What can I say? I’m a sucker for court room, investigative drama; no matter how pedestrian. The ace-up-the-sleeve for True Believer is the dynamic performance by James Woods. Working at the peak of his acting powers, Woods plays a once celebrated, radical lawyer, now burned out and living on defending drug dealers. Woods, a wiry and intense actor, had spent years specializing in unhinged types, before he really came to the public's attention in the late '70s with his work (opposite Meryl Streep) in the TV miniseries Holocaust, and his searing performance as a petty criminal in The Onion Field. He spent most of the '80s in potentially important films that didn’t break him out (Once Upon a Time in America, Against All Odds), fascinating misses (Videodrome, The Boost), with some little seen gems mixed in (Fast-Walking, Split Image). In ’86 he finally broke through, winning every major TV award for the small-screen movie Promise and getting his first Oscar nomination for his powerhouse work in Oliver Stone’s Salvador. True Believer fell in the post-award buzz period, when he was scoring those big-star leading-man roles. Here he fully delivers on the promise.
Though wrapped up in a mystery, True Believer actually works better as one of those what-ever-happened-to-our-heroes-from-the-'60s? movies (The Big Chill, Running on Empty, etc.). The true believer in question here is Edward Dodd (Woods), a sorta William Kunstler like lawyer who once fought for civil liberties, civil rights and other groovy ideals, but now, even though he still has his long hair and openly smokes pot, prefers to defend whoever has the bread to pay him (usually real criminals). An idolizing, young law school graduate, Roger Baron (Robert Downey Jr, a couple years before his performance in Chaplin made him a major actor) volunteers to be his clerk, hoping to experience some of that '60s magic. He pushes Dodd to become better, until the older lawyer slowly comes to realize he has been cheating himself and his own ideals. Oh, and also there's some kind of loser case that Baron convinces him to take; something about a Korean-American kid wrongly convicted of murder that leads to the uncovering of all kinds of legal system corruption, as well as some suspense and some lawyerly heroics.Continue Reading
Let’s revisit the early 1980s. Picture yourself removed from all forms of technology that are now so familiar and seem to endlessly grow. We’re talking Internet, texting, Blu-ray, and even modern day cable television. Now imagine that satellite television is the most exciting concept. Let’s also imagine the thrill of recording and watching something on videocassette. Supposing you are one of the privileged few who has access to this technology, what would you choose to watch? Remember, you’re now able, for the first time, to pull video feed from anywhere with this satellite into your home. How much would you want to devour with your own eyes and in what ways might it change the way you live?
I have something I want you to watch. Its name is Videodrome. Directed and written by David Cronenberg, it is a film with a philosophy about a mind-altering pseudo-program that has a philosophy of its own. James Woods plays Max Renn—the president of a small cable television channel that presents exclusive and mostly erotic content. His idea is simple: allow people to manifest their desires at home and, as a result, keep it off the streets. While working with his assistant he comes across segments of a pirated television show called Videodrome. In short, Videodrome is a near primitive display of unlucky souls who are tortured and/or raped, never to return onscreen. The simplicity and terror of the program is unlike anything he’s ever seen. He wants to share this vision with his viewers, thus beginning a quest to find its source.Continue Reading