Blade Runner: The Final Cut
What is “human?” That’s the basic question posited by Ridley Scott’s visionary science fiction opus, release in 2007 in a 25th-anniversary “final cut,” the director’s third pass at the film.
Based on a novel by Philip K. Dick and set in the dark, rain-soaked Los Angeles of 2019, the tale follows “blade runner” Deckard (Harrison Ford) as he pursues and attempts to terminate four “replicants” – genetically-engineered humanoids – who have violently escaped an off-world colony and returned to earth. Deckard becomes increasingly conflicted about his murderous job and doubtful about his own identity, as he falls in love with a replicant (Sean Young) and begins to realize that his prey may be more human than he believed.Continue Reading
Like the documentary Lost in La Mancha, which tell the tale of Terry Gilliam’s never finished film adaptation of Don Quixote, Jodorowsky’s Dune appears to be a much more enjoyable ride as a lost film rather had it actually been made. After the midnight circuit cult success of his bizarro lo-fi films El Topo and Holy Mountain, Chilean filmmaker and all around artsy guru Alejandro Jodorowsky set out to adapt Frank Herbert’s classic sci-fi novel Dune to the big screen. He assembled a a group of holy warrior artists intent on helping him realize his vision, leading them like a prophet. The entire enterprise eventually collapsed when the need for Hollywood big money entered the story. But while his ideas could have been visually fascinating (much of it is too ahead of its time), the overall metaphysical philosophies he was cramming into the story might have only made it another cult curio. Certainly for my taste, the story of the making-of is much more watchable than what might have ended up on the screen. On the other hand, with Jodorowsky’s charismatic storytelling skills it’s hard not to root for his mad-man belief in his dream and for that passion to go beyond mere storytelling to world changing.
Jodorowsky's background in experimental and avant-garde theater in both Paris and Mexico led to an even more unlikely film career. His surrealist and druggy early films found admirers in the midnight filmgoers as well as in French producer Michel Seydoux, who asked the director what he would like to do next. Jodorowsky said Dune and then begun putting together a creative dream team. For his FX Supervisor he failed to convince Douglas Trumbull (2001 and Silent Running) to join the carnival (not a spiritual warrior), but instead landed Dan O'Bannon (fresh off of Dark Star with John Carpenter). He would also convince comic book artist Jean Giraud (Mœbius), the surrealist Swiss painter H.R. Giger and British science fiction book cover illustrator Chris Foss to join the fun. As Jodorowsky apparently worked out the script, he also worked out his visions for the characters and sets with his artists. The ideas came to him in dreams and the talented group came up with some truly astounding art work for what the film would look like. He also supposedly got major rock act Pink Floyd to work on some of the score (as well as goofy French prog rock band Magma). For the cast he managed to gather Salvador Dali, Mick Jagger and Orson Welles (who besides his fee was also sold on the project by being guaranteed a free meal at his favorite French cafe every day of the shoot). The young hero of the film would be played by Jodorowsky‘s adolescent son Brontis (who at the age of seven was prominently featured in El Topo); he would take on around-the-clock sword and combat training for over a year in preparation. The documentary features many of the storyboards that were put in a large coffee table type of book to help sell the project to would-be investors. Needless to say, that book of art now looks like the ultimate Christmas present for any sci-fi geek.Continue Reading
Situated somewhere in the middle of two closely related movie trends of the 1970s - the "All-Star Cast Disaster Movie" (The Poseidon Adventure, The Towering Inferno, Earthquake) and the "Terrorist Disaster Movie" (Two-Minute Warning, Skyjacked, Black Sunday) - Rollercoaster from 1977 nestles nicely in its own netherworld, not realizing that the genre was running out of steam (Beyond The Poseidon Adventure anyone?). Although the "Disaster Movie" would continue to reemerge in Hollywood for decades under new guises (Independence Day, 2012, Dante’s Peak, etc.), its Golden Age was really when a guy like George Kennedy or Charlton Heston was at the rudder and stars from Hollywood’s Golden Age were still available to be carted in on their wheelchairs to make an appearance and collect their checks. Rollercoaster did manage to dig up a couple of legends (Richard Widmark and Henry Fonda) and a sorta cult name actress (Susan Strasberg, maybe more famous as the daughter of Actor’s Studio guru Lee Strasberg), along with a pair of '70s names (George Segal and Timothy Bottoms). Director James Goldstone, whose most important credit may actually be the second pilot of the Star Trek TV series, manages to employ some Alfred Hitchcock cat-and-mouse tricks to generate suspense and give a dying genre a last gasp of breath.
To think that Bottoms started the decade off with two great movies (The Last Picture Show and The Paper Chase), in Rollercoaster he plays “Young Man,” a zombie-like psycho who is blowing up rollercoasters around the country in order to extort a million dollar ransom from the companies that own the parks. After an explosion on a rollercoaster, ride-inspector Harry Calder (Segal) is the first to figure out that this was no accident. He’s a regular guy with a teenage daughter (Helen Hunt, in her first movie) whom he often pawns off on his girlfriend (Strasberg), and a deep anti-authority complex, to the chagrin of his hateful boss (a brief Fonda clearly trying to up his SAG pension numbers). Bottoms makes Segal his point man as he threatens more bombings and the FBI joins him, with the angriest FBI head-man of all time (played by the one time great Widmark, who just spews intensity here) who seems to hate Segal even more than Fonda. The highlight is an intense scene in an amusement park, as Segal is forced to deliver money to Bottoms and instead ends up carrying a bomb onto a coaster. It all leads to Segal having to argue with the dumbbells in charge of the investigation and a showdown with the terrorist who looks to ruin the upcoming 4th of July festivities at one of the many possible amusement parks in America (and he does end up slightly disrupting the big Sparks concert at Six Flags Magic Mountain).Continue Reading
Most films about the future seem optimistic about human intelligence levels rising, with Mike Judge’s depressing comedy Idiocracy being an exception. Woody Allen’s Sleeper splits the difference: the technology and science have evolved but people have gotten shallower. Since ’73 his vision looks to be almost prophetic. As a follow up to Every Thing You Always Wanted to Know about Sex * But Were Afraid to Ask, Sleeper was his most polished film at that point. It was the peak of Woody’s slapstick phase, just four years before his evolutionary jump into the more mature filmmaker he would become with Annie Hall and Manhattan (both films co-written with Marshall Brickman, who also worked on the Sleeper script). Kinda, sorta, slightly based on H.G. Wells’s 1899 novel When the Sleeper Wakes, it’s a film that, because of the science-fiction element and the high laugh count, has always been considered one of his more admired and easily digestible films from his non-fans.
In 1973, Miles Monroe (Allen), owner of the Happy Carrot Health-Food store, is put into a scientific sleep chamber, without his knowledge, and finally revived two-hundred years later in 2173. He wakes up in a futuristic American police state (similar to so many movie future societies from Logan’s Run to Conquest of the Planet of the Apes to The Hunger Games). The rebels need him because he’s the only citizen without an identification number. He ends up helping them by posing as a robot servant for a dingy socialite, Luna Schlosser (Diane Keaton, working wi...