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
British director Alan Parker’s third film, the high school musical Fame, has spawned a television series, a musical play, and a remake, not to mention inspiring reality competitions, the TV show Glee and other assorted bores about singing and dancing teenagers. What’s been forgotten is Fame works best as a gritty New York drama about teenage life in 1980. Parker, having just come off shooting the harrowing Turkish prison drama, Midnight Express, is no dance choreographer turned director. He’s a realist. Parker seems to be more inspired by the social realism of his countrymen Ken Loach and Alan Clarke rather than the Hollywood musical style of Busby Berkeley. He originally came out of television advertising and is often associated with popular English filmmakers of his generation like Adrian Lyne, Hugh Hudson, Ridley Scott and Tony Scott, who all started off in commercials and brought a shiny sheen to their films in the eighties. Although much of their work in that period (including Parker's) looks like champagne ads, Fame still resembles the unpolished look of seventies docudramas over the more purified work that followed. Fame is also one of the better films to casually capture the multicultural urban youth vibe of the times, unlike the John Hughes teenage whitewash that would come to dominate the eighties.
Fame depicts the lives of seemingly random students at New York’s School of the Performing Arts, from auditioning freshmen to upperclassmen. Ralph Garcia (Barry Miller of Saturday Night Fever) is a tortured Puerto Rican actor/stand-up comedian who worships comic actor Freddie Prinze and takes up some dangerously bad habits. The ambitious Coco Hernandez, played by singer Irene Cara (the original Sparkle), is a triple threat in acting, singing and dancing. Unlike her character Coco, Cara was never really able to capitalize on the attention Fame brought, although later she sang the hit theme to Flashdance. Bruno Martelli (Lee Curreri) is an obvious composing genius and his cab driver father will certainly tell anyone who will listen. Leroy (Gene Anthony Ray) only auditioned to help his girlfriend get in, but when the impressed dance instructors take an interest in his raw talent over her, he becomes the school's resident rebel. Even though her pushy stage mother believes in her, Doris (Maureen Teefy) may be a little too insecure for the competition. Speaking of insecure, acting student Montgomery, played by Paul McCrane (who would later appear as a great creep in RoboCop), is a wreck until he finally confronts his homosexuality. When the beautiful and wealthy ballerina, Hilary Van Doren (Antonia Franceschi), enters the school she inspires more competition among students.Continue Reading
A modernized take on the sort of old Hollywood ancient Roman epic that updates the sword and sandal genre with plenty of ass kicking spectacle and a powerful central performance from Russell Crowe as a Roman general who seeks vengeance after losing his family at the hands of a corrupt prince and is forced to fight as a gladiator in Rome’s coliseum. The film’s populist hero and themes went over big with audiences turning Crowe into a mega star in the process.
In what may be the Citizen Kane of xenophobia-ploitation flicks of the ‘70s, no matter how manipulative, hateful, and offensive Midnight Express may be, it’s also some amazingly intense filmmaking. After his first feature film, the misfire kiddie musical Bugsy Malone, British director Alan Parker announced himself as a major talent with Midnight Express, as did the obscure screenwriter Oliver Stone, who won an Oscar for his adaptation of Billy Hayes’ autobiographical account of his traumatic years in a Turkish prison. Though Stone famously spiced up the account to make it even more dramatic and has since even apologized to the people of Turkey for making them look like slimy monsters, the film is still an edge-of-your-seat piece of entertainment.
Along with his compatriots Ridley Scott and Adrian Lyne, director Parker would usher in a new era of filmmakers who came out of a commercial background. Like most of his pals’ films of the era, though, Midnight Express and a number of his other films are heavy on grit and realistic detail but there still seems to be a slight gloss over their work that sometimes makes their films, no matter how gritty, look like champagne commercials. But still Parker has had a most fascinating career, peeking early with Midnight Express and then following with a run in the 1980s with Fame, Shoot the Moon, Pink Floyd The Wall, Birdy, and then Angel Heart and Mississippi Burn...