With the film JFK, superstar editors Joe Hutshing and Pietro Scalia were able to do some of the most groundbreaking editing since Psycho and Battleship Potemkin, which would mean some of the greatest editing in film history. Combining actual news footage, historical recreations, and a dense investigation and courtroom story with literally hundreds of speaking roles, they were able to piece together a three-hour drama that, no matter what you feel about director Oliver Stone’s politics or often ham-fisted approach, this film is now the definitive pop-culture record on the murder of President Kennedy.
There was a phony outrage and assault thrown at the film JFK before it was even released or seen. Critics of Oliver Stone howled that he should not be messing with history, slanting it to fit his picture. But of course that’s what any good biography or historical account will do. The combination of news footage and recreations were called manipulative. But after thirty years of the "mainstream" press in lock step with the Warren Commission’s cover-up, it’s about time to see a "mainstream" movie question the events. No matter how much that news footage apparently confused some audience members, the bottom line is: this isn’t a documentary, those are actors. Not to mention, there are enough actual documentaries and books out there on this subject to fill a library. Some right, some wrong, some rational, some hysterical. If you need to hear from the other end of the spectrum, maybe the best made documentary on the assassination was Oswald’s Ghost, a very persuasive piece of filmmaking, but in the end it has Norman Mailer declaring there was no conspiracy.Continue Reading
Robert Altman’s MASH, 40-something years later still works as a funny, dark comedy and as a kinda-sorta anti-war statement, but most impressive is what Altman was able to do with his innovative sound design, still cutting edge today. Though it was a big hit film, for a number of years it was more famous as the inspiration for the then even more popular television show, M*A*S*H*, but as that show now feels musty and dated, MASH the movie is just as relevant today as it was in 1970.
M.A.S.H. stands for mobile army surgical hospital. Made during the heart of the cantankerous Vietnam War, MASH is actually about the medics near the front lines of the “forgotten” Korean War of the 1950s. These are talented doctors and surgeons, but drafted away from their private practices they fight the stifling rules of the military. They deal in blood and guts (at the time the surgery scenes were rather graphic for audiences), but when casualties aren’t mounting they drink, party, and cause mayhem just as hard as they work.Continue Reading
National Lampoon’s Animal House
The impact that National Lampoon Magazine had on American comedy during the 1970s was enormous, eventually spawning the massively ripped-off comedy movie National Lampoon's Animal House (as well as the Vacation series and some crappy forgettable flicks). You could say that the long running sketch comedy show Saturday Night Live symbolically evolved from National Lampoon (as well as from the Second City comedy clubs in Chicago and Toronto). Following the success of SNL's first breakout star, Chevy Chase, John Belushi would earn a cult following from his performance in Animal House that would last past his untimely death four years later from a drug overdose, leading the way for SNL alumni to dominate comedy for decades.Animal House follows two freshmen, Pinto (Tom Hulce) and Kent (Stephen Furst), "a wimp and a blimp," at Faber College in 1962. After being turned away from the elite fraternities they end up joining "the worst house on campus," Delta House. These campus outlaws are in constant trouble with Dean Wormer (brilliantly played by the snaky John Vernon of Point Blank), as they are placed on “double secret probation.” Eschewing academics or athletics, Delta members are either out to get wasted or laid, lead by would-be playboy, Otter (Tim Matheson), and super slob, Bluto (Belushi). There are a number of memorable scenes including Pinto and fellow Delta, Boon (Peter Riegert), along with his girlfriend, Katy (Karen Allen), being introduced to pot by a professor (Donald Sutherland); Belushi's stroll through the cafeteria line hoarding food and then his zit imitation; the guys' trip to a Rhythm N Blues club where Otis Day and the Knights perform (a scene ripped off in Weird Science). After the fraternity is expelled their revenge on the s...Continue Reading
Back in the day, if there was one historical injustice that could get any red blooded film-geek or cinaphile extremely agitated, it was the fact that Martin Scorsese had not won an Oscar. Of course in 2006, he finally did win for the overrated The Departed, putting that controversy to bed. But before that, film-geeks would foam at the mouth, especially knowing that the Godly director had lost twice to actors making their directing debuts.
In 1990, Goodfellas was robbed by Kevin Costner's goody-goody Western Dances With Wolves. And ten years earlier Raging Bull lost to Robert Redford’s Ordinary People.Continue Reading
The Day of the Locust
Adaptations of quintessentially L.A. novels tend to either work marvelously, as with L.A. Confidential, or don't quite measure up to their source material (a category I’d lump Ask the Dust into). John Schlesinger’s adaptation of The Day of the Locust was a costly misfire for Paramount Studios which spent something like 6 months on the film and a whole lot of dough. It could have been as influential as Chinatown, but it was a flop upon release, though ultimately it had some enduring appeal as a cult film in later years. Nathaniel West’s novel is generally considered to be the very best novel on Hollywood, its more grotesque inhabitants, and its tragic allure as a festering dump where dreams go to die. That makes the novel sound sobering and self-serious but this is a story about fame whores, violently degenerate midgets, sociopathic child actors, cockfights, stag films, and a movie premiere that culminates in the apocalypse. It’s brutally dark and really, really entertaining.
The movie is essentially a literal adaptation of West’s novel and it came under criticism from some quarters for being too literal. Director John Schlesinger was taken to task for supposedly ignoring the arch satire of West's depiction of Hollywood as the epicenter of greed, desperation, and idiocy, and instead ratcheting up the cartoon nihilism to a fever pitch. But when you do a story about America’s pop cultural border town that ends with a murderous orgy of celebrity blood lust I’m not exactly sure "holding back" is the way to go. The Day of the Locust is about a particular kind of American tragedy that West found on Hollywood Boulevard during the 1930s. In the dive bars and diners that lined the boulevard were hundreds of desperate people without a nickel to their name, all drawn to Hollywood in the hopes of making it big. Most, West found, couldn’t even get work as extras. He saw them as a mass of human wreckage under the movie premiere kleig lights. The dark joke beneath the glittering dream that Hollywood came to embody was exquisitely rendered by West as it was happening. The film does justice to the novel with its horror show theatrics under the palm trees and sunny skies of Southern California and ultimately it’s more creepy than campy.Continue Reading
The Dirty Dozen
The Dirty Dozen, the granddaddy of action super-team flicks, took the sheen off the WWII big ensemble picture (The Longest Day, The Great Escape) and mixed in the military cynicism that was bubbling up (encouraged by doubt about the Vietnam War) with rowdy anti-heroics (MASH, Kelly’s Heroes). Like so many films to follow, the film breaks into two halves easily: first, assembling the team full of anti-authority types (Stripes); and second, the undercover suicide mission behind enemy lines (Inglourious Basterds). After years of dependable supporting performances in The Wild One, The Man Who Shot Liberty Valance and Ship of Fools, this may be silver haired, tough guy actor Lee Marvin's signature role (with apologies to the great crime thriller Point Blank and his Oscar winning work in the otherwise forgettable Cat Ballou). The Dirty Dozen gives Marvin the perfect opportunity to showcase his brawn as well as his sense of humor. As Major Reisman, he is assigned the task of putting together a WWII team made of 12 creeps and criminals, many of whom are facing the noose, to first train and then sneak into France before D-Day to kill a group of high-end Nazis (with their dates) at a fancy chateau shindig.
The team is made up of many future stars, or at least interesting cinematic curios...Continue Reading
Produced by Robert Chartoff and Irwin Winkler (Rocky, Raging Bull, etc.), The Split is a lost relic. Besides being the first film to ever receive an “R” rating by the ratings board, it’s a nifty heist film with a great cast full of fascinating credentials. Because it stars football star turned actor Jim Brown (and has Diahann Carroll as his ex-wife and a funky-lite Quincy Jones score), it’s often lumped in as an early blaxploitation flick. It’s not. Directed by a Scotsman, Gordon Flemyng, (who did a lot of '60s Dr. Who) and written by the great crime writer Donald Westlake (credited in the script under his equally known alias Richard Stark), this is the guy who wrote the books that became Point Blank (and later Payback), as well as The Hot Rock and The Outfit, and later wrote the script for The Grifters. So The Split could have easily been a vehicle for Lee Marvin, Rock Hudson, James Coburn or any other leading man of the era. It just so happens that Brown took the role. It’s a gritty little crime flick. It barely even qualifies as crooksploitation. Yes, it’s an imperfect film (chunkily directed), but it's still entertaining with some nice ’68 Los Angeles locations and some wild twists.
Fresh out of the slammer McClain (Brown) is recruited by Gladys (Julie Harris) to pull a big heist at the Los Angeles Coliseum (shades of the race track robbery in Stanley Kubrick’s The Killing). McClain gathers an all-star cool cast to take part in the caper: tough guy Ernest Borgnine, escape artist/racist Warren Oates (a little less oily than he was a year earlier in In The Heat of the Night), limo driver Jack Klugman and creepy hit-man Donald Sutherland (still two tears before MASH made him a star). In a very complicated robbery and clever escape, the gang gets away with over a half-million bucks. But it’s after the heist when the real drama starts. It’s what happens to the loot before “the split” that cause the usual problems of greed and suspicion. First, the ex-wife has a sadistic, rapey landlord (James Whitmore) who kills her and steals the money, and then a crooked cop, Walter Brill (the great Gene Hackman pre-testing for Popeye Doyle) gets involved. The film becomes a stand-off for the money between McClain, Gladys, the gang and Brill.Continue Reading