From the opening sounds of sad circus music flowing into disco, you feel you are in for something unique. As the camera tracks across a street into a bustling nightclub, introducing us to a large array of characters in one take, you know you are in for one hell of a spectacle...
Boogie Nights is an epic tail about life in the swinging seventies through the lens of the porno industry of Southern California. It explores the transition of the business into the 1980s, where film was switched out for video, and the roof caved in for many. But it’s not simply a story of the sex trade—it’s about family. Although somewhat warped, the group of porn stars connect together as if they were brothers and sisters, mothers and fathers.Continue Reading
At one time Burt Reynolds was a megastar. By 1987 the shine was thinning, as his hair piece was thickening. Just two years after his arch '70s box office king rival Clint Eastwood made his obligatory quasi-Shane remake Pale Rider (the least of the four Westerns Clint directed), Reynolds did his own less blatant variation of Shane, with an equally simple title: Malone. Updated, instead of an old-timey oater, Malone is more of an '80s muscle film. This could have been a by-the-numbers vehicle for any number of steroidy non-actors of the day; the ace up the sleeve here is the lovely British Columbia backdrop and Reynolds' considerable charm. Even when he seems to be barely trying he’s much more likable then most of the action stars of the period. Back in his salad days (the '70s) Reynolds starred in two bona-fide classics, Deliverance and The Longest Yard, and had a massive box office hit with Smokey and The Bandit. But by the '80s--though Reynolds was still a very popular personality--none of the vehicles really matched his talent. Looking back years later, as the smoke has cleared, Malone is probably his most entertaining film of the decade.
Burt plays Malone, an ex-CIA hitman trying to escape his past (is there any other kind?) and make a break from his sexy handler (Lauren Hutton). After hitting the open road, his car ends up breaking down in a small mountain town where he befriends a clean cut gas station owning family, the Barlows. Father and his teenage daughter (Scott Wilson and Cynthia Gibb) take him in and luckily for them Malone also happens to be handy with a wrench for fixing engines. It turns out Malone happened to show up in the knick of time, as the town is being bought up by a nasty rich guy, Delany ( the alway dependable Cliff Robertson). The Barlows won’t sell, even under pressure from the town’s corrupt cops (lead by Kenneth McMillan) and Delany’s own band of thugs, plus the usual suspects of '80s B-creeps--including many familiar faces such as Tracy Walter (Batman) and Dennis Burkley (the lovable big mute biker from Mask). The bad guys try to exert muscle and Burt kills a couple of them. Shane had that famous tree trunk digging scene, but Burt doesn’t exert much sweat. Although he does get shot, giving Hutton a chance to come back to bandage him up and have a quickie romance before the creeps kill her. This leads to an all out war as Malone is forced to use his considerable killing skills to take out the security team and finally have it out with Delany. And then, very abruptly, it ends. But this was the '80s. Who wanted to sit through a movie much longer then ninety minutes? We had to get to the arcade.Continue Reading
Even casual film historians know that the 1970s was the decade with the most creative freedom afforded to the director. Just as studios were beginning to become just pieces of larger corporate empires and the blockbuster became the only goal, filmmakers were given unprecedented access to seeing out their visions. No director took advantage of the era as unusually as Robert Altman managed to. After exploding as a brand name director with his huge hit MASH in ’70 he spent the decade exploring a plethora of film quirks, with such notable titles as McCabe & Mrs. Miller, The Long Goodbye and California Split, as well as a number of oddities and misfires, ending the decade with the utterly unwatchable sci-fi bomb Quintet. But Altman’s greatest masterpiece (with apologies to MASH and The Player) came in the middle of the decade: Nashville, a film that truly stands alone as one of those films that could never be repeated (and still proves very challenging to even write about) and, in the end, is the most Altman-y film Altman ever made.
Clocking in at 159 minutes, Nashville is a sorta satire, but also a real tribute to country music. The film takes place during a political rally for the Replacement Party presidential candidate that coincides with a number of musicians coming to town to record and play at the rally. With over twenty main characters coming and going, it’s almost impossible to keep up with on a first viewing. The standout story lines start with Lily Tomlin as Linnea (outstanding in her first film), a gospel singer and mother to a pair of deaf kids, and her husband (Ned Beatty), a political operative for a campaign operator (Michael Murphy) who is putting together a fundraiser at Opryland. Meanwhile, country legend Haven Hamilton (the always entertaining Henry Gibson) is sought after by both the politicians, after he records a tribute to the bicentennial (“we must be doing something right, to last 200 years”) and a fish-outta-water British journalist (Geraldine Chaplin) who has an affair with his son. Another country music star, the very damaged Barbara Jean (Ronee Sue Blakley, who then was known more as a singer, but proves herself as an actress wonderfully here) seems to be having a nervous breakdown and is followed by a lurking uniformed Vietnam vet (Scott Glenn). Up-and-coming singer Tom (Keith Carradine) has all the women chasing him, including a spaced out groupie (Shelly Duvall), but he appears to make a real connection with married mother Linnea. And that's just a taste of the story lines, which also includes a motley crew of characters giving fully lived-in performances, including Keenan Wynn, Gwen Welles, Barbara Baxley, Barbara Harris, Bert Remsen, Karen Black, Jeff Goldblum, Allen Garfield and cameos by Elliott Gould and Julie Christie as themselves. It’s almost like a hee haw version of It's a Mad, Mad, Mad, Mad World.Continue Reading