Eyes Of Laura Mars
Written by the ice-cool John Carpenter and released about two months prior to Halloween, this metaphysical serial murder mystery falls gently in the middle of the writer's spectrum of work, lying somewhere in between The Fog's biblical-styled justice from beyond the grave and the dystopian realism of Escape From New York. Also on board is soon-to-be-Empire Strikes Back-director, Irvin Kirshner. The pairing of these two talents ends up giving the film that classic 1970s American paranoid vibe with a zesty twist of the paranormal.
I watched this in the midst of a Faye Dunaway kick and she doesn’t dazzle, but isn’t disappointing in the titular role. Laura Mars is a controversial fashion photographer. Laura has her fair share of critics, as well as devotees. Depicting female models in strikingly violent city landscapes nonetheless brings her fame. (Icon Helmut Newton provided the actual photographs.) Out of the clear blue sky, she gets a psychic flash and witnesses a grisly murder from the killer’s point of view. Wait, she knows the victim! Terrified, shocked, and confused she ends up falling into cahoots with Detective John Neville (Tommy Lee Jones). The visions continue (Laura knows each victim) and the two run through the picture adding up the clues. All the colorful characters are suspect, including Raul Julia who is unpleasantly excellent as Laura’s ex-husband. Rene Auberjonois is also fabulous as Laura’s assistant. The ending, we’ll say, is classic Carpenter.Continue Reading
Halloween 4: The Return Of Michael Myers
After both the box office failure and predominantly negative (and unfair) critical reviews of Halloween III: Season Of The Witch, the future for the Halloween franchise seemed unsure. Original creators John Carpenter and Debra Hill never intended or wanted to do Halloween II. They would have preferred their Michael Myers story be a single film and instead they wanted to continue the franchise as a series of stand alone horror tales that all took place on Halloween. But when Halloween III failed to launch this version of the franchise, producer (and Godfather) of the Halloween franchise Moustapha Akkad decided it was time to go back to the basics and bring back Michael Myers.
The opening of Halloween 4: The Return of Michael Myers is not only one of the most beautiful introductions of the entire series, but it perfectly captures the odd underlining uneasy feeling of the fall season. It’s a series of primarily landscape shots setting up Halloween, the holiday. Decorated pumpkins are set up at stoops, a gust of wind blows through the fields and the overall sense of dread that comes with the Halloween is palpable.Continue Reading
It’s pretty interesting to look back now in retrospect at Halloween II knowing what we do about other successful horror franchises and realizing that at the time of its release there had never really been any previous attempt in horror history to continue a story involving a modern day bogeyman. Back when John Carpenter unleashed the original Halloween into theaters in 1978 to an unsuspecting audience, it became not only the most successful independent feature of all time (and held that record up until The Blair Witch Project came out in 1999), but also became easily the single most influential film of the entire '80s “slasher” craze that would follow. (Even if Carpenter did lift quite a few bits from Bob Clark’s Black Christmas, the predecessor to Halloween). No one, including the filmmakers, the producers or investors could’ve ever predicted just how vast the success of Halloween would be, and so, they never, ever intended on doing a sequel.
But just as the '80s came, suddenly sequels didn’t seem like such a bad idea. Hell, Jaws had a sequel just a few years shy of the start of '80s and that did really well, so with the new crop of baddies showing up in such films as Friday The 13th, The Burning and My Bloody Valentine, why wouldn’t the studio want to bring back Michael Myers? And so, much to the reluctance of John Carpenter and Debra Hill who instead wanted to turn the Halloween franchise into a series of unrelated horror stories that took place around the famed holiday (and which they would attempt to do with Halloween III: Season Of The Witch), instead Halloween II became a direct sequel to their original, picking ...
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