Over the decades, Tim Burton has made himself into a brand name (mostly off the success of his earlier films). While he is a master of images and ideas inspired by comic books, B-movies and campy pop culture, the story and payoff rarely lived up to the potential. After an impressive run of films about outsiders like Pee Wee’s Big Adventure, Beetlejuice and Edward Scissorhands (and the box office bonanza of Batman and Batman Returns), Burton peaked with what is still his best movie, a biography of the beloved, transvestite director of horrible films, Edward D. Wood, Jr., titled appropriately enough Ed Wood. The flick follows Wood in his “Golden Period” of the 1950s and his collaboration and friendship with has-been horror icon Bela Lugosi on three quickie cheapies, Glen or Glenda, Bride of the Monster and his Citizen Kane, Plan 9 from Outer Space. All three films are on the Mount Rushmore of so-bad-they-are-good movie classics. Wood’s best qualities may have been his enthusiasm and an ability to build a stable of oddball friends who took part in his projects. Burton has managed to craft both a moving tribute to a talentless dreamer and a perfect scene-for-scene recreation of those hilarious films.
The film is shot in gorgeous black and white by cinematographer Stefan Czapsky (Last Exit to Brooklyn), and instead of the usual Danny Elfman score this one is provided by Howard Shore (Lord of the Rings), who brings a fun mix of sci-fi and conga room. Based on the book Nightmare of Ecstasy by Rudolph Grey, the script was written by the screenwriting duo of Scott Alexander and Larry Karaszewski (who were hot in the quirky bio business, also penning The People vs. Larry Flynt and Man on the Moon, as well as the Problem Child movies and TV series). Ed Wood marks the second of at least seven films Burton has made with Johnny Depp. And the casting of Depp at the time was really ingenious; who knew the pretty-boy had such creative chops? Depp wonderfully infuses Wood with an ah-shucks charm; everything seems to give Wood zeal. Always the optimist, Wood believes in everything, whether it’s his inept actors, sets, shots or his girlfriend’s sweaters--or the belief in the stardom of Lugosi who, at this point, was a heroin addict with failing health and is played beautifully by Martin Landau. When Wood sees Criswell (Jeffrey Jones), a TV psychic, make ridiculous predictions, he believes him. He spots Swedish wrestler Tor Johnson (George "The Animal" Steele) in the ring, and instantly sees a great actor. And these random people that Wood meets along the way and in whom he believes join him in his own dream of making movies, and in turn believe in him. It's a motley group that includes Bunny Breckinridge (Bill Murray), a homosexual in search of a sex change operation who is most memorable as The Ruler in Plan 9 from Outer Space, and eventually the horror show hostess Vampira (Lisa Marie), plus assorted goofy crew members. They forge an "Island of Misfit Toys" style family; think Wes Anderson without all the preciousness.Continue Reading
With post-Vietnam War movies there is a “Vietnam Vet taking down his enemies” genre that would include the pulp biggies Taxi Driver, Billy Jack and First Blood, as well as pure vigilante exploitation films like Eye of the Tiger, Vigilante Force, The Exterminator, The Annihilators and Gordon’s War (not to be confused with the ‘Nam vets that appear as crazies in Targets, Black Sunday, Skyjacked and Earthquake or the zombie vets of Cannibal Apocalypse). Somewhere between pulp and vetploitation lays the very intense and violent Rolling Thunder. This was director Joe Flynn’s followup to his interesting crime thriller The Outfit. Paul Schrader (most famous for writing Taxi Driver and Raging Bull) wrote the screenplay though he claims it was reworked away from his original intention by credited co-writer Heywood Gould (Fort Apache the Bronx and Cocktail). Either way Rolling Thunder definitely carries Schrader’s signature theme of the lonely loner on a self-destructive path against society while seeking his own kind of redemption.
The film opens with Denny Brooks’ ballad “San Antone,” which was used similarly in The Ninth Configuration (he also sang the theme to the Chuck Norris choppy-socky Breaker! Breaker!). After spending years as POWs, Major Charles Rane (William Devane) and Sergeant Johnny Vohden (a very young and very intense Tommy Lee Jones) finally return home to Texas. Of course, we know from our film studies, going as far back as William Wyler’s WWII drama The Best Years of Our Lives, that returning vets have a tough time readjusting. And Rane is no different. His pretty wife Janet (Lisa Blake Richards of TV’s Dark Shadows) tries to help him ease back into civilian life, but he senses she has moved on (it’s obvious she has been involved with a local cop), and his son doesn’t even remember him. Rane suffers from PTSD and is emotionally distant, even turning down the advances of a young military groupie, Linda (Linda Haynes). The town tries to make him feel welcomed with a parade, a new car and over two grand in silver dollars (one for every day he was in captivity).Continue Reading