Written for the screen by Millard Kaufman, and adapted by Don McGuire, from the short story “Bad Time at Honda” by Howard Breslin, and directed by John Sturges, “Bad Day at Black Rock” has elements of both noir and western as an inquisitve one-armed man comes to the small desert town of Black Rock in search of answers. Admittedly, when hitting play on this movie, I had fully expected a nineteenth century western to appear before my eyes mostly due to the title alone. What I got was an unexpected delight, as those assumptions had eroded fairly quickly as the opening of the film was following a train that was far too modern to be of the old west. The first hint of something odd afoot is when the train station telegrapher, Mr. Hastings (Russell Collins) seems surprised, and maybe even a bit worried, that the Train is slowing down to stop, the first time it has done so in four years.
After watching the complex and daunting (yet very impressive) “Tenet” earlier in the week, I was left wanting something slower and simpler. Which is exactly what I got with this film. At an hour and twenty minutes, this film offered me both something old and something new. I was very engaged by the mystery that the film wraps you in almost immediately, but it also has just enough of that Noir flavor sprinkled in to really set this one aside as slightly elevated nostalgia genre fare. For me, this film was comfort food. For about a third to the first half of the story, we really don’t know the intentions of either the townsfolk or this stranger, John Macreedy (Spencer Tracy). All we know is that he’s searching for a Japanese American farmer named Komoko, and that everyone in town is suspicious of him once he starts asking around. At first I thought that the townsfolk might actually be protecting Komoko as one of their own from this Macreedy, possibly a government stooge? He had the suit for it, but as it turns out I wasn’t even close on first impressions as it became evidently clear what the truth of the situation was. Everyone in town tries to stall Macreedy at every turn, from not offering him a hotel room, physically getting in his way, to curt and aggressive social tactics. After awhile a young woman in town, Liz Wirth (Anne Francis) allows Macreedy to borrow her jeep to the disdain of Reno Smith (Robert Ryan), the unofficial ruler of this small town. Macreedy makes his way out to Adobe Flats, where he finds the remains of a charred house, a well with water deep in the bottom, and strangely enough, wildflowers growing.
On his way back into town Macreedy’s assailed by one of Smith’s goons, Coley Trimble (Ernest Borgnine), as he rams the small jeep around the uneven dirt road and eventually smashes Macreedy off the road with a laugh and a glare before beating him back to town. Eventually Macreedy puts enough clues together to get a good idea of what happened to Komoko, but he goes out of his way to confirm that before he and several good townsfolk acknowledge the real danger that Macreedy’s gotten himself into. I was particularly entertained by the exasperated, but good natured, Doc Velie (Walter Brennan) as he tries his best to help out Macreedy in his search for truth, and justice for Komoko. This was a quick delight of a film, and it’s wondrously anti-racist at it’s core. In fact the film almost didn’t get made as the subtle rebuke of Mccarthyism gave studio executives a myriad of problems on the matter, but it eventually got made in spite of this pushback. During my watch I was charmed by the old school mentality of an able-bodied actor with two working limbs trying to fake a lame one throughout the film production. They don’t make movies like that anymore, and while it could be a partial limb that the character was hiding, it’s pretty clear that Spencer Tracy’s just got his hand in his pocket the whole movie, but hey, it still gave the character more mystique initially. We eventually discover that he was a platoon leader in Italy during the war, which is fresh in everyone’s minds as this film is set in late 1945 after the war had just ended mere months ago. We eventually discover the humility and morality behind Macreedy’s reasoning in seeking out Komoko, but I’ll leave that one for you to discover on your own. There’s also a surprising and explosive scene in which Macreedy performs defensive judo moves on Coley Trimble under threat of intimidation tactics, and that alone would cover the price of admission for me. I found this one on the Criterion Channel, but it’s one that will be leaving at the end of the month, so check it out there while you can!
This may end up being my longest article on this blog. I didn’t exactly intend that at the beginning- but it evolved as I was writing it. Ironically, there aren’t really any “Rapid Fire Reviews” in this one. Every time I thought of wrapping the analysis on a film I’d think of another point to add and discuss. So, each film has a bit more analysis than expected. It’s also, probably, the most diverse selection of films that I’ve grouped together (though the Netflix Gems may be close). The films are grouped into four categories with four in each. There’s “Summer Blockbusters”, “Westerns”, “Spies, Thrillers, and Mystery!” and “Science-Fiction”. Some selections are films I’ve seen before and just wanted to write about, and others were older films that I just needed to finally sit down and watch. Anyways, here’s a bunch of reviews on some VHS tapes I unearthed, hope you have some fun and find something entertaining to watch! (There’s also a LOT of related YouTube content linked throughout the piece, enjoy!)
Jaws(1975 – Previously Watched)
Written by Carl Gottlieb and Peter Benchley, and directed by Steven Spielberg, “Jaws” is an adaption of the book by the same title- also written by Peter Benchley. “Jaws” is one of my all-time favorite movies. It originated the idea of a “Summer Blockbuster” in 1975 and forty-five years later the film stills stands as a Goliath of filmmaking that changed the course of cinema. It’s smart, thrilling, haunting, and enrapturing. For the few who have not seen this pillar of thrillers, the film is about a small Northeastern American island called Amity that becomes besieged by an abnormally large great white shark. The film opens with a bonfire by the beach where a young, inebriated, couple head out to the water for some skinny dipping by the moonlight. The guy doesn’t quite make it to the water though, too drunk for a dip in the drink. The woman however, happens to be the first victim, and her death is one of the best openings of a creature feature to date. Her screams are bone chilling as she flails through the water, and not long after she’s dragged into the deep. It’s a heart pounding and visceral opening that perfectly establishes the threat beneath the waves. Thus, the next morning Amity Island newcomer, Police Chief Brody (Roy Scheider), is alerted to the threat after a medical examiner looks into the remains that washed ashore. Naturally, the good-hearted small town cop wants to close the beaches after such a grisly attack, but the business owners and local politicians push back immediately. How can they afford to close the beaches right before the fourth of July weekend in a tourism-backed economy? The Mayor swiftly overrules Brody after the medical examiner changes his ruling to that of a boating accident rather than death by shark. So, the waters remain unchecked, that is until a young boy is killed in broad daylight once the beaches are re-opened. Which brings me to my favorite character, Quint (Robert Shaw). During a town meeting to discuss what to do about the shark, the lone Captain makes his introduction, and an offer, $10,000 and he’ll catch that shark. The room of local leaders and business owners nebbishly acknowledge the local fisherman as he sees himself out. A bounty is put out for the shark and Brody sends for an expert in the field. The last piece of the puzzle arrives in the form of oceanographer Hooper (Richard Dreyfuss) as he navigates the heavily populated chaos of the Amity docks. The three principle characters of Chief Brody, Quint, and Hooper are the perfect trinity of character work in my opinion. Brody moved from New York to Amity so he could actually make a difference in people’s lives- even if he was afraid of the water. Quint is the epitome of a shark hunter with a past deeply connected to the man-eaters of the deep. He’s funny, deadly serious about his work, and a bit of a mad man at heart. Hooper is the rich kid obsessed with the ocean and the life in it. He’s also a sarcastic, science utilizing, smart alec. Hooper is the upper class expert to Quint’s working class expert. Theory versus practice in the flesh. Chief Brody is just the everyman in the middle trying to put a stop to the bloodshed. Once all three men board ‘The Orca’ and set out to track and kill the menacing great white- the film takes on a different nature. One of my favorite scenes in all of film history begins with Quint and Hooper drunkenly comparing scars. It’s here where Quint and Hooper finally achieve a mutual respect for each other- but it’s when Brody pipes up to ask about another scar of Quint’s that the tone of the scene turns. Quint’s retelling of his experience aboard the USS Indianapolis, the ship that delivered the Atom bomb in WW2, is both harrowing and horrific. After the bomb was delivered, the flagship was sank a few days later by a Japanese submarine. Quint and the survivors, some hundreds of men, floated together adrift for four days before the rescue began in earnest. His tale of the shark attacks on his fellow sailors is brutal and telling, he has a reason for never wearing another life jacket. However, I don’t want to take too deep of a dive into “Jaws”, but it is a much beloved classic that I hadn’t taken the time to review until now. Obviously- if you still haven’t seen this one, I highly recommend it!
*Below I’ve posted a YouTube video from Dan Murrell, a film reviewer and internet personality that I respect and recommend, he too loves Jaws, and went in depth on the film recently. Check it out!
The Rock(1996 – First Watch)
Written by David Weisberg, Douglas Cook, and Mark Rosner, and directed by Michael Bay, “The Rock” is a stellar action thriller following Bay’s first first feature “Bad Boys”. Sporting a bigger budget, bigger stars (for the time), and the introduction of more elements of Bay’s repertoire that would come to be synonymous with the cavalier director, “The Rock” completes Bay’s one-two punch after “Bad Boys” affirming the director’s sense of style and flair. The plot sets in motion when a group of rogue Marines led by disenchanted Brigadier General Frank Hummel (Ed Harris) steal a stockpile of deadly nerve gas. This alerts the Pentagon and the F.B.I. to the situation, which introduces us to the best chemical weapons specialist in the F.B.I. Dr. Stanley Goodspeed (Nicolas Cage) in a quick but effective scene that establishes his skill with dangerous chemicals when he stabilizes a deadly scenario in the lab. After this the rogue marines storm Alcatraz Island, take eighty-one hostages, and make their demands to the government, namely One-Hundred Million dollars from a slush fund that Hummel is aware of. He plans to compensate his men and the families of those lost to blacklisted missions. If he doesn’t receive the funds before a set time, San Francisco will be bombarded with the nerve gas via missiles. The Pentagon and the F.B.I. then formulate a plan by offering a pardon in exchange for information from prisoner John Mason (Sean Connery), the only man known to have escaped Alcatraz and lived. While being held at a Hotel, Mason escapes (Surprise! The escape artist is really good at escaping.) which results in a thrilling chase sequence throughout San Francisco with Goodspeed in a yellow Ferrari chasing down Mason in a black Humvee. Carnage, disregard for human life and property, bright primary colors- yep, this is Bay fine tuning those sensory instincts. Anyways, they successfully enter Alcatraz from beneath in a series of underground piping and caverns. Unfortunately the marines discover them and take out the invading force that accompanied Mason and Goodspeed- leaving the them as the only men left to complete the mission. This one was a damn fine surprise. You never know with Michael Bay, sometimes you get “Bad Boys” and “6 Underground”, and other times you get “Transformers” two through five or “Pearl Harbor”. Luckily- this one is among his best, it’s my personal new favorite from him. Highly recommended.
*Below this there’s another video from YouTuber Patrick H. Willems. In this video the scrappy video essayist takes on the man, the myth, the maker of ridiculous explosions, Michael Bay himself. It’s a fun analysis of the filmmaker that strives to point out that Bay is pretty good at what he does and no one can do it quite like him. The video is a two-parter, but this is just the first piece, check them both out!
Face/Off(1997 – First Watch)
Written by Mike Werb and Michael Colleary, and directed by John Woo, “Face/Off” is an incredibly over-the-top Action film with a very silly sci-fi premise. Nicholas Cage stars as Caster Troy, a homicidal sociopath and terrorist in his free time. The film opens with Troy taking aim at FBI special agent Sean Archer (John Travolta) as he rides a carousel with his young son. Troy shoots Archer in the back- but the bullet goes right through him, killing his son. Fast forward six years and we’re engaged in Archer’s painstakingly prepared mission to catch Caster Troy. The FBI successfully ambushes Troy and his crew at the L.A. Airport in an action packed sequence that perfectly sets the tone for this madcap crime caper. Archer and Troy engage in some rivalry-edged dialogue where Troy taunts Archer with some new information, namely, that a bomb has been hidden somewhere in Los Angeles. Unfortunately Troy’s knocked into a coma before they can interrogate him for the bomb’s location. The F.B.I. did manage to catch Troy’s brother though, and since he was the brains behind his brother’s plans, they plan to extract the information from him. After they find out that Troy’s brother doesn’t know the bomb’s location, Archer is approached for an extremely experimental and secretive project. The plan is to remove Caster Troy’s face, graft it onto Sean Archer’s head, and have him put into the secretive super prison to trick Troy’s brother into divulging the location of the bomb using Archer’s intimate knowledge of Caster Troy as leverage. As you might expect, things go awry when Caster Troy awakens from his coma after the experiment. So, of course, he uses his many connections to round up the scientists, has them attach Sean Archer’s face to his head, and then burns down the lab with the only people that knew of the project’s existence. Things get pretty dicey in the super prison where the real Archer makes attempts to extract the bomb’s location. Once Troy-with-Archer’s-face waltzes into the prison to let Archer-with-Troy’s-face know that he’s blown up the lab and stolen his life. The tension and absolutely insane action only increases from there. If you’ve seen John Woo’s other films (American or Hong Kong) his usual staples are there in spades. Chaotic Gun Fu action sequences? Check. Slow motion and Mexican Standoffs? Check and check. There’s plenty of style all over this admittedly bonkers action film. There’s also a pretty great boat chase in the finale- possibly the best boat chase of the 1990’s! It’s bloody, feisty, and a hell of a good time if you know what you’re getting into. Definitely recommended.
The Fugitive(1993 – Previously Watched)
Written by Jeb Stuart and David Twohy, and directed by Andrew Davis, “The Fugitive” is a streamlined crime caper with thrills aplenty. Harrison Ford stars as Dr. Richard Kimble, a well respected vascular surgeon in Chicago, who’s wrongly accused of murdering his wife. The film opens at the crime scene with Kimble being walked out of his house by the police while a reporter gives us a few key details of the crime. There was a frantic 9-11 call made by Kimble and that the couple were at a fundraiser for ‘the children’s research fund’ earlier in the night. With no evidence of a break-in and an extremely high dollar life insurance policy on his wife, suspicion arises quickly. After the cops hear Kimble’s version of events, he’s brought before a judge and swiftly convicted of 1st degree murder and sentenced to death row. While on route to prison, some of the other inmates on the bus stage an escape. One of the guards is attacked and one of the prisoners shot dead, but before you can blink the bus is sent careening through guardrails and tumbling down a hillside straight onto some train tracks with one approaching fast! Kimble quickly saves one of the injured guards before leaping off the carnage of the bus crash as the train smashes into it sending all manner of train cars awry in a cascade of explosions. Which brings us to the introduction of U.S. Marshall Gerard (Tommy Lee Jones) the chief antagonist for most of the film. This kickstarts the majority of the film’s focus; Kimble narrowly escaping the Chicago Police and U.S. Marshalls while trying to figure out who killed his wife, and why. This is a film that I had seen ages ago, but it was a fun re-watch that I thoroughly enjoyed! Between Harrison Ford’s ‘cool under pressure’ intensity and affable ‘everyman’ nature set against Tommy Lee Jones unyielding ‘top cop’ bravado, this movie embodies everything you’d want out of a ‘man on the run’ action film. Though there are some key notes that would clue you into this being a very 1990’s movie. Obsession with a one-armed man villain (who isn’t the real villain anyways)? Check. Scenes taking place in the sewers? Check. Ridiculously large practical effects explosions? Check. I’m here for all of that. It’s a movie that keeps the pace constantly moving, and it’s endlessly re-watchable. If anyone wanted to know what a Summer Blockbuster used to look like, this is a prime example. Highly recommended.
Once Upon a Time in The West(1968 – First Watch)
Written by Sergio Donati and Sergio Leone, from a story by Bernardo Bertolucci and Dario Argento, and directed by Sergio Leone, “Once Upon a Time in the West” is the next ‘Spaghetti Western’ he directed after his successful “dollar trilogy” had ended with “The Good, The Bad, and The Ugly” two years prior. While this film may be an hour shorter than that legendary western, and it most certainly has its moments of brilliance, it simply cannot outdo it’s predecessor. However, it is an excellent Western in it’s own right. The premise is simple, but Leone’s skill in direction and squeezing tension out of every shot goes a long way to amplify this plot. A family living in the outskirts of wilderness has a ranch on some land that the railroad company wants to purchase- but Brett McBain (Frank Wolff) refuses. This results in Frank (Henry Fonda) arriving with his gang to take out the McBain family at the behest of Morton (Gabriele Ferzetti), the crippled railroad Baron. Notably, Frank was given orders to dress as the recognizable local outlaw, Cheyenne (Jason Robards) as a diversion for any possible witnesses. Then there’s the wild card of the film, ‘Harmonica’ (Charles Bronson). The mysterious gunslinger is known only by the instrument he plays before he guns down anyone unfortunate enough to find themselves at the wrong end of his pistol. The land’s ownership becomes complicated once Jill McBain (Claudia Cardinale) arrives at the ranch. Secretly wed to Brett McBain weeks prior, the plan was for Jill to arrive and then they’d hold a ‘formal’ wedding. Since things didn’t go as planned, the two outlaws Cheyenne and ‘Harmonica’ decide to help the widowed McBain, partly for their own unique reasons. ‘Harmonica’ has a longstanding feud with Frank- one that has bits and pieces of information doled out to us along the way. As for Cheyenne, despite his reputation, he’s become a middle-aged outlaw with a ferocity that’s been mellowed by time. It’s a process that allows hints of his true morality to sneak out from behind his rugged exterior throughout the film, if you’re paying attention. I chose to watch this Western the day after Ennio Morricone passed away last month, I knew many of his western scores already- but the chance to bask in a “new” ‘Spaghetti Western’ score was my way of remembering the legendary composer. The most memorable part of the score belongs to ‘Harmonica’, whose theme lingers like an echo of sadness and loss. Which makes his eventual revenge on Frank all the more powerful once the full reasoning behind ‘Harmonica’s quest for revenge is revealed. I also really dug Henry Fonda’s performance as Frank. Here, Fonda is playing completely against his well-crafted “Good Guy” persona, and it’s a fascinating turn for the Hollywood star. Charles Bronson was an entertaining choice for the nameless gunslinger- but the role does feel personally crafted for Clint Eastwood. Eastwood, not wanting to become typecast as his infamous “Man-With-No-Name” character, turned the role down, and while Bronson is an adequate stand-in for the archetype, Eastwood’s absence here is palpable. While this one may not be for everyone, the gargantuan runtime and slow-burn atmosphere will turn many away, there is enough here to give this one a recommendation from me.
The Searchers(1956 – First Watch)
Written by Frank S. Nugent and Alan Le May, and directed by John Ford, “The Searchers” is an infamous Western known for it’s beautiful shot composition and complex characters (for the time). John Ford was a fascinating American film director, and his pairings with John Wayne were always guaranteed to be worth your time- this is one of those films that’s lauded as a monument of the genre. Perhaps because of it’s location in cinema’s history, precariously perched between the Westerns of old with their black and white morality and clear cut “good guys” and “bad guys”, or because of the shifting morality of the new era of anti-heroes and tales of ambiguity- “The Searchers” is part of that trend. Especially because Ford and Wayne were the trailblazing duo that helped to create the Western genre just seventeen years earlier with “Stagecoach”. This film, is … tricky to discuss and analyze in the year 2020. The year is 1868, our lead, Ethan Edwards (John Wayne), is a confederate soldier returning home to Western Texas after fighting in both the Civil War and the Mexican Revolutionary War as well. Ethan is no apologist for the South- and he’s an outright racist to the Comanche Native Americans. The film centers around Ethan’s five year quest to track down the Comanche tribe that burned down Ethan’s family’s home, kidnapped his niece Debbie (Natalie Wood), and killed the others. Really, the film is about two men’s quest to save Debbie, but the other man involved brings about the other- less interesting half- of this film. That man is Martin Pawley (Jeffrey Hunter), a young man that Ethan had saved after another tribe that had burned down his home as a child as well. Being “One-eighth” Comanche, Martin is always on Ethan’s bad side for most of the film- and he’s used as the audience stand-in during Ethan’s quest. You see, Ethan plans to kill Debbie once he finds her, as becoming one of “Them” is worse than death to him. Martin, we’re led to believe, is the only thing standing in the way of Ethan committing to his creed. Eventually, Ethan decides against the violent solution and does indeed return Debbie home. Though, I have to admit the weakest point of the movie for me was when he came to save her, in an earlier scene Debbie had already told Martin that she was with the Comanche now. She didn’t want to be rescued. The film does not wrestle with this potential point of conflict- perhaps too much complexity for 1956? Once Ethan grabs her to take her home- she has instantly changed her mind with ultimately no rhyme or reason. Overall, this film did not grab me as anticipated. It feels its age in many ways throughout the film. There is some truly thematic imagery with Ethan, but the ‘other half’ of the film that I mentioned involves a romantic B-plot for Martin that’s played for laughs several times throughout and I felt like you could cut most, if not all, of that plotline and tighten up the “Ethan and Martin on the obsessive quest” part instead. Below I’ve posted a link to Roger Ebert’s review of the film, he said it better than me, but he also enjoyed the film more than I. “The Searchers” is somewhat recommended for Western purists who want to see all of the landmarks of the genre- but not much else.
The Sons of Katie Elder(1965 – Previously Watched)
Written by William H. Wright, Allan Weiss, and Harry Essex (based on a story by Talbot Jennings), and directed by Henry Hathaway, “The Sons of Katie Elder” is a ‘feel good’ Western starring John Wayne and Dean Martin in prominent roles. The term ‘feel good’ is an incredibly subjective term, I concede, but this Western has all of the elements that would indeed culminate in such a labeling, at least for me anyway. The story is fairly straightforward, and it begins on the day of Katie Elder’s funeral, with her sons returning home. The two eldest, John (John Wayne), a well known gunslinger, & Tom (Dean Martin), a high stakes gambler, aren’t exactly welcomed home by the sheriff and community. The two younger brothers however, Matt (Earl Holliman) an unsuccessful hardware store owner, and Bud (Michael Anderson, Jr.) the youngest and still in school, aren’t quite as despised by the locals. After the funeral, the three eldest decide that they’d like to do something to honor their late mother. They all regret not living up to her expectations and agree to find a way to send Bud to college so he can better his life in the way their mother would have wanted. Enter, Morgan Hastings (James Gregory), local gunsmith and antagonist of the story. You see, Hastings claims to have won the ownership of the Elder family’s ranch and property from their deceased father, Bass Elder, in a game of cards. The thing is, Bass died mysteriously that same night after the card game and no one knows who the killer was. After Hastings, who isn’t too subtle with his displeasure at the Elder boys being around, notices their suspicions about the affair- he kills the sheriff and pins the murder on the Elders. There’s more, but I don’t want to give the whole thing away. Between a fun ensemble cast, a rousing score, and a particularly nasty villain for the Elders to fight against, this one has a lot of what I look for in a good Western. This is my favorite John Wayne movie, and I definitely give it a recommendation.
*Below I’ve linked an article that Roger Ebert wrote about John Wayne years ago. Ebert had the luxury of meeting and interviewing the legendary actor several times and can, perhaps more eloquently, describe why he was an important figure in cinema. Hope you enjoy it!
Written by Víctor Andrés Catena, Jaime Comas Gil, Adriano Bolzoni, Mark Lowell, and Sergio Leone, and directed by Sergio Leone, “Fistful of Dollars” is an American Western adaption of Japanese film director Akira Kurosawa’s Samurai film “Yojimbo” (which I highly encourage you to see). It holds the same structure as “Yojimbo”, in which a nameless Samurai (or gunslinger) encounters a town in the midst of a feud between two factions with an opportunity to make some cash from their dispute. Once the-man-with-no-name (Clint Eastwood) arrives in San Miguel, he heads to the inn where he hears about the town’s issues at the bar from Silvanito (José Calvo), the innkeeper. The Rojos and The Baxters are the two families that’re vying for control of the town, and ‘the stranger’ (as we shall refer to him from now on) takes the first step by establishing his deadly speed and accuracy with a gun when he shoots dead the four men insulting him upon entering the town for all to witness. There’s some back and forth of trading information for cash, initiating shootouts between both families, and even some danger for ‘the stranger’ once one side catches him in the act of sabotage. Eventually our poncho wearing, sly, squinty stranger outsmarts the Baxters and the Rojos and even earns himself a profit in doing so. Though, he does save a woman and her family by freeing them in the night and giving them some money to survive on whilst on the run. So, he’s not entirely motivated by greed- just mostly. “A Fistful of Dollars” is important for several reasons. It created the sub-genre of the ‘Spaghetti Western’ and it was tonally a sharp rebuke to the “ten-gallon white hat” Westerns of old. Granted, there’s a time and place for all shades of morality in any good western in my opinion- but this is the one that blew the doors off of the genre and suggested that audiences were indeed ready for a lead character of dubious morality- just so long as they were interesting. Clint Eastwood’s “Man-with-no-name” may now be a legendary figure in cinematic history- but before this Eastwood was mainly known for his role as the young cattle driver ‘Rowdy Yates’ on the TV Western show ‘Rawhide’. If you’re familiar with “Star Trek: The Next Generation”, the transition from Rawhide to “A Fistful of Dollars” for Eastwood, would be like Wil Wheaton, who played whiz-kid and genius youth Wesley Crusher on TNG, evolving into Action-Star Bruce Willis in the original “Die Hard”. A strange, but welcome development. This film is also the second film on this list to have been scored by Ennio Morricone, and that alone makes it worth a watch. “A Fistful of Dollars” is the first film in what is commonly known as “The Dollar” trilogy, and each one is pure cinematic joy, I highly recommend all three.
Below is my review on “Yojimbo” that I wrote on this blog a few years back, it’s a classic Samurai film, and generally one of the best films out there! If you want to see where the man-with-no-name’s inspiration came from- check it out!
Written by Berkely Mather, Johanna Harwood, and Richard Maibaum, and directed by Terence Young, “Dr. No” is an adaption of Ian Fleming’s sixth Bond novel, but the first screen appearance of the cinematic legend that is Agent Double-O Seven, James Bond. Personally, I was truly looking forward to the next current James Bond film “No Time to Die” and with it’s delay (and the rest of Hollywood’s 2020 schedule) I decided to turn to the past for my Bond fix with the other big film in the franchise with a ‘No’ in the title, “Dr. No”. Especially once I’d considered the fact that I’d never seen the first in the series. One of the most striking sensations that came from my viewing of “Dr. No” was how small and quaint it feels when thinking of the films and legacy it would come to inspire. I also did not expect so many of the recurring staples of the series to be introduced in this first outing. The gun barrel view of Bond, highly stylized musical opening, the villain’s lair being incredibly sleek and ‘modern’, hell he even orders his signature drink pitch perfectly. I was really surprised that S.P.E.C.T.R.E. (SPecial Executive for Counter-intelligence, Terrorism, Revenge, and Extortion) was introduced this early- I thought that was a later invention of the film series. Anyways, we’re introduced to James Bond at a game of cards, how perfect, before he’s brought to M (Bernard Lee) for a briefing. Agent Strangways has been murdered at his post in Jamaica and MI6 wants an explanation. They only know that he was recently co-operating with the CIA on a case concerning possible disruption of rocket launches at Cape Canaveral with radio jamming. Q (Peter Burton) gives Bond a quick gun upgrade before he’s sent off to Jaimaica to sort out the issue. As soon as he’s arrived Bond is already surrounded by spies and people trying to kill him. It’s the perfect cold war scenario- yes everything might look like a welcoming, sunny, tropical island- but there is unseen danger around every corner. Bond investigates locations and suspects as he nears closer to Dr. No’s headquarters, dodging death by tarantula and armored tanks with mounted flamethrowers in his pursuit. Needless to say, the film is still classically entertaining, even if the stakes seem minuscule compared to where the character will be taken in the cinematic future- but it was a welcomed nostalgia for simpler villains for me. Sometimes, you just want a capable hero and a power hungry villain to clash ideologies- and fists! Highly recommended.
North by Northwest(1959 – First Watch)
Written by Ernest Lehman and directed by Alfred Hitchcock, “North by Northwest” is one of the most famous films of the twentieth century directed by one of Cinema’s icons, who ironically would be on ‘Mt. Rushmore of film directors‘ if there was one. Cary Grant stars as Roger Thornhill, a New York City advertising executive caught up in an elaborate case of mistaken identity. One afternoon at a New York City restaurant, Roger Thornhill is, well, politely kidnapped from the establishment by some thugs that mistook him for George Kaplan. Thornhill is then brought to an estate in Long Island where he’s interrogated by spy Phillip Vandamm (James Mason) posing as Lester Townsend. Vandamm doesn’t believe one second of Thornhill’s constant protest of innocence, and promptly has his goons stage an accidental death by drunk driving. They funnel a whole bottle of rye whisky down his gullet and throw Thornhill in a car in neutral near a seaside drive. This results in a blistering sequence where Thornhill narrowly escapes death and speeds along until he’s caught by some local police who also don’t believe the accounts of his estate interrogation. Thornhill tries to prove his innocence several times until he gets further, and further involved in the cover-ups and conspiracies surrounding George Kaplan and Phillip Vandamm. If, somehow you also hadn’t yet seen this thriller, I will refrain from spoilers in this review. Just know that in the skillful hands of Alfred Hitchcock, the story is constantly getting ratcheted up in tension and unpredictability. Before you know it Vandamm and various other forces at work have landed Thornhill as the lead suspect in the murder of a U.N. diplomat as he flees across the country to solve the mystery of who this George Kaplan is and why Vandamm wants him killed. I cannot leave this review without mentioning Eva Marie Saint as Eve Kendall, girlfriend of Vandamm and undercover spy herself. Eva Marie Saint adds just the right amount of intrigue to the thriller, and she plays off of the perplexed and flabbergasted Cary Grant with distinction. I’m glad I finally crossed this one off my list, it’s one of those pillars of cinema that I just never got around to sitting down and giving it a watch, but quarantine offers the time- you just have to use it correctly. “North by Northwest” lived up to my expectations, and I highly recommend it.
Casablanca(1942 – First Watch)
Written by Howard Koch, Philip G. Epstein, and Julius J. Epstein, and directed by Michael Curtiz, “Casablanca” is an adaption of a play called “Everybody Comes to Rick’s” which was created by Murray Burnett and Joan Alison. Possibly the most quoted film of all time, “Casablanca” is one of those films that has stood the test of time through generations of audiences and will long be remembered for it’s place in cinematic history. Set before the events of Pearl Harbor, the film is very much an analogy of the state of the war through an American perspective before our involvement. “Casablanca” is a romantic thriller set in the infamous French-Moroccan town where wealthy Europeans congregate to flee the hemisphere from the violence consuming the region. While under the neutrality of North Africa, but ultimately the thumb of Nazi-controlled France, many deal in secrecy, making hushed arrangements with cocktails anxiously held in hand at “Rick’s Café Américain”, a luxurious nightclub ran by Rick (Humphrey Bogart). The quick rundown of this incredibly well known film is that Rick used to be in a relationship with Ilsa (Ingrid Bergman) in Paris before the Nazi Occupation. Eventually, everything went south (literally), and Rick was left waiting at the train station without her. Scorned and sunk into a cynical depression, Rick wound up in Casablanca where he’s well known for allegiances to no one but himself and his employees. One day, Ilsa walks through Rick’s doors with her husband Laszlo (Paul Henreid), a prominent figure in the Resistance. With Nazi representatives closing in on all fronts and Rick ultimately holding the key to the couple’s escape- tensions arise, love is questioned, and priorities are reassessed. Everything about this film is outstanding. The direction, acting, pacing, soundtrack, writing, editing, everything is excellent! I wouldn’t change a single beat of this masterpiece. Ultimately the message of the film is to reject personal gains over the moral choice. To shed cynicism and embrace the moral imperative for the greater good. It’s a rallying cry to give a damn because giving a damn matters, in a time when everything seemed at it’s worst, it’s those with true character and principle who rise above the chaos to do the right thing. That’s a message that I personally needed to hear this year in particular. It was incredibly nourishing to watch a film where peril looms around every corner, paranoia and hysteria rampant, and yet- doing the right thing proved to work, to be worth the risk. There have been a thousand reviews and endless discussions about this film and there’s good reason for it, but I could go on all day writing about this one, at some point I have to end by simply saying, “Don’t wait forever like I did to watch this classic film.” Highly recommended.
*Below I’ve listed an article from the Guardian that details how filmmakers are being asked to look to Old Hollywood classics like “Casablanca” on how to film sex scenes that adhere to social distancing guidelines back when the Studio system had a morality code and could be censored for even the slightest indication of anything sexual. It may be for entirely different reasons, but “Casablanca” is still having an effect on the film industry.
*But also, here’s another video from YouTube that further dives into the film’s greatness. Enjoy!
Mulholland Drive(2001 – First Watch)
Written and directed by David Lynch, “Mulholland Drive” is a gloriously strange mystery soaked in dream logic with tinges of horror sprinkled throughout for good measure. It’s also my favorite David Lynch film. I’ve always had a Love/Neutral relationship with David Lynch as a filmmaker and creator in general. I haven’t always loved his movies- but I absolutely adore all of “Twin Peaks”. This is the first film of his that I’ve seen and enjoyed as equally as “Twin Peaks”. I didn’t love “Blue Velvet” or “Eraserhead” or even “Inland Empire”, but this one was my jam. “Mulholland Drive” is a mystery first and foremost, but I’d go so far as to call it a neo-noir in it’s stylization and structure. The story begins with a woman in a limousine getting hit by a speeding car when stopped on the side of the road in Los Angeles. After emerging from the wreck, mostly unscathed, the woman then haphazardly walks towards the city lights in a daze. She clambers through the brush and into the city where she passes out under some bushes just outside an apartment complex. When she awakens as residents walk past her to a taxi, she quietly enters the plaza and wanders into an unlocked apartment. Then we’re introduced to Betty (Naomi Watts) as she exits the airport, entering sunny southern California with a beaming face and hope in her eyes. Betty then arrives at that same apartment, which is her aunt’s as she’s allowed Betty to use it while she’s out of town. Betty’s an aspiring young actress in town for an audition and awaiting her turn to ‘make it big’. After Betty discovers the hidden woman showering at her aunt’s, she assumes it’s one of her aunt’s friends and when Betty asks her name, the stranger replies “Rita” (Laura Harring) when spotting an old Hollywood poster. Eventually Rita and Betty discuss Rita’s memory loss, she only remembers the car wreck and nothing else about herself. Betty takes up the mantle of Detective and they try to figure out who Rita really is and what random forces brought them together. My favorite aspect of this film is the flip that takes place near the third act, I really don’t want to spoil what that flip is for anyone, but it is so earth-shatteringly strange that it will make even the most sober and unmoved critic cry out “Whaaaaaaaaaaaat is happening?!” There is reason behind the flip though, and that’s what I love about it. Similarly to some of the best parts of the third season of “Twin Peaks”, the curveball of this narrative twist is delightfully absurd. I also adore the dream logic applied to the nature of reality in the film. My favorite scene in the film is one that is almost completely removed from the entire plot of the film. It involves the diner, “Winkie’s“, used for several scenes- but it is the one where two men decide to meet there because it is the exact location of a nightmare one of them had where he describes the events of the nightmare- and then… it happens. I’ve never seen nightmare logic so perfectly put on film, and one where Lynch conveys atmospheric tension and unsettling horror in broad daylight, behind a Diner, on Sunset Boulevard. Complete mood perfection. I could go on, but I most certainly recommend this one. Though, I have to admit- it’s the most unsettling film on this list and will MOST DEFINITELY not be for everyone, and that’s okay. I encourage you to check it out regardless.
Star Trek: Generations(1994 – First Watch)
Written by Ronald D. Moore, Brannon Braga, and Rick Berman, and directed by David Carson, “Star Trek: Generations” is the first Star Trek film from “The Next Generation” series and it takes place after the end of the seventh season. After having watched and enjoyed much of “Star Trek: The Next Generation” recently, I thought I’d give the films that came from it a shot. I didn’t know much about them, only that they were released after the series ended. So, I started in chronological order with “Generations”. I mean, hey, who didn’t want to see a “team up” adventure with the two best Captains in the series history? Captain Kirk and Captain Picard? Together? Saving the universe? I’m there. Unfortunately, I went into this film with higher expectations than I should have. The film begins with three of the original series cast members in Scottie (James Doohan), Chekov (Walter Koenig), and Kirk (William Shatner) (No Bones? Awe c’mon!) attend the maiden voyage of the USS Enterprise-B decades before the events of “Next Generation”. What was supposed to be a rather mundane and cordial trip around the solar system turns into an impromptu rescue mission when the new crew is bombarded with an S.O.S. from two ships being ensnared by a massive and mysterious energy ribbon. Naturally, the new Enterprise is the only ship in the area, so, despite not being built out with all of the functional systems of a Galaxy class starship yet- they head out for rescue! They manage to save some members of one of the ships before both explode- but in the process the new Enterprise is damaged in doing so, and they lose Captain Kirk in the process- believing him to have perished in the chaos. Fast forward to the Next Generation timeline and we see the crew celebrating the promotion of Worf on the Holodeck in an elaborate ceremony aboard a nineteenth century Naval vessel. It’s an entertaining scene, one in which Lieutenant Data (Brent Spiner) (an Android Starfleet officer and the only synthetic life capable of freewill in the Star Trek Universe for the uninitiated) misunderstands a social interaction with crewmate Dr. Beverly Crusher (Gates McFadden) in which she suggests he “be more unpredictable”, so he tosses her overboard and into the water. This leads him to later ask Geordi La Forge (LeVar Burton) (chief engineer of the Enterprise and Data’s best friend) to finally install his emotion chip. Data believes that in order to avoid further issues with future social interactions, he will need to rely on the missing link to his evolution in becoming more human- regardless of the cost. This results in the best aspect of this movie in my opinion- Data finally understands humor and for awhile he is unable to hold back boisterous laughter from even the dumbest of jokes. It’s stupid- but I got great joy from this very silly development. Data’s journey in this movie was the single greatest story arc in my opinion. Let’s get to the more pressing matter here though, Captain Jean-Luc Picard (Patrick Stewart). During Worf’s (Michael Dorn) promotion, Picard is given notice of a family tragedy. His brother and nephew living back in France on Earth, have died in a fire that burned the family house down. This plot point is what has fundamentally broken the character of Jean-Luc Picard in my opinion. From this point onward, in all of the films, and his titular TV show, he is no longer the patient, considerate, and mild-mannered thinker or tactician that he was as Captain during those seven seasons of episodic adventures. From here on out he’s impulsive, brash, violent, and lacks all of the character nuances that the show worked so hard to craft. People can change over time, get better, retract, evolve etc I know that people are not a constant or static thing. However, I simply can’t understand the reasoning behind altering the character so much so that he doesn’t even seem like the same person. It’s been a mind boggling experience. Anyways, I’m getting away from the point. The villain of the film, Soran (Malcolm McDowell) is acted well, but his plan is confusing as all hell. He wants to return to the nexus (The ribbon of energy that killed Kirk in the opening), which is depicted as a heaven-like plane of existence where everything is bliss, time and space essentially have no meaning here. The ribbon of energy that is the nexus glides through space scooping up life forms as it passes by planets. Soran tracks the ribbon’s flight path and where it is expected to arrive, shoots a probe into the star of the system he’s in, which alters the ribbon’s path to pass over the planet that he’s currently on- thereby returning him back inside the nexus. Which, also, apparently Guinan (Whoopi Goldberg), a series regular from TNG, is from as well? Also, the probes destroy the star which threatens a number of planets’ species in the process. I have so many questions. So… without going through the entire movie, Picard is brought into the Nexus when attempting to stop Soran, where he meets Captain Kirk (at an hour and a half into the movie) and convinces him to help escape the nexus and stop Soran. It’s strange. Kirk’s scenes feel as though Shatner was on a ‘mountain man kick’ where his scenes are mostly of him splitting wood with an axe and cooking a hearty meal while Picard pleads with him to assist in stopping Soran. Also, the Enterprise crashes into a planet while Riker (Jonathan Frakes) is in charge. Okay, okay… so.. this movie was quite a let down for me personally, it has it’s moments- but I cannot in good conscience recommend this one.
*Below I’ve posted a video collecting all the ‘parts’ of a review of “Star Trek: Generations” done by Red Letter Media’s character (created by Mike Stoklasa) Mr. Plinkett. I’ve included this review here because Plinkett makes a lot of solid points throughout his review, but I must warn you that the Plinkett character is darkly comedic in tone and there are some jokes inserted in these reviews that have been part of longstanding in-jokes and I am certain that this will offend some people. Just remember that Plinkett isn’t a real person, it’s all in good fun, and let’s all just nerd out together about “Star Trek”.
*However, just to play devil’s advocate, below I’ve listed another video with an opposing viewpoint. Personally, I agree more with some of Mr. Plinkett’s points over Renegade Cut on the topic- mainly because there are points in “Generations” that aren’t very consistent with “The Next Generation”. I don’t really care that Lieutenant Data’s emotion chip changed sizes since the TV show appearance or that only Scotty and Chekov were the only original Star Trek characters to appear alongside Captain Kirk in the opening sequence. I do, however, care about baffling choices like the abrupt lighting changes throughout the Starship (Someone must have been watching a lot of Film Noir before lighting these sets…), glass breaking when the Enterprise crash lands, but most importantly- that the core cast of characters from “The Next Generation” don’t seem to apply the same logic or intellectual rigor to their problem solving. That was one of the highlights of the show for me. Quarantine has been a long slog, and “Star Trek: The Next Generation” has been a recurring favorite during this time. I’ve always been impressed with the writing, the patience and calmness of the characters even under duress- and this film (which I do not hate) neglects much of that notion. Though, it was a different time, and when a series got “The Movie” treatment in the 1990’s, everything had to be BIGGER, BADDER, AND BETTER THAN EVER! So, yeah, I get it to a degree- production and crew got wrapped up in the fanfare of it all (probably). So, here’s an opposing viewpoint that I don’t necessarily agree with.
Star Trek: First Contact(1996 – First Watch)
Written by Ronald D. Moore, Brannon Braga, and Rick Berman, and directed by Jonathan Frakes, “Star Trek: First Contact” is the next film of the “Next Generation” series that takes place after the events of the previous film discussed, “Generations”. Okay, so, the issues that I had with the last film are mostly exacerbated here. Granted, there are some things I enjoyed about the film, but there’s a lot of questionable decisions. There are two major storylines that the film eventually splits into, and they’re fairly divided in concept as well. There’s a time travel element, and the Borg. In the beginning of the film Picard has a nightmare from his time being captured by the Borg during the television series in one of the best two part episodes “The Best of Both Worlds”. When he awakens he knows the Borg have begun their ultimate attack on Earth. Starfleet command contacts the Enterprise-E (A far worse ship design in my personal opinion, everything is darker, pointier, and more militaristic looking. The crew’s Starfleet uniforms have now been changed as well to black and grey- literally sapping the color from the screen) and orders them to survey the neutral zone for any surprise attacks from the Romulans. This is due to Command’s wariness to insert Captain Picard into the situation because of his past experiences with the Borg. After moments of listening to the destruction of fellow Starfleet ships, Picard orders the helm to disobey Command and take the Enterprise to the fight. After they arrive, and narrowly save Worf from death on a smaller ship (some Deep Space 9 connections I guess?), they follow Picard’s tactical knowledge of the situation and every ship fires on one spot of the Borg cube which causes it to explode. However, just before the massive explosion, a smaller sphere exits and makes a mad dash to open a ‘temporal vortex’ near Earth. Naturally, the Enterprise pursues and just before entering the vortex, the crew realizes that the Borg have changed the past to conquer the future. Once they are on the other side of the vortex, they shoot down the sphere from orbit as it was firing on a specific location in North America in the year 2063, one day before humanity makes first contact with an Alien race after performing a test of the very first warp drive. After the Borg are (supposedly) destroyed, they send an away team down to assess any possible damage to the timeline. Riker, Geordi, and Troi (Marina Sirtis) stay on Earth to assist in repairing the Borg damages to the ship so that they can make the historically important flight the next day. Picard takes an injured assistant from the Phoenix project aboard the Enterprise to sick bay. Who cares about ‘the prime directive’ anyways, am I right? In fact, while on Earth, Geordi and several other minor Starfleet officers directly tell Zefram Cochrane (James Cromwell), prominent historical figure in the Star Trek series and the creator of warp drive tech, all about how they teach his work in schools and how he has statues everywhere in his honor etc. Also- in a particularly cheesy moment, Cochrane is told about Starfleet generally and he says “So, what you guys are on some sort of… Star Trek?” If I rolled my eyes any harder they would have fallen out of my face. ANYways, the other major storyline takes place aboard the Enterprise-E where a couple surviving members of the Borg invade the lower decks and start assimilating crew members and the ship’s tech- eliminating communications between the ship and the away team assisting Cochrane. As the Borg become more of a threat on the ship Captain Picard inexplicably transforms into a vengeance fueled action hero while Data is captured by the Borg Queen… who decides to sexually assault the android by grafting skin onto parts of his body? This results in the two diverging stories having wildly different tones and pacing and I felt they clashed rigidly against each other. Admittedly, there’s a pretty fun sequence where Picard and Worf perform a space walk of sorts with magnetized boots on the outer hull of the ship to remove a satellite dish that the Borg have begun building. One cool scene cannot save an entire movie though. As with the last movie on this list- I can’t recommend this one.
*Below I’ve posted another YouTube video from Dan Murrell. I thought this was a pretty great way to introduce someone to “Star Trek: The Next Generation” if you really don’t want to binge the whole series. If you’re looking for ‘just the hits’, this should suffice!
*While writing this piece my favorite YouTube channel, Red Letter Media, released a re:View episode wherein Mike and Rich discuss their top five favorite Star Trek TNG episodes (This being the first of two videos). So, since we’re discussing Star Trek TNG movies I thought this would be a fun addition to the discussion. If you’re not familiar with the show however, the conversation is rife with spoilers. It’s also posted below, enjoy!
Galaxy Quest (1999 – First Watch)
Written by Robert Gordon and David Howard, and directed by Dean Parisot, “Galaxy Quest” is a delightful spoof of everything that is “Star Trek”. Heavily informed by both the original series and it’s sequel series “Next Generation”, “Galaxy Quest” is the name of the Science-fiction television series in this film in which the characters were actors on years ago. The principle cast involves Tim Allen, Sigourney Weaver, Alan Rickman, Tony Shalhoub, Sam Rockwell, and Justin Long all in prominent roles that play on both the characters in Star Trek and the actors’ personas that played them. The most obvious being Tim Allen as the Commander playing off of a Captain Kirk and William Shatner combination. The lesser roles that Sam Rockwell and Justin Long play are fun nods to short onscreen roles and the fan community in general. Rockwell’s character was particularly fun, aptly named “Guy”, who once acted in an episode similarly to the infamous “Red Shirts” of Star Trek whose only contribution to the show is to die in front of the camera, while Long’s convention-going nerd with technical questions about the star-ship is played with adoration, not condemnation. Anyways, the whole “hook” of the film is based on a simple and excellent premise. What if the cast of “Star Trek” was mistaken for their character counterparts by real aliens in desperation, and beamed into a scenario similar to the ones they often engaged with in their TV series? Forced to work together after years of relying on comic-book conventions and car commercials for income, the crew must put aside their ego and differences to help an alien species from total destruction at the hand of a much more barbaric alien race. My favorite part of the whole film however goes to Alan Rickman’s portrayal of “Alexander Dane”, a classically trained British actor who’s a bit of a drama queen and chiefly concerned with the craft of acting over the more bombastic maverick shenanigans of Tim Allen’s “Jason Nesmith”. If you’re looking for a funny, self-aware, sci-fi adventure- look no further, this is it! Highly recommended (especially after those two Next Generation movies…).
*Below I’ve put a link for a trailer for the documentary about “Galaxy Quest” made by YouTube channel ScreenJunkies called “Never Surrender!” If you enjoyed this film and genuinely enjoy Star Trek, give this one a watch- it’s great!
Dune (1984 – Previously Watched)
Written and directed by David Lynch, “Dune” is an adaption of the popular sci-fi novel of the same name by author Frank Herbert. Set in the year 10,191, “Dune” is similar in nature to “Game of Thrones” in it’s concern of ruling ‘houses’, and who controls power in the region- just on a galactic scale. The beginning of the film tries to dump as much important information possible without becoming overbearing- and I think it does a decent enough job at setting the stage for this particular space opera. Admittedly, I have not read the novel, so I cannot contribute to the discussion of how well this film adapts the source material. However, while this isn’t my favorite Lynch film (see ‘Mulholland Drive’ review above), I do enjoy it for it’s ambition. I mean, honestly, I would recommend this film for the production design alone. It’s daunting, huge, intricate, and elaborate. All of the worlds feel unique and lived in, the Emperor’s palace in the opening of the film feels like something out of Imperial Russia with it’s gold baroque flourishes. I also kinda love how disgusting this movie can be at times, particularly the Harkonnens. Their ships, planet, and suits are all just… gross. Speaking of which, they are one of the royal ‘Houses’, the other major player being House Atreides. These two houses, and the Emperor’s political imperatives, are all trying to maintain control of the desert planet Arrakis. This planet is crucial for control of the Universe due to the mining of a substance called ‘the spice melange’. With it, powerful psychics can use this drug to fold time and space allowing for intergalactic travel. This film also has my favorite David Lynch cameo, aside from his role of Gordon Cole in Twin Peaks, in which he plays a worker on one of the machines that harvests the spice melange. It’s a short, but fun moment. The characters speak in bold declarative sentences, or whispers, and use tongue-twisting words like Kwisatz Haderach, gom jabber, and Bene Gesserit. So, it’s really no wonder that a sci-fi movie as dense and uniquely opaque as this would alienate audiences so thoroughly only a year after the original trilogy of ‘Star Wars’ films had ended. While I do not share the near universal disdain for this movie, I do understand why it didn’t connect with people as well as that galaxy far far away. But I must admit that it’s strangeness partly explains my admiration for the film. “Dune” is the weird, loner, reject of sci-fi- and you know what, I like you, you strange strange movie. Besides, the movie ends with Sting in a knife fight with Kyle MacLachlan, so there’s that. Recommended, despite the odds.
Written by Walon Green and Sam Peckinpah, and directed by Peckinpah, “The Wild Bunch” is a Western following a gang of gunslingers and outlaws emerging into the twentieth century as they come to terms with the end of their era. If you’ve spent the last two months roaming the digital countrysides of “Red Dead Redemption 2” like I have, and you’re seeking more of that same grizzled cowboy violence, then “The Wild Bunch” will definitely satiate some of your old west woes. This movie shares many of the same themes and visual cues that the groundbreaking video-game western implements over it’s hours, upon hours, of storytelling.
After a botched heist devolves into a shootout in an excellent opening scene, the ragged outlaws finally reach a place to gather themselves and account for their losses. It’s here that Pike (William Holden), the gang leader, poises the terms of their next score and the core of their existential crisis, “We’ve got to start thinkin’ beyond our guns. Those days are closin’ fast.” Set during the global eve of World War One in 1913 with the modern world quickly encroaching on those tied to the ways of old, “The Wild Bunch” delivers us a nuanced and layered film that pairs its chaotic violence with real humanistic quality. It’d be an arduous task in finding a Western more concerned with tragedy and loss, or one so bathed in melancholy and savageness. The noble outlaws in this picture are exposed to some of the most uncensored violence of the day when it was initially released. While Sam Peckinpah thought the violence would shock people into the horrors of such a time, he would have no idea how much people might enjoy such cathartic carnage.
The driving force of the film lies in the pursuit of Pike’s gang by a posse led by a former outlaw and friend, Deke Thornton (Robert Ryan). Previously captured and coerced into hunting his fellow outlaws by an anonymous railroad tycoon, Deke detests the system he now works for and frequently talks down to his less than skillful hired help. Thus Pike’s gang flees to south of the border where they are plunged into another brand of chaos in the Mexican civil war as gun runners. While Deke may be coerced into tracking his former brothers, Pike’s gang has their own fair share of being forced into servitude by the Mexican army. Adherence to pressure by necessity, being forcibly made to adhere to the ways of others, is a major theme of the film as these outlaws get swept up by the progression of time.
Peckinpah handles the individual gang members with such mythic, admirable, and poetic romanticism that you often forget about earlier sequences focusing on the deglamorization of warfare. It’s within this contradictory sensation of heroic admiration and frightening nihilism that Peckinpah allows his characters to shine. Angel (Jaime Sánchez), and Dutch (Ernest Borgnine [The Arthur Morgan of this film ironically]) in particular, are standouts among the gang. Dutch is one of the older outlaws and Pike’s second in command. With his wisdom from the school of hard knocks and a heart of gold to match, he pairs well with Angel’s youthful exuberance and itchy trigger finger. It’s all about balance, right?
The film is bookended by two large shootout sequences which weave chaotic violence with a romanticized nostalgia for times (and films) gone by. The film doesn’t necessarily glorify violence so much as it attempts to show the uglier and dirtier world of cinematic gunslingers. I honestly couldn’t say it better than the 1995 Chicago Tribune review of the restored director’s cut, “It’s a tale of demonic intensity, nightmare nihilism, cockeyed courage, outrageous compassion and savage grandeur.”
Final Score: A few bags of washers and a train full of guns!
Who better than Quentin Tarantino to bring actors back from the dead? None. Which is why my pitch this time is a challenging one. How do you bring back “The Weasel” Pauly Shore to the silver screen without inducing the longest and loudest groan from moviegoers since Phantom Menace? Not an easy task. Pauly Shore himself has said he would like to return to acting, maybe even a redemption tale. Not a bad place to start.
Since Tarantino seems to be in a western phase right now, and as someone who loves westerns I’m loving it, so why not continue that trend? When’s the last time you saw a train robbery on the big screen, and done well? Lets all collectively forget about ‘The Lone Ranger’ and that it ever existed though. My point being, Tarantino loves doing homages to classic cinema, so I’m sure there’s part of him that desperately wants to shoot an old west train robbery/chase sequence. Lets have the story center on a wanderer, Shore, and a group of notorious theives in say, 1880. This gets us past the civil war and gives us more latitude for widespread use of trains by this time. Shore can play up aspects of his well know character, trying way too hard to be comedic, a klutz, someone that wanders into danger with no clue how to overcome it, and maybe he accidentally causes massive havoc in the same town where a train with a huge score is moving through and thereby makes it all that much easier for our gang of thieves and bandits to get away with their caper.
From then on out Shore’s character is determined to right his wrongs and track down the gang. He searches for a tracker, say Christophe Waltz or some other equal caliber actor to weigh out Shore’s persona, and together they hunt them down following a string of robberies. Obviously Tarantino could carve out a more clever throughline than that, but in his films you never need to sacrifice character moments, or good acting, for spectacle. You could have several larger sequences in the film, but they would only be the frosting on this old west heist.. cake. I’d love to see the tables turned and have Shore infiltrate the gang and turn them against one another, or sabotage them into authority’s captivity. There are many ways this story could twist and turn. Shore’s character work would also need heavy work, but this wouldn’t be the first time Tarantino changed an actor’s life or reception, and Pauly Shore is a grown man now, its time to purge him in a trial by fire, in the end he might come out on top. It could be worth the effort.
Starting this week my goal is to keep pace with more weekly postings, Movie Pitch Mondays is that first step. This is where I imagine how I would approach the casting, the direction of plot, and crew that inhabit the production of this theoretical film. Description and vision of each film can vary from piece to piece.
For my first pitch I would love to see a remake of the old western classic “The Magnificent Seven”. Which itself was an Old-West style remake of Akira Kurosawa’s Japanese-language film “Seven Samurai”. I know there’s a current remake of this property under way right now, set to be directed by Antoine Fuqua with Chris Pratt, Denzel Washington, & Vincent D’Onofrio among others signed to star. This is simply how I would arrange the property.
The Cast, with character descriptions:
Tom Hanks as the Sheriff with a heart of gold and wit of steel.
Aaron Paul as the Deputy, loyal and proud yet a shadowy past.
James McAvoy as the angry Scottish indentured Railroad worker.
Simon Pegg as the Neurotic Englishman that translates for McAvoy’s character, inventive.
Michael Pena as a wanted bank robber from south of the border seeking asylum.
Vin Diesel as the tough Miner that’s had enough and demands a call to action.
Robert Downey Jr. as the devilishly charming Southern Gentleman, in from the East.
Patrick Stewart as The face of bureaucratic, crushing, power. Joyless.
Tim Roth as Business partner to Stewart’s character, The Good Cop to Stewart’s bad.
Director: JJ Abrams
Writer: Christopher McQuarrie
I chose JJ for this piece not only because I personally want to see what he could do in this most classic of sandboxes, but also because I believe he would handle that territory of filmmaking well. I would trust his handling of the genre. After “Star Trek”, and now “Wars” a western will almost be akin to retiring if we’re scaling for box office numbers anyways. JJ has a unique visual style, and I’m assuming his cinematographers would come along with him on subsequent projects. He can handle a piece such as this, a big ensemble cast that has many moving parts while maintaining just the right slow burn pace that is representative of the genre as a whole, but respectful of its varied and long history. What I think JJ brings to this potential film that is most needed is his sense of “Magic” that he has somehow acquired, that almost unfathomable subtle touch of magic that makes the film feel impervious to negativity. If that makes any sense. He’s very Spielbergian in that way, which is why I also chose to add in Tom Hanks as the emotional anchor of the piece.
Christopher McQuarrie has a history of delivering knock out screenplays, and just wrote and directed the latest “Mission Impossible” installment, “Rogue Nation”. With “The Usual Suspects” in particular, and “Edge of Tomorrow” in a lesser way, McQuarrie has proven himself capable of multifaceted and complex screenplays. Though this film won’t be a mind blowing reveal like the ending of “The Usual Suspects” it will have multiple things going on all at once and I believe his style would only compliment it.
I see the plot essentially maintaining the general idea that a group of gunslingers ban together to save a small Mexican town overrun by bandits. However in my revision we would place the setting in America and the Sheriff is the initial push in banding together forces both local and afar to save the town from a crushing pair of British businessman that bought their way into the Oil business and need a railway to run their product through the town for high speed purposes. From there the film almost writes itself to be honest. First the threat is established by the foreign businessmen, then when they are turned down a terrible act of violence is carried out. Perhaps the child of Vin Diesel’s character? Dark, but a high character motivator. You’d have your traditional recruitment scenes wherein Hanks rounds up anyone who isn’t too scared of the threat aka Vin Diesel. Next up, the people that have great needs for which they will join up if reimbursed/helped, a la Pena, Pegg, and McAvoy. Lastly, the wild card, or Robert Downey Jr’s character, the charismatic big talker blown in from the east who is really a washed up legend and feels obliged to take up the cause.Lest the townspeople neglect him or worse, find out his true tale and exile him.
This could be a really fun throwback to Western and Samurai tales. I may have wandered too far from the original concept, but every remake has to have its own skin, it’s own purpose, otherwise why do it at all? Obviously the third Act has to have large numbers of muscle/militia bought by the businessmen that end up carrying out an onslaught on the town and its people. Maybe even have Aaron Paul’s young and nimble deputy fall in battle as in the initial Western remake? Like I said there’s a lot you could do with this, I love the idea of it and while this will look almost nothing like the actual remake that is being made right now, I can dream, and you should too! That’s my Movie Pitch for this week!