Oct 30 2014

Videophiled Classic: Halloween Disc Pick – ‘Nightbreed: The Director’s Cut’

NightbreedNightbreed: The Director’s Cut: Special Edition (Scream Factory, Blu-ray+DVD Combo)
Nightbreed: The Director’s Cut: 3-Disc Limited Edition (Scream Factory, Blu-ray+DVD Combo)

Clive Barker’s 1990 film Nightbreed, adapted from his novel Cabal, was taken from Barker’s hands, cut down drastically from his 142-minute rough cut (which made the bootleg rounds in a version called “The Cabal Cut” taken from a video workprint), and released in a form that Barker was never happy with. The release of Nightbreed: The Director’s Cut: Special Edition (Scream Factory, Blu-ray+DVD Combo) features a new cut of the film overseen by Barker and restored by Mark Allan Miller, who hunted down the original footage discarded from the rough cut. This is the version that Barker claims as his director’s cut, as he was not given the opportunity for his own final cut before the studio stepped in.

That brief history comes from Barker and Miller themselves in a new video introduction to Scream Factory’s release and it’s clear they are both proud of this release. Morgan Creek, the producing studio, wanted something along the lines of his low-budget Hellraiser. Barker had something else in mind, a celebration of misfits and monsters in a weird story of fear and prejudice filled with Biblical references and mythic resonance. The real monsters of Nightbreed are the humans, especially a psycho psychiatrist named Dr. Philip K. Decker played by filmmaker David Cronenberg with a flat delivery and deadened voice that makes him all the more unnerving. This doc is a real piece of work, drawing his kills from the nightmares of his patients and then framing them for the crimes, but Aaron Boone (Craig Sheffer) is not a normal patient and his visions of a place called Midian aren’t nightmares. They are anticipations of his legacy: he belongs to an ancient race of misfit outsiders considered monsters and banished to an underworld away from humanity.

Continue reading at Cinephiled

Oct 28 2014

Videophiled: Hola ‘Companeros’!

Compañeros (Blue Underground, Blu-ray) is an ironic title, but then as a spaghetti western—a genre steeped in mercenaries and con men and double crosses—it would have to be. Swedish gun runner Yodlaf (Franco Nero), in Mexico in the heat of the revolution to sell his weapons to the highest bidder, and hot-headed Mexican peasant turned revolutionary officer Vasco (Tomas Milian in a beret that evokes Che Guevara) are certainly not compañeros by any stretch of the definition. It’s only good timing that prevents Vasco from killing the blue-eyed stranger, and orders from his gun-shy but glory-hungry General that sends him along on a quest to free the idealistic revolutionary leader Professor Xantos (Fernando Rey) from American captivity at Fort Yuma. They make a great screen team, verbally jabbing and prodding one another along the way even when they are forced to rescue one another (left to their druthers, they’d go on alone). Nero plays the witty, worldly cosmopolitan (and, blue eyes and lightly bleached hair aside, the most Mediterranean Swede in the cinema) and Milian the wily survivor, acting on impulse and lobbing insults to his Swedish partner between paeans to his twinkling blue eyes.

Sergio Corbucci is one of the three great Sergios of the spaghetti western (along with Leone and Sollima) and the director of two of the genre’s classics, Django (1966), which made a star of Franco Nero, and the Great Silence (1968). Compañeros (1970) leans into the political arena that Sollima specialized in, using the political chaos and opportunism of the revolution as a volatile cultural backdrop filled with warring factions and freelance mercenaries, while driving the film with capers and cons and capture and escapes. They cross the border, break a prisoner out of an American Fort, and tangle with a dope smoking bounty hunter with a wooden hand and a loyal falcon named Marsha. Jack Palance plays the laconic mercenary John, puffing on joints and smiling a crooked grin as he lazily springs traps and puts his prisoners to sadistic tortures, and his stoner delivery sends the film into a whole realm of weirdness.

Complicating things even more are the (not always clear) conflicts within the revolution, with the grandstanding General Mongo only in it for personal gain and the idealistic Xantos playing the Gandhi of the Mexican Revolution, a pacifist who preaches non-violence while everyone is trying to kill him. That includes the opportunist Mongo, who needs Xantos for his payday but also finds him a threat to his agenda. Sort of. The details are murky, but that’s hardly a problem for a genre all about betrayals and greed. And yet Corbucci, who helped define the the amoral tone of the genre in Django, develops a streak of idealism that builds through the film until it blossoms as a defining theme without any sense of irony or insincerity. While he may not embrace the pacifism of his inspiration Professor, Corbucci certainly respects his integrity, a virtue not always seen in the genre, and presents it without cynicism. And that is quite a feat in a film with a body-count and a mercenary cast of this magnitude. It’s a wily good time with a rousing finish.

Fernando Rey, Karin Schubert and Tomas Milian

The Blu-ray debut features both the American version and the disc debut of the longer Italian cut (with four minutes of additional footage). Both editions, which have been newly mastered from the original negative, offer the choice of English and Italian language soundtracks (the restored scenes to the Italian cut are only in Italian with English subtitles, making them easy to spot). Image quality is great and the DTS-HD Mono soundtracks have that distinctive spaghetti western sound of studio-recorded dialogue and post-synched library sound effects. Ennio Morricone’s soundtrack sounds great.

Carried over from the previous DVD release is commentary by film journalists C. Courtney Joyner and Henry Parke and the 17-minute 2001 interview featurette “In the Company of Companeros” with interviews with stars Franco Nero and Tomas Milian and composer Ennio Morricone.

More new releases on disc and digital formats at Cinephiled

Oct 25 2014

Videophiled Classic: Halloween Disc Pick – ‘The Vincent Price Collection II’

The Vincent Price Collection II (Scream Factory, Blu-ray) follows up last year’s collection with the debut of seven more Vincent Price horror films in a special edition set. Shout Factory (under its Scream Factory imprint) draws from its licensing relationships with 20th Century Fox and MGM to complete the run of Roger Corman Poe films begun last year and fills to the rest a couple of sequels and two titles too often relegated to public domain bargain discs.

The Tomb of Ligeia (1964), the final film in Corman’s cycle of Edgar Allen Poe adaptations, is considered by many the best (partisans tend to split over this and The Masque of Red Death, 1963), and it is certainly the most sophisticated, with rich performances by Price, who is both haunted protagonist and Gothic romantic leading man (a first in the series) as widower Verden Fell, and British actress Elizabeth Shepherd, who brings a zest for life to the role of Rowena Trevanion, whose fascination with Verdan’s self-imposed exile turns to romance. Once she draws him out of the haunted manor and into the world for their honeymoon, that shadow of gloom is lifted and he can even discard the shaded glasses he wears in the bright light (“I live at night,” he explains early on), but once back in the abbey, the ghost of Lady Ligeia reasserts her control. Or so it seems after Verden offers a demonstration of hypnosis and Ligeia takes over Rowena for a chilling instant while she’s under the spell.

The Tomb of Ligeia is the only one of Corman’s Poe films to shoot location exteriors (Corman used studio sets entirely for previous films to create a rarified unreality, he says, as befitting his interest in psychology and the unconscious in relation to horror), and the ruins he uses for Fell’s abbey home are astoundingly beautiful, the bleached bone remains of a fallen castle behind his stone manor, the dead of the past haunting the living of the present. Fittingly, it is also the most psychologically rooted of his Poe adaptations, though the revelations of the finale do not fully explain the black cat who seems to act as Ligeia’s familiar in the abbey, or Rowena’s brief possession by Ligeia. Robert Towne’s intelligent script and Corman’s moody direction melds the explicable and the supernatural very nicely in a tale that is never simply one or the other.

As with the previous set, these editions are from HD masters provided to Shout Factory by the rights holder, in this case MGM. It’s a good looking transfer though it is not a restoration. You can see surface scratches and grit and in one spot a light vertical scratch running through the left side of the image, but it also has vivid color, good clarity, and a strong image, which is still the most important thing in a disc release.

Features commentary by Roger Corman carried over from the earlier DVD release plus new commentary recorded for this release by actress Elizabeth Shepherd, and an archival video introduction and afterward by Vincent Price, originally taped for a public TV horror series decades ago, plus a gallery of stills and a trailer.

Continue reading at Cinemaphiled

Oct 22 2014

Videophiled: ‘Snowpiercer’ – Class Struggle on a Runaway Train

snowpiercerSnowpiercer (Anchor Bay, Blu-ray, DVD), an international production from Korean filmmaker Bong Joon-ho based on a French graphic novel, is a high-speed metaphor speeding down the science fiction tracks of genre cinema. That’s the way I like this brand of filmmaking: with the metaphors big, muscular, detailed, and punchy. You either give yourself over to the allegory, in this case a giant train as a self-contained eco-system traveling through a world plunged into an ice age with passengers segregated into castes and the oppressed poor rising up in revolution, or give up. There’s not much in between.

Think “The Odyssey” as reworked by Karl Marx and set on the Siberian Express. Chris Evans (Captain America himself) is the angry young leader in the dungeon of steerage class battling his way through the train, car by car, to the engine, seeing his fellow revolutionaries cut down by the stormtrooper soldiers as the poor, huddled masses progress through the levels of privilege and decadence. And Tilda Swinton all but steals the film from him as the devoted functionary dedicated to class division and population control through repression and purges, embracing the essence of her character as both live action political cartoon and deluded acolyte of an Oz-like ruler with Darwinian tools. It is the class system of the industrial revolution in microcosm played out as high-concept action movie, and with Bong (The Host) at the helm, it’s a violent, graphically dynamic journey.

Blu-ray and DVD with hosted by Geek Nation film critic Scott Weinberg and featuring William Goss (Austin Chronicle), Drew Mcweeny (Hitfix.com), Jennifer Yamato (Deadline), Peter S. Hall (Movies.com), and my old colleague James Rocchi (who is identified as MSN Movies, despite the fact the site effectively shut down a year ago). A second disc features additional supplements: a nearly hour-long French language documentary “Transperceneige: From the Black Page to the Black Screen,” the shorter “The Birth of Snowpiercer,” a piece on ‘The Characters” with actor interviews,” an animated prologue, and addition interviews and concept art galleries.

More new releases on disc and digital at Cinemaphiled

Oct 14 2014

Videophiled: John Ford’s ‘My Darling Clementine’ on Criterion

My Darling Clementine (Criterion, Blu-ray, DVD), John Ford’s sublime reinterpretation of the Wyatt Earp story and the Gunfight at OK Corral, rewrites history to become a mythic frontier legend and one of the most classically perfect westerns ever made.

Henry Fonda plays a hard, serious Wyatt Earp leading a cattle drive west with his brothers when a stopover in the wild town of Tombstone ends in the murder of his youngest brother. Wyatt takes up the badge he had turned down earlier and tames the wide open town with his brothers (Ward Bond and Tim Holt), waiting for the barbarous Clanton clan, led by a ruthless Walter Brennan (“When you pull a gun, kill a man!” is his motto), to give him an excuse to take them down. Victor Mature delivers perhaps his finest performance as gambler Doc Holliday, an alcoholic Eastern doctor escaping civilization in the Wild West and slowly coughing his life away from tuberculosis.

Ford takes great liberties with history, bending the story to fit his ideal of the west, a balance of social law and pioneer spirit. Though the film reaches its climax in the legendary gunfight between the Earps (with Doc Holliday) and the Clantons, the most powerful moment is the moving Sunday morning church social played out on the floor of the unfinished church. As Earp dances with Clementine (Cathy Downs), Fonda’s stiff, self-conscious movements showing a man unaccustomed to such social interaction, Ford’s camera frames them against the open sky: the town and the wilderness merge into the new Eden of the west for a brief moment. It’s a lyrical ode to the taming of the west when manifest destiny was an unambiguous rallying cry. Ford’s subsequent westerns became less idealistic.

Along with the 97-minute release version, Criterion has included a new HD transfer of the 103-minute pre-release version (which was also on the earlier DVD), which features footage cut from the release version as well as alternate scenes and other minor differences (such as alternate musical cues). The differences are illustrative of the differences between Ford’s artistry and love of communal atmosphere and 20th Century Fox boss Darryl Zanuck’s efficiency. Ford’s preview cut (which is not a director’s cut) is more open and lanky, always responsive to the community around him, and quieter (he resists burying scenes in orchestral scoring). The release version is tighter, more dramatically pointed, scored more emphatically, and features new shots inserted into Ford’s scenes. It’s a companion, not a replacement, for as we may mourn the loss of Ford’s sensitive and subtle moments, the release version is still the Ford masterpiece. It just got some help from Zanuck, who pared Ford’s loving background to strengthen the characters at the core.

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Victor Mature and Henry Fonda

My Darling Clementine has been released in multiple editions on DVD by Fox. Criterion has created a new 4K digital master from the 35mm nitrate composite fine-grain held by the Museum of Modern Art for the Blu-ray debut and DVD upgrade. The previous DVD edition looked very good. Criterion’s release looks amazing, crisp and clean with a rich gray scale. The 103-minute pre-release version is an HD master which has not gone through the same digital restoration and shows scratches and grit but otherwise looks mighty fine in its own right.

Criterion has packed this edition with supplements. New to this release is informed and informative commentary by John Ford biographer Joseph McBride (who provides historical and production background as well as critical observations), the 19-minute video essay “Lost and Gone Forever” by Ford scholar Tag Gallagher (one of the best practitioners of this relatively new form of critical analysis), and a new interview with western historian Andrew C. Isenberg about the real Wyatt Earp. Carried over from the Fox DVD is the 40-minute documentary “What Is the John Ford Cut?” with UCLA archivist Robert Gitt, comparing the versions, commenting of the differences, and filling in the gap with production details and studio records.

First among the collection of archival supplements is the 1916 silent western short A Bandit’s Wager, directed by Francis Ford (his brother) and starring John and Francis. This is not a restoration and shows a lot of wear and tear but this transfer is stable and shows great detail, and it features a bright piano score by Donald Sosin.

Also features excerpts from the TV programs David Brinkley Journal (on Tombstone, from 1963) and Today (on Monument Valley, from 1975), the Lux Radio Theatre adaptation of the film from 1947 starring Henry Fonda and Cathy Downs, and a fold-out leaflet with an essay by critic David Jenkins.

More new releases on disc and digital at Cinephiled

Oct 13 2014

‘Horrors of the Black Museum': Herman Cohen’s Lurid Horror with a British Accent

Hammer wasn’t the only studio in Britain mining the vein of horror films that made them such attractive imports for American theaters. Before Amicus and Trigon arose in the 1960s, American producer Herman Cohen made a deal with British studio Anglo-Amalgamated to produce a pair of lurid horrors with British accents. Horrors of the Black Museum (1959), starring Michael Gough as a crime reporter who takes too much delight in the most grotesque murders, is the first of them, arriving in theaters after Hammer had brought new life to old horror icons with full, blood-dripping color, lurid Gothic style, bodice-ripping sexuality, and villains who revel in their power.

'Horrors of the Black Museum'

Back in America, Herman Cohen took a different approach to reviving the old monsters for a new generation, aiming his film at the teenage audience by writing them directly into such low budget, high concept exploitation films as I Was a Teenage Werewolf and I Was a Teenage Frankenstein (both 1957), both of which became big hits for American International Pictures. Fresh off those successes, he headed for England and took a cue from Hammer, mixing continental class with grisly material and delivering production value (widescreen and brutally vivid color) and classy talent on a budget to AIP. Anglo-Amalgamated was not previously a horror studio—the biggest success for the British B-movie studio came from Carry On Sergent (1958), which spawned the lucrative Carry On series—but as the British distributor of AIP pictures it had successfully released its share of American horror films. Horrors of the Black Museum was their first homegrown horror.

Continue reading at Keyframe

Oct 12 2014

Videophiled Binge Watch: ‘Penny Dreadful’ and more horror TV

PennyDreadfulS1

Let’s catch up on a month of TV releases. And as Halloween is coming, let’s begin with some shows from the dark side.

Penny Dreadful: Season One (CBS, Blu-ray, DVD) takes a premise similar to the graphic novel The League of Extraordinary Gentleman: the characters and supernatural beings of 19th century horror literature all exist in the real world.

Oscar-winning screenwriter John Logan created this series, which revolves around a trio of original characters who take on the supernatural underworld of London, and scripts all eight episodes of the debut season. Sir Malcolm Murray (Timothy Dalton) is searching for his daughter Mina, who has been taken by a vampire (as in the novel Dracula), with the help of Vanessa Ives (Eva Green), a medium with a troubled past and a possible curse upon her. Josh Hartnett is the American Ethan Chandler, who comes to London as part of a Wild West show and hires himself out as a gunman to the team. Assisting the team is Dr. Victor Frankenstein (Harry Treadaway), whose first experiment (Rory Kinnear) has returned to demand a mate, and weaving through their stories is the decadent Dorian Gray, who woos Vanessa. One episode reworks The Exorcist and the season finale suggests that Bride of Frankenstein and Doctor Jekyll and Mr. Hyde will be part of the story next season.

The title captures the tone of the series and horror director J.A. Bayona (The Orphanage) sets the ominous, shadowy mood as he helms the first two episodes. It features impressive production values, strong writing, excellent actors, and a Gothic atmosphere that favors mood over spectacle, and Logan intelligently and creatively weaves the classic stories into this original drama. Dr. Frankenstein after all abandoned his first born, essentially setting the moral yardstick for his offspring, and the show offers a compromised human Frankenstein and an angry, outraged creature with both the sensitivity and the emotional instability of a child that can rip the heart out of another person. And while the vampire of this tale is never referred to as Dracula, the show offers an interesting take on the story. But it’s the original characters that are the most compelling and the rocky relationship between bereft father Malcolm and tormented Vanessa, a kind of foster daughter in the shadow of his absent daughter, both needed and rejected by Malcolm. If blood defines family in the first episodes of the show, loyalty and sacrifice defines it by end of the season, and it is the American cowboy who brings that lesson home. I have a fondness for dramas built around makeshift families and offbeat teams who earn the loyalty of one another, and through the course of the season, Penny Dreadful turns into that kind of series.

It’s one Showtime’s most popular and most acclaimed shows to date, and outside of a Showtime subscription or a la carte digital purchases of individual episodes, disc is the only way to see the show. If you’re a horror fan, it’s definitely worth it. Eight episodes on Blu-ray and DVD, with numerous featurettes and bonus episodes of other Showtime original shows.

More TV on disc and streaming at Cinephiled

Oct 09 2014

Odysseys: VIFF 2014

After the official fall film launch of the Venice/Telluride/Toronto triumvirate, the first significant American fest is the New York Film Festival. But due to the quirks of international film festival branding, another event that plays out during roughly the same period offers many of the films showcased in New York as well as a great variety of additional international films. While New York provides the American launches of Jean-Luc Godard’s Goodbye to Language, David Cronenberg’s Maps to the Stars, Olivier Assayas’ Clouds of Sils Maria, the Dardennes’ Two Days, One Night and Mike Leigh’s Mr. Turner (among many others) to great media attention, Vancouver quietly screens them across the country almost simultaneously, hot off their respective World or North American debuts at Toronto. For folks on the West Coast, the Vancouver International Film Festival is not just a great alternative to see these and other films, it’s an easier festival to navigate and an affordable festival to play in. Plus, if you have a particular interest in Asian cinema, it’s the place to find films from those directors yet to be anointed and celebrated in the anchor festivals around the world.

'Wild'

Opening night was set aside for a Canadian filmmaker continuing his Hollywood success story. Wild, directed by Jean-Marc Vallée and adapted from Cheryl Strayed’s memoir by novelist Nick Hornby (who also scripted An Education), is more than a vehicle for its star/producer Reese Witherspoon. It’s an odyssey on a human scale: a hike along the Pacific Crest Trail, a 1700 mile journey undertaken without any preparation or training. For Sheryl, pulling herself out of depression and a self-destructive detour into drugs, it’s an American walkabout cleansing by way of a dare, though the only person she has to prove anything to is herself.

Continue reading at Keyframe

Oct 08 2014

Videophiled: ‘Once Upon a Time in America’ restored

OnceUponAmericanBD

Once Upon A Time in America: Extended Director’s Cut (Warner, Blu-ray, DVD, Digital HD) is Sergio Leone’s portrait of a 20th century American success story as a gangster epic of greed, loyalty, betrayal, and power, seen through the haze of an opium high. Shuffling back and forth through the century, from New York’s East side in 1923, where scrappy street kids Noodles and Max form a partnership that will blossom into a mob empire, though the glory days of the depression cut short by mob warfare, to 1968, when the graying Noodles (Robert DeNiro) returns from a 35 year exile to the scene of the crime to discover what really happened to his partner and best friend Max (James Woods) all those years ago, this is Leone’s most passionate, elegant, brutal, and elegiac film. William Forsythe and James Hayden complete the gangster quartet, with Joe Pesci and Burt Young as gangster cohorts. Elizabeth McGovern, Treat Williams, Tuesday Weld, Danny Aiello, and young Jennifer Connelly co-star. Ennio Morricone’s score is one of his most haunting and beautiful.

The film was originally released in the US in a butchered version cut by over an hour and torn from its evocative time-shifting structure to a traditional linear narrative. It was restored to its 229-minute European cut decades ago but earlier this year it was expanded with an additional 22 minutes of footage that Leone was forced to cut out before its Cannes premiere in 1984. The added footage was taken from workprint material and, faded and sometimes damaged, stands out against the well-reserved and beautifully-mastered material from the previous cut. Among the restored sequences is a legendary scene with Louise Fletcher as a cemetery director, previously only glimpsed in publicity stills (you can see the clip below). Susan King goes over the history of the cuts and the scope of the restoration in an article for the Los Angeles Times.

It’s available on DVD and Blu-ray along with an excerpt from the documentary Once Upon a Time: Sergio Leone and trailers. A deluxe Blu-ray Book edition also features the previous Blu-ray release of the 229-minute European cut, which features commentary by Richard Schickel, and an UltraViolet Digital HD copy of the “Extended Director’s Cut.”

More new releases on disc, digital, and streaming at Cinephiled

Oct 07 2014

‘Destroy All Monsters': Rumble in the Jungle with Godzilla and Friends

The original Godzilla (1954), especially the original Japanese release, is more than a mutant monster movie of the atomic-scare fifties. It is a stark disaster thriller that evokes the terrors of the bombings of Hiroshima and Nagasaki and the lingering poison of the nuclear radiation. The two destructive forces come together in a screaming atomic lizard, a dinosaur roused from dormancy by the lingering radiation and set loose for a new nuclear holocaust, and the black and white photography lends an atmosphere of dark and doom.

'Destroy All Monsters'

The sequels are a different story. The films went color. The special effects of cities stomped to rubble by a radioactive dinosaur became a kind of giddy entertainment instead of a nightmarish metaphor. And as far as the movies were concerned, Godzilla was no longer a post-nuclear plague unleashed upon Japan let alone a villain. He was a character in its own right and the stories that followed his 1954 debut mutated (so to speak) into monster smackdowns that allowed audiences to root for his victory against a new menace to civilization without any sense of irony. While not exactly a friend of mankind, he turned into a protector of Earth when it is threatened by other monsters and, later, alien invaders. This was Godzilla’s turf and no one was muscling in.

Destroy All Monsters (1968), the ninth Godzilla film and the twentieth kaiju (giant monster) movie from Toho, returned Godzilla godfather Ishiro Honda to the helm.

Continue reading at Keyframe

Oct 05 2014

Essay: ‘The General’

This essay was originally written for the Silent Fall 2014 program presented by the San Francisco Silent Film Festival on September 20, 2014

'The General'

No silent moviemaker ever engaged with the machinery of modern life as resourcefully as Buster Keaton did. From One Week (1920), his debut as a solo director after his apprenticeship with Fatty Arbuckle, to The Cameraman (1928), his final masterpiece, Keaton routinely sparred with the mechanized world. He could be confounded in his early shorts—sometimes modern conveniences got the best of him—but as Keaton moved into feature films and matured as a filmmaker, his characters persevered in the struggle, thanks to a combination of curiosity, commitment, and ingenuity. Whereas Chaplin waged war against the machines with underdog defiance, Keaton mastered the magnificent marvels of modern engineering to triumph over seemingly insurmountable odds. In The Navigator (1924), Keaton tamed an abandoned luxury liner and emerged with one of the biggest hits of his career. After making three features of a more modest scope, The General (1926) marked his return to filmmaking on an ambitious scale. Built around a majestic prop that becomes a character in its own right—a locomotive steam engine—it is still filled with intimate moments. It is a grand achievement.

The story of The General comes from a chapter of Civil War history, a true tale of Union spies who infiltrated the South, stole a passenger train in Georgia, and drove it north pursued by Southern conductors who eventually captured the raiders. According to Keaton, Clyde Bruckman, his reliable collaborator and gag man, handed him William A. Pittenger’s account of the incident as a potential project. Keaton streamlined the story to a deceptively simple structure of two mirrored chases—one north to recapture the stolen engine and another back south—as well as added a love interest and a kidnapping to make the rescue personal. Finally, and perhaps most importantly, he took on the perspective of the South.

Continue reading at San Francisco Silent Film Festival

Oct 04 2014

Blu-ray: ‘Used Cars’

The opening of Used Cars (1980) has the ominous, wind-scoured character of a modern crime film in a desperate southwest town where a Sergio Leone western wouldn’t be out of place. The camera cranes down from a high shot over a struggling used car dealership, where a few pathetic beaters line the lot, and slowly glides over to one car with someone is crammed under the dashboard. The only sound is the lonely wind–the kind of strangled, desolate howl you get in dustbowl dramas and desert survival thrillers–and the grunts of the man struggling with the mechanics under the dash. And then we see the odometer turn back, shaving some 40,000 or so miles from the record. The title hits the screen, a brass band jumps in with “Stars and Stripes Forever,” and the unidentified mechanic wriggles out to reveal Kurt Russell in a cheap, loud suit making his rounds to mask the sorry condition of the cars on the lot. It turns out that this is a crime movie after all, or at least a film of multiple misdemeanors and bald-faced misrepresentation, and the perpetrators are the good guys.

The second feature from director Robert Zemeckis and co-writer and producer Bob Gale, Used Cars comes right out of the screen comedy culture of the late 1970s and early 1980s, when the underdogs snubbed their collective noses at authority, propriety, property and privacy laws and anything else that crossed their paths in slobs vs. snobs comedies like Animal House (1978), Caddyshack (1980) and Ghostbusters (1984). Used Cars is raucous and reckless and far more gleefully corrupt than any of its brothers in rebellion …

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