Addams Family Values
Since they all seemed to spring from The Honeymooners and I Love Lucy, early sitcoms mostly followed the same basic comedy concept: the battle-of-the-sexes, men-vs-women formula. Breaking that rule is one of the many traits that made The Addams Family TV show and the two big screen movies so different and special. Here instead of bickering and plotting against each other, the married couple have a passionate and deeply sexual love, leaving most comedy hacks at a loss for creating conflict. And in the case of the films directed by Barry Sonnenfeld, the even bigger ace-in-the-hole is the brilliant casting of the couple, Raul Julia and Anjelica Huston as Gomez and Morticia Addams (taking over for John Astin and Carolyn Jones who were pretty fantastic themselves on the small screen). The first Addams Family flick was the directing debut of Sonnenfeld, who had made a name for himself as the cinematographer of the first three Coen Brothers films (Blood Simple, Raising Arizona and Miller’s Crossing, which had a then completely fresh look to them). Here he combines his zapped-up camera energy with a Tim Burton-like appreciation for the comically macabre (the first film was written by some of the writers of Edward Scissorhands and Beetlejuice). That first Addams Family movie was good but the second one, Addams Family Values, proves to be one of the rare sequels that is even better than the original.
Based on Charles Addams' now legendary cartoon for The New Yorker depicting the bizarre and wealthy family that skewered traditional family values, they horrified all the straight people who encountered them, and although not self-aware were totally confident in their own beings. The first film gave us the basic update of the show; Gomez and Morticia are the heads of an eclectic family clan of eccentrics that includes their daughter, gloomy Wednesday (Christina Ricci, born to play the role), their son Pugsley (not as funny as the chubby kid on the show) and the witchy Grandmama (played by Judith Malina in the first one and Carol Kane in the sequel). Also hanging around are their Frankenstein’s monster-looking valet/butler Lurch (the film version is not nearly as memorable as the TV version played by the giant actor Ted Cassidy) and their devoted assistant Thing, a disembodied hand, who really gets to shine in the movies with the help of technology. Both films really revolve around Gomez’s brother, Uncle Fester, played here by Christopher Lloyd much more grotesquely then Jackie Coogan’s TV version. Lloyd, with his gravely voice, comes off like a sheepish version of Murnau’s Nosferatu as opposed to Coogan, who is just a fat guy with a high pitched voice, but who is very funny. The first film revolved around crooks trying to swindle the Addams’ fortune by having a guy pose as Fester (similar to the plot of the second Brady Bunch movie, A Very Brady Sequel), and in the end it turned out the impostor was actually the real Fester.Continue Reading
Emperor of the North
Starting with Bonnie and Clyde in ’67 and throughout the '70s, the Depression in America became an exciting setting for a whole slew of films. That dark period of the 1930s sometimes became romantically re-imagined as a freewheelin’ adventure time or was used more dramatically as a metaphor for current times. Prime examples include The Sting, They Shoot Horses Don’t They?, Paper Moon, Dillinger, Boxcar Bertha, and Hard Times. And though it does not get off to the most promising start, Robert Aldrich’s 1973 movie, Emperor of the North, ends up being one of the best action flicks of the decade, as well as an almost comic-book Valentine to the era.
After opening with a scroll about the history of hobos riding the rails, Emperor of the North then rolls into the most unfortunate film theme song with all-stars behind it, maybe ever. “A Man and a Train,” with lyrics by the great Hal David (partner of Burt Bacharach), music by the nearly legendary Frank De Vol (he scored most of Aldrich’s films and The Brady Bunch!) and sung by Marty Robbins (”El Paso”), features gems like “a man's not a train and a train's not a man. A man can do things that a train never can.” I’m not sure what the word is for homoeroticism between a man and a train, but this song is it.Continue Reading