated yet vulnerable performance. Geneviève Bujold is equally as good playing the rape councillor who is far from a damsel and more than a match for the tough Eastwood. she is also the person who breaks down the wall Block has put up, thanks to her deep understanding and persistence. Bujold splendidly imbues her part with a sympathy and  believable forcefulness that ensure her character is taken seriously in the passionate way she helps Block and others. Dan Hedaya is somewhat saddled with role of sidekick police partner but does pretty good, while Alison Eastwood is convincingly mature as Block’s oldest daughter who just wants her dad around a bit more. It helps that she is really Eastwood’s daughter because the bond between them is very touching.

A dark film that doesn’t shy away from anything sleazy yet wisely rises above exploitation levels, Tightrope features a complex performance from Clint Eastwood that makes it extremely watchable, especially given the disturbing content. More of a character study than out-and-out thriller, the attention given to the characters is what makes Tightrope that something different.

 

The Big Chill

Tags

1980's, Comedy, Drama, Glenn Close, Jeff Goldblum, JoBeth Williams, Kevin Kline, Lawrence Kasdan, Mary Kay Place, Meg Tilly, The Big Chill, Tom Berenger, William Hurt

Film Title

The Big Chill

Director

Lawrence Kasdan

Starring

• Kevin Kline as Harold Cooper
• Glenn Close as Sarah Cooper
• Jeff Goldblum as Michael
• Tom Berenger as Sam Weber
• William Hurt as Nick
• Mary Kay Place as Meg
• JoBeth Williams as Karen
• Meg Tilly as Chloe

A seriocomic drama about reflection on the past, the difference in generations and loss, The Big Chill is a highly resonant and extremely well written film from Lawrence Kasdan. He is aided by a fine cast that do wonderful work in this look at how times change and we can feel adrift in the world that doesn’t hold the promise it did when you were younger.

A group of former friends from college in the 60’s are reunited unexpectedly years later when one of them, the much talked about and promising Alex, commits suicide. The group is made up of married couple Harold and Sarah Cooper, disillusioned television star Sam Weber, unfulfilled attorney Meg, slightly lecherous journalist Michael, Vietnam Vet and pill-popping Nick and unhappy housewife Karen. They haven’t seen each other since their heady days in college and the funeral of Alex brings them back together under dark circumstances. The wake is held at Harold and Sarah’s vacation house in South Carolina. The main people of the group, who don’t know how to deal with the suicide of Alex, stay over the weekend along with Chloe, the much younger girlfriend of the deceased. During the course of the days, the one time close-knit faction are found to be laying bare their secrets, reminiscing on the past and attempting to fathom why Alex killed himself. The big thing that hovers over them all is that lingering sensation that the best years of their lives have passed them by and their vibrant dreams of youth have gone up in smoke. Various little dramas come to light again, like Meg wanting to desperately have a child as she feels her biological clock is ticking and Karen dealing with her unresolved feelings for Sam. Throughout the time together, thrashing out their differences and opening old wounds, they are left to ponder and work out just what to do with their lives, along with whether they can rectify what eludes them and unearth how much Alex’s death has impacted on them.

Lawrence Kasdan fashions a heartfelt yet perceptive evocation of people dealing with responsibilities and thinking back on how much they changed since college. The script that he wrote, along with Barbara Benedek, invests The Big Chill with a quick wit and revealing nature, that benefits the struggles and issues the group go through. They all feel at sea in the materialistic 80’s, when all they crave is the feeling of life and hope that the 60’s gave them being baby boomers. The plot largely revolves around the group discussing their problems, reminiscing of the good old days, smoking pot and wondering where the time has gone. Some may find that idea more than a little boring, but The Big Chill is the total opposite because of the amount of personal feeling injects do into it. You really get to relate to the characters and what they’re going through, even if they don’t know how best to deal with grief and a sense of something missing. It’s one of those things that is universal for everyone; the knowledge that life is different from how you expected and hasn’t taken the path you wanted. Thankfully as tinged with melancholy as The Big Chill is, there is a balance it strikes with quick humour long the way. The film, like the characters goes between laughs and tears, with an unexpected clarity and wisdom that shines through. Even if some of it feels a tad simplistic, the warmth and depth of the piece are always in evidence. The soundtrack is one of the best parts of the movie, recalling the youth of the characters with Motown hits and 60’s grooves. Music plays a very integral role for all of the group and also the audience, as music holds a special place undoubtedly for all of us with the wistful memories it can evoke. The opening sequence is a masterful example of combining music with telling a story. In it, each of the group receives the news and we catch glimpses of how they react, as the sound of Marvin Gaye’s ‘I Heard it Through the Grapevine’ plays in the background.

The Big Chill boasts a simply star-studded cast that are given a moving and frequently funny script to work with and deliver natural, unaffected performances in the process. This is a beautiful ensemble of acting that allows everyone a chance to shine. Kevin Kline is very good as the amiable joker Harold, who has his own deliberations to deal with along the way. Glenn Close beautifully supplies a nuanced turn as the earth mother and good listener, who attempts to keep everyone and herself together and not fall apart. The typically sardonic personality of Jeff Goldblum covers the seedy journalist character, while Tom Berenger sells the feeling of alienation that fame has brought him over the years. William Hurt is on lugubrious form as an overly cynical and morbid man whose life is like an empty shell and needs some lightness to brighten it. Mary Kay Place has the right amount of humour and pathos to bring Meg’s need for a child to life, complimented by some wily observations. Rounding out the main group of reunited friends is JoBeth Williams. She quietly but noticeably gets across the aching want for some love that her character finds has missed her, and there is a real tenderness to her pining for Sam. Meg Tilly, as the youngest member of the cast and most youthful character, has a boundless and quirky energy of a girl who doesn’t react to death the way you’d think. Her character is mainly a symbol of the exuberance and wistfulness of being young and idealistic, that the group is wrestling with the knowledge that they aren’t anymore. The whole cast works convincingly together, selling the fact that their friendship despite the years remains quite intact and there to be rediscovered over the weekend of rumination.

A nostalgic as well as very honest depiction of bittersweet grappling with all sorts of change and facing up to the different ways that life affects us, The Big Chill still has a large impact of being moving and amusing. This is largely thanks to the splendid direction, script and cast that make the experience really something.

Body Double

Tags

1980's, Body Double, Brian De Palma, Craig Wasson, Deborah Shelton, Gregg Henry, Melanie Griffith, Mystery, Thriller

Film Title

Body Double

Director

Brian De Palma

Starring

• Craig Wasson as Jake Scully
• Gregg Henry as Sam Bouchard
• Melanie Griffith as Holly Body
• Deborah Shelton as Gloria Revelle

An outrageously and stylishly updated reworking of Vertigo and Rear Window, Body Double dials up the lurid material and shocking content. It may bite off more than it can chew, but Body Double is by and large a spellbinding example of Brian De Palma’s signature direction and his gleefully unapologetic content.

Jake Scully is a B-movie actor with a big problem. As he often stars in horror films(frequently as a vampire) he has to be in confined spaces. The trouble is that his latent claustrophobia has evinced itself of late and has lost him jobs. Out of work, things get worse when he finds his girlfriend cheating on him. He moves out and is struggling to find a job, when he meets the charming Sam Bouchard. Also an actor, he takes pity on Jake and takes him under his wing. Sam is currently house sitting for a rich friend and offers Jake the place to stay. Jake jumps at the chance and is taken to the panoramic house in the Hollywood Hills. Sam points out that there is a display that will interest him in one of the houses nearby. With a telescope, Jake views the sultry dancing every night of Gloria Revelle, a beautiful, young housewife. What starts as just a glancing curiosity slows gives way to increasing obsession on Jake’s part. Added to this is his realisation that a strange-looking figure is also observing Gloria with ill intentions. Continuing to grow more infatuated with her, Jake follows her and observes her, once again seeing the grotesque figure looming large. Sadly, through his obsession , Jake is unable to stop Gloria’s brutal murder at the hands of the stalker. As the only witness, he can’t do much as the police know that he was also covertly watching Gloria and didn’t report what he saw. Jake can’t help but feel guilty about his indirect involvement and how he could have prevented the murder. Yet various things are not adding up and what seemed coincidental may in fact be pre-meditated. Still shocked, he finds himself more determined to unravel events that look very untoward and discovers a link between the slaying and the world of X-rated movies. Desperate Jake is soon lead into the dark recesses of the adult film industry, where the gorgeous porn star Holly Body may hold the key to everything.

As is befitting of a film by Brian De Palma, Body Double sports oodles of visual effectiveness and cinematic flourish from the very start. He frequently teases and tests us with what we are witnessing and how true it is, best envisioned by a series of scenes in which we believe we are watching the film, only for it to reveal that it’s the making of a film in the story. A fantastic example is when Jake makes his way on to a porn set and it is played out to the tune of Frankie Goes to Hollywood’s ‘Relax’. At first it just appears to be part of the filmic story, before pulling back to show that it’s an adult production within the confines of the plot. We, as the audience, are permitted to be unwitting voyeurs throughout Body Double, whether we like it or not, due to the use of point of view shots to illustrate the illusion of watching. I must confess that in the latter half of Body Double things start to feel a bit rushed, especially in comparison with the slow burn of the earlier pacing. But the outrageous core and De Palma stamp ensure you keep watching as it redeems itself once Holly takes centre stage and brings a much-needed shot in the arm. So it does get uneven in stretches when it could have been tighter and a bit more coherent, but I found myself very engrossed by Body Double that I can somewhat overlook its collection of flaws and bask in the sheer unpredictability of it all. Body Double is a sly beast that is very mysterious and shrouded in red herrings, that you may not quite realise at first glance. Brian De Palma is very impish in what he presents, frequently reeling us into a twisted fantasy that has its tongue jammed firmly in cheek. He is not caring about whether you squirm or find the content repulsive; this is his vision and what he wants to put out there, like it or not. If anything, the winding plot takes a backseat to the directors love of things cinematic and how manipulative the medium can be. A major plus in Body Double(along with the luscious cinematography) is the mood-setting music, courtesy of Pino Donaggio. Using an electronic pulse to produce a slinky and scintillating ambiance, its music that really gets its talons into you and gorgeously sets a scene. The score is akin to the dance that Gloria performs; it invites you in yet knows how to tease and be mysterious.

Craig Wasson is a bit of a wooden actor, yet that very thing is used to great effect in playing the unlucky and low-rent star, caught in a web. His very ordinariness and nothing too special appearance plays in well to the way that he becomes utterly besotted with someone he barely knows and then more than a little suspicious that something stinks. Gregg Henry lends an ingratiating and seemingly supportive presence as the actor who helps Jake, but who may be very different behind it all. Melanie Griffith appears late in the film, but immediately makes an impression as the seductive but brighter than you’d think adult film star. While being obviously attractive, Griffith digs into a street smart attitude and subtle vulnerability of a girl who knows how to handle herself, but doesn’t quite realise the extent of how deep she’s in. Both a smart and confident performer( watch as she reels off just what she will do and not do in a movie) and a pawn, the part of Holly is memorably envisioned by Melanie Griffith. Seen with not much in the way of dialogue, Deborah Shelton is still extremely enigmatic and beautiful as the ill-fated woman, whose demise throws Jake into a tailspin.

I wouldn’t say Body Double is the best film from De Palma, yet it definitely displays some of his finest visual direction and penchant for referencing Hitchcock in typically daring style. Body Double, though uneven, is still a very intriguing thriller that reels you in to the mystery and sleazy aura that if builds so well as it surprises you with some very serpentine twists.

Blow Out

Tags

1980's, Blow Out, Brian De Palma, Dennis Franz, John Lithgow, John Travolta, Nancy Allen, Thriller

Film Title

Blow Out

Director

Brian De Palma

Starring

• John Travolta as Jack Terry
• Nancy Allen as Sally
• John Lithgow as Burke
• Dennis Franz as Manny Karp

A well crafted thriller that focuses on someone discovering something they weren’t supposed to and how important sound is in the big scheme of things, Blow Out invites you into a suspenseful and intricate web of conspiracy and one man fighting the system. All of this is under the eagle eye vision of Brian De Palma, whose serious approach adds another layer of emotion to a potent and enigmatic cocktail.

Jack Terry is a sound man who while good at his job, has largely spent most of his time working on sleazy horror movies. He has something haunting him from his past, but passes everything off with something of a cynical shrug and smile. Working on yet another low-budget movie, he is struggling to find the perfect scream for the main murder scene. Late one night, he is out recording nature sounds near a bridge. Nothing much is happening until a car veers off the road and into the lake, following a strange sound. Jack jumps in and rescues a young woman by the name of Sally from the car, though he is unable to save the other man who dies. Once at the hospital, Jack swears he heard a gun shot that preceded the blow out and has the sound that could back this up. He grows even more curious when he learns that the man in the car was a presidential candidate who was launching his campaign, but those closest to the man and others tell him to forget what he heard and keep his mouth shut. Getting to know Sally, who is a ditzy and skittish girl who remains coy about what she was doing in the car, Jack attempts to piece together what he heard and just how big the cover up that is forming is willing to go to hide the true events of the ‘accident’. Long story short, it gets very complex. Meanwhile, a mysterious and sinister man known simply as Burke( who has something to do with the tangled events) begins murdering young women in the area, with his plan being to eliminate Sally in the end by making it look like another serial killer crime. Pictures are published of some of the incident by a sleazy blackmailing man Manny Karp, which helps Jack splice a film with his sound that helps suggest that it was murder. Due to the fact that the images aren’t crystal clear poses another stumbling block, yet he also gets to understand the naive Sally a bit better, as she clearly has some involvement albeit as a pawn. Even with proof, no one seems to believe Jack and tell him to let it be. But Jack is not going to remain quiet and soon sets about desperately trying to prove what’s going on. With nearly everyone either turning Jack away or wanting the conspiracy to remain silent, Jack must fight and hopefully uncover the full extent of this cover up before it is erased for good, along with himself and Sally.

Although De Palma has been criticized for overusing visuals to tell a story by some quarters( I personally don’t agree, but that’s a matter of opinion), no one can deny the grim and serious centre of Blow Out, that enables an emotional undercurrent pertaining to Jack and Sally to effectively slot in among the conspiracy. With this neat homage to the equally compelling Blow-Up, De Palma fashions a compelling mystery about political agendas and consequences found when all the stones have been upturned. Paranoia is at its apex here, with the unfurling mystery and various vignettes of what Jack discovers and we as the audience see. De Palma is on deep and sober form with this film, which is reflected in the intricacy of how big the political events and schemes that Jack stumbles on are told, leaving some room for us to fill in with deliberate hints that are never quite as simple as they appear. That isn’t to say that De Palma abandons his trademark style though, as his many brush strokes and composition are well placed and compliment the overall impact of Blow Out. From a riveting scene in which Jack listens to the tape back and it cuts back and forth in time with the sounds it has picked up, the obsessively detailed sequence of Jack  to a swirling camera used when Jack finds that someone has erased his tapes, it’s both a stylish film and one that has a startling downbeat tone that slowly feeds into it. Plus, the cinematography of largely red, white and blue bathes Blow Out in a strangely surreal shade that also references the political aspects found in the thriller. Voyeurism plays heavily into Blow Out, with the focus being on ears and all things pertaining to them instead of eyes. And worthy of note is the refusal to adhere to a bravery and heroic ending. Without spoiling it, I’ll say that Blow Out features a gut punch of an end that you won’t see coming and brings with it a haunting tone that colours everything. De Palma’s film is not without the irony that a lot of his work as ( check the opening scene that satirizes cheap horror movies) but the pervading feeling of darkness and tension is what truly makes the film. Sound is frequently manipulated, distorted or raised throughout Blow Out, stressing the importance of what we hear and perhaps the things we aren’t meant to in the first place. As a film that largely concentrates on the impact and overall usage of sound, Blow Out provides a fascinating insight into the mechanics behind it all. Sure some of the technology is different today from what’s depicted here, but the perspective it takes on how crucial it is to cinema allows for compelling nuggets of information. And the score of Blow Out beautifully layers on the mystery and menace in stunning strokes that often match the action perfectly, along with a sorrowful element that comes into fruition later on.

John Travolta is excellently cast as the slowly more determined Jack, who before was slightly cynical about his lack of prospects that his skill as a sound man were wasted on. The crash and what he hears spark him into life, as he discovers a real purpose( in both the mystery and Sally) and Travolta brings an effective amount of idealism and decency that benefits the role. He has that worn, every man quality going on as he unearths just how big the situation is that he has come across and with haunted eyes, you feel for the man as he tries to do the right thing in a climate of danger. Nancy Allen is just as successful, portraying a girl whose niceness and green nature are repeatedly taken advantage of. Kudos to Allen for not playing Sally as a complete bimbo and turning her into someone sympathetic and in over her head. The immense John Lithgow, armed with hardly any dialogue and a stare that could melt ice caps, is the terrifying adversary, whose skills in killing are brutal, efficient and cold-blooded. Seriously, Lithgow is deeply chilling here you feel like you’re in the Arctic whenever he appears. Dennis Franz rocks it as the greasy and oily blackmailer, who would do just about anything for a buck and does so on many occasions.

A grim, tense and even emotional in parts thriller burning with paranoia and unexpected shock, Blow Out showcases Brian De Palma with maturity on the mind and armed with a dark story that flows well with his customary visual style.

And I must thank Pete and Paul for suggesting this movie to watch.

Someone to Watch Over Me

Tags

1980's, Andreas Katsulas, Jerry Orbach, Lorraine Bracco, Mimi Rogers, Ridley Scott, Romance, Someone to Watch Over Me, Thriller, Tom Berenger

Film Title

Someone to Watch Over Me

Director

Ridley Scott

Starring

• Tom Berenger as Mike Keegan
• Mimi Rogers as Claire Gregory
• Lorraine Bracco as Ellie Keegan
• Jerry Orbach as Lt. Garber
• Andreas Katsulas as Joey Venza

It isn’t the best movie from Ridley Scott, but Someone to Watch Over Me is shamelessly overlooked and underrated for its atmosphere and visual style. A romantic thriller that looks at differences in lifestyle and appearance, the thriller aspect lacks but the rest of the piece, namely the acting and direction, make it a watchable and at times intriguing movie.

Mike Keegan is a recently promoted police detective who lives with his wife Ellie and young son Tommy in Queens. His marriage is stable and he is largely good at his job, so everything is going quite swimmingly. Then he gets the call to come in after a murder is committed. A criminal by the name of Joey Venza killed a businessman who he thought squeezed him out of a deal before their partnership severed and it was witnessed by the beautiful Upper East Side socialite, Claire Gregory. Mike is assigned to protect Claire and provide round the clock support as she is clearly in danger. If any evidence is brought forward, Venza will most likely be charged. Claire’s testimony is what this cast stands on and Venza makes it his priority to silence her. At first, Mike and Claire aren’t exactly friendly; his tough demeanor is at odds with her aloofness and the obvious difference in backgrounds is pretty noticeable. Yet, as he continues to watch over her, he develops romantic inclinations for her that are reciprocated. He gets a glimpse into the high life of extravagance and she lets her icy guard down. This poses obvious problems for Mike as he does really love his wife Ellie deeply, yet is unable to deny the attraction he has for Claire. At the same time, Claire is menaced by Venza, who threatens to kill her if she talks anymore about what she saw him do. Add to this situation the fact that Ellie is growing very wary of Mike’s devotion to the case, and things look like they will be very complex for everyone here.

The film is directed with exceptional finesse by Ridley Scott, whose stamp of luscious and enviable imagery and depth of cinematic quality is in good supply. There is a real elegance to Scott’s direction that juxtaposes the glamour of the Upper East Side with the working class Queens to striking effect, while giving that sheen of sophistication you can always count on in something directed by Ridley Scott. He knows how to visually bring out the themes at hand, here it is someone from the outside looking in along with society and lifestyles, that are rendered with impressive results. Now while Someone to Watch Over Me is billed as a romantic thriller, the elements of thriller can sometimes be a bit lacking. That isn’t to say there isn’t any tension or suspense because there is, but the main focus is more the unlikely romance between Mike and Claire than just action. The film functions better as a study of two people who are almost opposite in every respect unusually finding a mutual attraction in possibly dangerous circumstances. That’s where the real force of the film lies, despite it being straightforward and displaying parts that are a bit implausible. If you concentrate more on the romance aspects and the look at people, Someone to Watch Over Me is frequently quite riveting and engaging. The main thing that marks the movie down in my estimation, despite it being still very watchable, is that is lacks the special something that Ridley Scott movies usually have. Despite this hiccup, the smoky atmosphere leaves a lot to be thankful for, helped in no small part due to the lovely jazz music that features heavily. The growing attraction between Claire and Mike is kept to a classy level which actually makes it more interesting because of the subtlety, you didn’t need overly sexual scenes to convey their sparks.

Tom Berenger fares well as the tough guy who unexpectedly finds himself straying from the marriage bed by someone who is completely out of his league. Berenger finds the right understated note to play Mike, that allows him to be cynical and hard-boiled on the job and more sensitive when the occasion calls. The beautiful Mimi Rogers has the class and poise for Claire, while underscoring that for all the glamour she has, houses a void of loneliness that is suggested through Rogers’ subtle face. She has become accustomed to this life of privilege and enjoys it, but with everything going on, she finds companionship of an unusual sort with Mike that allows her to open up. Her quiet and fearful demeanor are played extremely well by Rogers in a way that is understated and demure. But the best performance in Someone to Watch Over Me comes from Lorraine Bracco. As the dutiful but outspoken wife of Mike, she nails the suspicion and attitude of the woman, who knows that something is definitely not right and wants answers. Bracco has an unpretentious and open delivery which coalesces with the heart of Ellie to form a well-tuned piece of work, from what could have been a throwaway part of a wallflower. Jerry Orbach is fun to watch in a supporting role of grizzled police lieutenant who appoints the job of watching Claire to Mike, while Andreas Katsulas has a face made for a villain that is used very effectively as the criminal trying to eliminate any chance of a life sentence.

So while the story is quite simplistic and some of the thrills could have had a bit more punch, Someone to Watch Over Me should be more well-known and appreciated for the stylish way that Ridley Scott shoots it and brings it to life.

The Changeling

Tags

1980's, George C. Scott, Horror, Melvyn Douglas, Peter Medak, The Changeling, Trish Van Devere

Film Title

The Changeling

Director

Peter Medak

Starring

• George C. Scott as John Russell
• Trish Van Devere as Claire Norman
• Melvyn Douglas as Senator Joseph Carmichael

A very spooky and understated haunted house horror, The Changeling boasts a genuine suspense and mystery to it, which stand it in extremely good stead. It’s a shining example of the less is more approach that favours atmosphere and twists instead of bloody carnage.

John Russell is a music composer who is one day being helped by his wife and daughter as their car has broken down in the snows of Upstate New York. Yet tragedy strikes when they are both killed in a freak collision between a snow plow and a van. Broken by this, John gets out-of-town and takes a job teaching music to university students. Grief-stricken by his loss, he tries to find somewhere to live in the hope that it will help him get to grips with life alone. Thanks to friends, he discovers a large unoccupied house that he believes will give him peace and time to reflect as well as heal. But while coming to terms with the tragic loss of his wife and daughter, John finds himself plagued by strange things in the house. A loud, repetitive banging sound occurs at the same time for a number of days at the exact same time. This particular incident leads a suspicious John to a secret room, that has been hidden away behind large planks of wood and locked. Most creepy of all is the image he catches of what appears to be a young boy drowning in the bath. At first, John isn’t sure about what to make of these unexplained events as he has no way of piecing anything he finds in the room together( which include an old-fashioned children’s wheelchair and a music box that eerily has the same tune he has been composing) with the strange phenomena of the vision he saw. Yet they continue to occur and John is tried by what he experiences, and he can’t rely deny what is happening right before his very eyes. Bewildered and shocked by these things that he finds to be trying to get his attention in one way or another, he dives into the past of the house with the friendly support of Claire Norman, who helped sell him the house and is a member of a historically related society. Stumbling blocks in the form of missing records and misdirection only add more to the mystery and the obstacles it poses. A séance is conducted that helps reveal something about the presence and the tragic clues as to why it haunts the house. The events have a large impact on John, who slowly discovers a will inside him to bring out the truth before it is too late. It’s a matter of proving the existence of the spirit to anyone that it will impact that is going to be the problem. John takes it upon himself to uncover what lies at the bottom of the haunting and the repercussions it continues to have, with a forceful approach that stirs up trouble for those in relation to the horror of the past.

The Changeling is a film that is driven by an eeriness and a simplicity that enables the spooky goings on to gradual reveal themselves through a measured but never lagging pace. The method of getting jolts of terror from sound and doubt are effortlessly employed , but never in a way that gets overly styled or distracting. While some unusual angles are employed, the direction from Peter Medak is wisely kept to an understated a and marvellously constructed level. For me, the attention to the story and how the ghostly haunting linked where the real hooks and the work from compliments them stunningly. The Changeling is just as much a mystery as it is a ghostly horror, a significant attribute that Medak wields with flair and just the right amount of content( the séance scene is a highlight of unnerving tension and revelations) to keep it ticking over. I found the matters surrounding the haunting very entertaining and spine-chilling as it gave another sheen to the film that went places I was not anticipating it to visit. It really pulls you right into the enigma of the house and what transpired there, with a suitably gloomy visual palette to highlight both the spooky aspects and the mourning heart of John going through his own pain. Take for example the scene of John finding his daughter’s bouncing ball which he knew he got rid of, only to have it repeatedly fall down the stairs towards him on a loop. It’s a simple yet haunting indication of John’s link with the presence as it reaches out to him and how he can’t ignore what he has seen. The lugubrious and spine tingling score( complete with ghostly cries and slithering strings) aids the personal journey John goes on in battling his own grief, while bringing justice to someone from the other side who isn’t at peace.

On the acting front and definitely strong is George C. Scott in a nuanced turn. He plays the man attempting to hold his grief inside and deal with it in some way impressively, as well as showcasing the growing feeling of unease in regards to the house. Scott is a professional who makes the role look effortless and the building feeling of determination that his character attains in trying to uncover the reasons for the haunting are pretty amazing, as well as wholly believable. Trish Van Devere( who was actually married to Scott in real life) is nicely curious and helpful as the concerned Claire, the two working well together in a natural way that isn’t surprising considering their off set relationship. Rounding out the main cast is Melvyn Douglas a powerful Senator who somehow fits into the scheme of things regarding the past of the house. Douglas wonderfully makes the most of the part by displaying a worry and slowly unraveling fragility.

A smartly old school horror that knows the best way to chill the blood is by making things creepy and gradual, The Changeling is for me an underrated horror gem that deserves a hell of a lorn of credit for what it teases out.