As soon as I saw the description for A Song is Born (1948) I knew it sounded very familiar, so familiar that I saw the original only a few months ago – Ball of Fire (1941). Both directed by Howard Hawks and written by Billy Wilder and Charles Brackett. I saw the original more for the smart writing than the direction. However I needed to see A Song is Born purely for comparison, what else I get is a massive bonus from a winning formula. I know that Hawks later remade Red River (1948) a few times as Rio Bravo (1959), El Dorado (1967) and Rio Lobo (1970) of course after the first two the returns on entertainment were diminishing, but that’s a different conversation to be had. I considered talking about Ball of Fire back in June however, the writing, the comedy and the chance to see two of the golden ages finest on-screen together Barbara Stanwyck and Gary Cooper; both versatile actors having fun.
My feeling on remakes or reboots is very mixed, first its not original to go back to the same plot and simply re-produce it with different actors. However it was just not long after the war and audience taste had changed, new actors were entertaining them. Could an old favorite be dusted off for a new audience to enjoy? That’s a risk that Hawks was willing to make. Ball of Fire one of the latter Screwball comedies, everything thrown at you, high-concept ideas and fast gags. Ball of Fire sure fits the bill, with out-of-touch professors who have lived together for too long now. Writing an encyclopedia, the professors each taking a few specialist subjects – Prof. Bertram Potts (Cooper) the linguist specialists and the youngest of the men, who were all born in the 19th century. It’s only when he hears slang that is fresh to his ears is is mind opened to a new world that he had ignored up until now. Going into the outside world for research, handing out his card to those he ear-wigs on, new words and phrases that he wants to understand more about – inviting them for group research. Its really quaint when you look at it now. All this before he ends his day at the nightclub where he discovered club singer Sugarpuss O’Shea (Stanwyck) who delivers line after line of slang that makes little sense, but livens up the whole film from just being a ‘got to save the day’ film to something far more exciting. I’ll leave the synopsis there for now.
Now turning to the remake A Song is Born in more detail, you have a tried and tested duo in Danny Kaye and Virginia Mayo much like Cooper and Stanwyck, both couples having chemistry. The similarities between the two films are quite striking from the beginning. I could list them all but that would be tiresome. Instead I’ll focus on a few. The first being the setting of the research institution is the same in terms of the set-design a quick recycle and change of plaque on the front before the daughter Miss Toten (Mary Field) who played the same role in both films. Now does this show clever thinking or laziness in not recasting and refreshing the role. The re-use of the set is easily explained as cost-cutting, unless we are seeing into Hawks thinking, is he trying to perfect a film the film that is in his head, based on “From A to Z”. The threat of funding being withdrawn is exactly the same too, leading to Toten being charmed by Professor Hobart Frisbee (Kaye) who she’s secretly attracted to, but exploited here so much. I’m starting to see the differences, the book they are working on, has a greater focus on music, an encyclopedia of all knowledge which only as out of touch as those writing it. Both groups of men are so wrapped up in the past they have forgotten the world outside.
Music is a stronger focus for the characters than just EVERYTHING, still very niche and rich, it allows the Kaye return to a world he is very much associated with, the musical. All courtesy of musicians such as Louis Armstrong and Tommy Dorsey. Of all of the musicians I’ve only heard of Armstrong, all of who though assume the roles of working club musicians, playing Jazz, swing, doo-wop etc, all exciting Frisbee, inviting them back to the institution, not for a Q & A but a performative exploration of music. Taking away the old blackboard and chalk and replacing them with a recording system.
All this before I’ve reached Virginia Mayo’s role of the club singer and gangsters girlfriend. On reflection I feel she was mis-cast in the role that is too dark for her. She does her best by playing up the comedy and musical numbers to compensate. More there as part of a package deal, you want Kaye, you get Mayo, it’s a partnership that’s proven, so why change it? What really lets her and Kaye down though is the recycling of script that is hardly altered really. On the surface it may sound different yet it leads to the same conclusions and jokes. There is a wonderful breakfast scene when Kaye comes down stairs to completely mess up his meal, unaware of what he’s doing, wrapped up in his new experience of love.
The film has it’s positives but I feel it’s weighed down by deja-vu to really be an original and fresh film. I feel that Hawks was either trying to work out a bad part of a film, ironing out the faults to deliver something better. Is that just for his ego though, or was he told by those higher up, your making a film with these two, think of something fast. And here’s the result. A film that has a good formula, with plenty of jokes, I did actually laugh and in the right places. However I was constantly comparing it with whats ultimately a far superior film which sparkles and crackles. An interesting early Wilder picture, who had to wait until 1942 to direct. His original script is merely re-used and reworked, which shows how fast the remake was put into production.
Like I wrote earlier I could go into detail on every scene but that would serve little purpose and I wouldn’t enjoy doing it, finding fault in a minor film that forms a body of work in a director – Hawks who could produce some classic films that stand the test of time, lets call this a mis-fire and move on.
Seen as an important early Western as the genre began to find its feet as Hollywood was starting to accept the genre to be taken seriously. All due to John Ford‘s Stagecoach that took not only a chance with a genre which had taken on the form of period epics of the Victorian era, such as Gunga Din (1939) and Charge of the Light Brigade (1936). All the basic elements that were refined in the silent era were recycled and reshaped as legends waiting to be retold. So with Stagecoach blowing the dust off the boots and spurs, the reins tightly held in place, the hat sitting a top the gunfighters head, the guns loaded once more, studios had to wake up and react to what was the rebirth of the Western. Warner Brothers delivered Dodge City (1939) in reaction to the tightly written multifaceted drama of misfits and outsiders, with bursts of exciting action.
I have been aware of this film for a few years, but never really took it seriously, it was only when I read about it in Gunfighter Nation – Richard Slotkin I had to get hold of the film and watch it. With stronger foundations of how the history of the West was written and perceived at the time – the Myth of conquest’s seen here in terms of progress, the United States on the up after the Depression.
The film opens up in spectacular and very idealised. A steam train pounding freshly laid tracks that are about to meet at the join between the Union Pacific and Central Pacific railroads, complete with the nailing of the golden spike being hammered in completing the line. Before we see the that much forgotten, much passed spike there is a really nice piece of golden age Western cinema, a race between a stagecoach and a steam train. Nature vs. technology, progress out racing what has gone before. Its breathtaking to watch and daring to capturing on film, fair enough there was some camera trickery with the help of a rear-projection, however you can see that it was carefully staged, pushing both horses and the train out on location. You could imagine such ill-fated races occurring all over the country, as riders wanted to prove their relevance in an ever-changing country. Ultimately the train wins the race as it makes its way to the unnamed towns of wheels that have followed the lines production. All of this celebration even before we have met Wade Hatton (Errol Flynn) in his first western role, a position that actors were all getting ready assume and have fun with in the coming decades, at this point it’s all still to come.
We meet him at his two sidekicks Algernon ‘Rusty’ Hart (Alan Hale) and Tex Baird (Guinn ‘Big Boy’ Williams) out near free-roaming buffalo, acknowledging the effect of their hunting on Native American’s, which leads him to lead a sheriff straight to Jeff Surrett (Bruce Cabot) and his henchmen who are too casual about it all. Of course there is little that can be done without a jail or a court, law is still a few years off reaching this part of the world, it’s an idea that can be easily escaped on horseback. Hatton is not yet ready to assume the role of law. He’s far happier wandering from job to job, bringing with him his own legend, originally from Ireland, fighting in Cuba, before the Civil War, he’s lived quite the life before hunting buffalo for the railroad. A life that most audiences would be envious of, to those around him its hard to believe they are standing in his presence, he’s a living legend whose about to write a few more pages.
It’s very easy to draw comparisons between Watton and film versions of Wyatt Earp, which I will draw upon later. Before he takes up the badge he has to live his own life before living in the cause of others. Whilst he’s off the town of newly named Dodge is thriving and growing, seen through a humorous and rambunctious montage that depicts numerous saloons, bars, dance halls, this is a boomtown that is really brought to life for a minute or so. We see some of the footage used again, probably a last-minute creative addition which doesn’t detract from the film, however without you wouldn’t see a town in a state of such rapid growth and social collapse. The violence depicted has now become cliché but was brand new at the time of release. With all the violence going in it takes the elders, the businessmen of the town to come together to reach out to Watton to leave his job behind and tame Dodge City.
Watton is already having to tame those who he’s working with, a wagon train and cattle drive combined – not much is made of the wagon train, with more emphasis on the effect that a drunkard is having on the cattle Lee Irving (William Lundigan) trigger happy is unaware of his actions, it takes a near death stampede and a shoot or be shot decision to stop him dead. Watton is the reluctant killer who in turn horrifies Lee’s sister Abbi (Olivia de Havilland) who sees only a killer not a peaceful man doing the right thing. Protecting everyone around him, making the hard decisions that others aren’t prepared to. This decision-making is soon applied to Dodge City after chaotic barroom brawl that leads to Rusty nearly being hanged by Sturrett. It’s an act that Watton can’t be ignored. He has to assume the role of law which was taken on and abused by Sturrett. Bringing me back to the Wyatt Earp connection, a reluctant lawman whose brought out of retirement to slowly bring Dodge in line with the rest of the country, wanting to be civilised as the East. Bringing back settlers who we learn had been leaving in their droves before. He single handidly transforms the town into a safe, profitable and safe place to live, gun control and a shed load of laws which we see going to the extreme at times.
I have to mention the role of Abbie Irving who began as a grieving woman to taking on a prominent role at the local paper. Yes its the women’s gossip column, but its a woman in the work place, communicating with the community. She’s not a woman to be walked all over, not even Watton until he has won her heart somethings never change. Looking at the other “prominent role” by Ann Sheridan as barroom singer Ruby Gilman whose connected to Sturrett, but her character is not really developed to be of any real consequence or danger to Watton who doesn’t even meet her. That’s the only real flaw in a Western that is brimming at the seams with ideas that are either explore or enjoyed. It’s having a lot of fun, you can see cast all are, and all in technicolor too, creating some classic imagery that has been repeated ever since.
Looking back at the film over a day later I can see a film with so much to talk about, I could be writing for days, I hope I have pinned down some of the main ideas of transformation, progress as well as the division still there after the civil war. The country maybe reunited politically and geographically the links are getting tighter by the passing of the years. Socially and lawfully there’s still away to go. Dodge City is one of the lesser known classics today, yet made during that incredible year of 1939 which transformed the medium and the genre, it can’t be forgotten.
A few months ago I caught Jackie (2016) which for a prolonged scene/montage we saw Jacqueline Kennedy beginning to grieve, preparing for her late husbands funeral. Playing throughout the scene and on the soundtrack is the stage version of Camelot as performed by Richard Burton. We learn later on that JFK saw himself as Camelot, clearly inspiration for him politically and ideology. The track – Camelot stayed with me for sometime after I came out of the cinema. I had to download it to satisfy the ear-worm that was now taking up residence in my head. It’s been about 6 months since I saw both the film and first listened again to the track. It’s been on a number of times in the car. Listening to the track out of context of the musical which I knew still nothing about. I find myself singing along to the track, picking up odd lines, still not ready to take it to karaoke yet – I will be one day. Listening to the lyrics I began to understand part of what the world that Richard Burton was trying to paint to his Guenevere, as if he was selling her his form of paradise. The climate in the kingdom of Camelot is ideal throughout the year. It’s all in decree by the king himself, making sure its all orderly, very British, allowing us to get one with the more important things – like afternoon tea.
Translating this back to the later film I have already got a better understanding of the film and the short-lived presidency of JFK, who dreamed of a utopian new America, which a large number bought into during the cold war, that’s ignoring his many critics who would rather him be out off office. Still that leads into the realm of conspiracies which I’m not going into/entertain. Anyway moving away from the more recent film connection, I first attempted to watch this musical over a year ago. It didn’t go well if I’m honest, it lasted less than 5 minutes before I gave up. The idea of Richard Harris singing it didn’t sit with me beyond the description in the listings. Then somewhere down the line I saw Paint Your Wagon (1969) where again I found actors who aren’t really suited to this world of the all singing and dancing numbers. But I stayed with it due to my curiosity for the film. Both Lee Marvin and Clint Eastwood would never have claimed to be singers. They were passable with a lot of training to put it politely, they were having a ball making the film. The much can be said for Camelot, a cast that is not really known for their singing abilities.
I think this time around with Camelot (1967), with the later film and the curiosity again I actually told myself to sit through it, plus wanting to see Camelot and sing along to the number above. It’s not really a song that on the surface is too hard to sing (not suggesting training went into the performance) however it has that William Shatner sound of talking the words which he aced with his rendition of Rocket Man. Could this be a speaking musical – if such a term exists? The main casting of this film is rather unusual yet I stuck with it. I found Harris to be a decent King Arthur without chewing up the set. Vanessa Redgrave‘s Guenevere wasn’t such as easy fit, more suited to drama’s I guess this was a finding her style role, seeing if she could, which to a certain extent she does. The musical numbers aren’t the grandest songs in musical history.
I did find myself still drawn to the Jackie connection, how did the Kennedy’s connect to the musical? For me it was the idea of uniting all the counties, each fighting among themselves. Arthur decides to unite the fighting knights to fight for right. Inviting all the knights of the realm/country to join him, lay down their arms and join him around the famous round table. One that I saw a recreation in Winchester a few years ago, hanging up and looking like a precursor to a dart board. Flyers go out across the country and before too long we see men riding in full armour towards the kingdom. Thats not before one of the flyers reaches France into the hands of Lancelot Du Lac (Franco Nero) yes a french knight played by an Italian whose not even trying to do the accent, probably because it would have sounded worse. I for one was constantly thinking about him dragging a coffin through a town in Django (1966). He just was poorly cast for a Frenchmen, probably seen as way to boost his international profile Hollywood. Better working with Sergio Corbucci, the role would have been better served by Omar Sharif in terms of accent – maybe. However Nero did bring an air of mystery, the practically unknown to everyone until Arthur remembers what Merlin Laurence Naismith predicted that he would sit with him around a table (not knowing it was round). This is naughty love interest for Guenevere that soon takes hold as she starts to pit others against him in hopes of driving him away or to prove to herself if he’s worthy of her affections, that were too quickly won by Arthur and his selling of paradise.
It’s this idea of paradise that he wants to spread across the country, the start of modern Britain, lawmakers and government not just by one monarch which is essentially a dictatorship without the advisors. Bringing all these knights likes Senators of the 50 states of America together in Washington for greater good than they’d been doing before obviously inspired. Was JFK essentially dreaming of a better world that was now entering the 2nd decade of the Cold War. He oversaw the Cuban missile crisis, encouraged the space programme among other things. Now the use of Camelot in Jackie makes a lot more sense, enriching the film in terms of the relationship that’s now being grieved for. It’s a reminder of what’s essentially a reminder, a memento of stage production, and inspiration for a man. I come away with all of this after a film that is definitely watchable, lots if a fun and songs you don’t really need to have a great voice to have fun with.
I watched Leave her to Heaven (1945) but unlike other films it’s stayed with me. I had every intention of watching The Ghost and Mrs. Muir (1947) that night, I changed my mind at the last-minute and what a chance I took on this very dark yet starkly colourful film noir. I was considering how it would look if I was to convert a short section to the traditional black and white, so it would conform to the visual style of the genre. The longer the film was playing I knew that such an intervention would only be detrimental to the film. The contrast too high, the use Technicolor the dazzle and lure you into the dream world that is little more than an illusion. For what lies beyond the lake in the opening scene is trap which an innocent man falls into. What looks like a treat, the wide open countryside, the greenery hiding narrative that is about to unfold before us.
A quiet man – Richard Harland (Cornel Wilde) lands of the water from a biplane that has brought him back home, a place that holds bitter-sweet memories and the start of a new chapter in his life and his new-found freedom. The lake I know is where the iconic boating scene takes place, but that has to wait, I want to see how it all unfolds, courtesy of his old friend and lawyer Glen Robie (Ray Collins) who allows us to flashback to their first meeting on a train. It’s all by chance that they meet, two strangers, but that end there when she’s Ellen Berent (Gene Tierney) reading his novel on the train. This is only revealed in a later scene, but allows him to get closer to her, using a passage from his book to hook her under his own spell.
The chance encounters allowed to continue as the train stops in New Mexico, even staying at the same accommodation so far its a really nice coincidence that these two have met and been able to see each other is all pure Hollywood. As the Bernet family have come to a resort to scatter their fathers ashes. A connection to the late father and Richards made, they look the same, its uncanny or fate, I’ll let you decide in a bit. It’s clear that he’s falling for her, and she’s reeling him slowly as they get to know each other at the resort, its casual yet there’s an air of mystery. He’s enjoying all of this and even the temptation of her sister Ruth (Jeanne Crain) who doesn’t even know he’s being tempted. Its one holiday brimming with 1940’s style temptation, something I’ll return to later.
The honey trap is finally triggered with the arrival of ex-lover and lawyer (running for district attorney) Russel Quinton (Vincent Price) when out of nowhere Richard and Ellen announce they are getting married. A shock not just to us, but to Richard whose as shocked as us, we have entered the realm of melodrama, the fast-moving unpredictable (take that lightly) world of storylines going off to the deep end. Have we just met the ultimate femme-fatelle of film-noir. This the first sign that this woman is not about to be walked all over. The traditional role of the man proposing to the womans dismissed, she is wearing the trousers in this relationship. We can see that Russel is no longer the object of her affections and this act tells him that she no longer wants him, its final, its fast its fantastically come out of nowhere to end one relationship and further another one, simply by moving her net from one man to another.
The melodrama element of the film is cleverly enhanced by the Technicolor, signalling the look of Douglas Sirk’s in the following decade. If we look even further forward to Gone Girl (2014) which I will touch on later we can see how the manipulating woman can really screw over her husband. Leave Her to Heaven is the first time we are really seeing a woman manipulate a married man. Sure film-noir is full of women who use and abuse men to their own means, usually the men are either single or on the run, or hopelessly in love with the women of the film. The man object of desire is the woman’s object of control, leaving the man broken and unable to go on. The trap laid here in New Mexico see Richard being emasculated, becoming the stay at home husband. When they finally marry, we meet his brother Danny (Darryl Hickman) who has spent the last few years in a sanitorium, having lost the use of his legs through unmentioned accident, it’s all about his recovery that speeds up with the arrival of his brother and new sister and law. She makes her mark in his life, she’s playing the big sister, wanting to earn his love. It doesn’t take much, this is the beautiful Tierney who glistens in a rare colour film.
Danny’s introduction in the film shows how Ellen’s starting to get into the family, adapting to married life, or adjusting her plans. We next see her in the doctor’s office, who she manipulates to withhold Danny’s discharge, before Richard enters when she announces that he’s coming home. Completely having control over the men and the situation in this scene. They are left bewildered and surprised, again another example of emasculation, the fear that women can rise up from the kitchen and take control, this shows the male fear of how far it could go. And boy does it go off to the deep end as the film progresses from the death of Danny that she doesn’t prevent, allowing him to drown, only looking on with cold contempt for the innocent boy who has given her only love. A classic scene that stays with you long after the film is over. She only gets worse, as she falls pregnant, however that would only bring more people into the relationship that she wants with Richard, keeping him solely for herself. Committing this awful acts, not so much for attention but to ensure Richard’s commitment to her, not so much the marriage but to stay under her control. Is this psychological domestic violence, it surely comes close.
The final nail in the coffin, literally and metaphorically is a suicide that she frames as murder on her sister. Seeing how the couple after seeing Richard drift away and back towards the temptation that is Ruth who has been around since Danny’s death. It’s a cold and calculated and all for maximum effect. Her death sparks a court-room drama ending that begins to answer the opening of the film, where has Richard been for two years, and how did he end up there. What makes it worse is that Ruth’s framed for the murder. Allowing for Vincent Price to return in what is probably a pretty substantial part for the actor even in a supporting role, he tears up the set with his performance, he’s in control, this is his world where he can see justice carried out against the family that had cast him aside in favor of the stranger. It’s just full of classic court-room scenes, adding to the drama that has already happened as we get closer to answering that question of how and why.
Coming back finally to Gone Girl which sees a manipulative wife, Amy Dunne (Rosamund Pike) who frames her husband Nick (Ben Affleck) for her murder. Of course the structure and plot are very different, combining flashbacks to explain how they both met, whilst also showing how both are coping and understanding the situation. Amy enjoying sticking the knife into his back for his infidelity. The use of media who share the “story” as it unfolds in the modern-day world of fast-moving over dramatised news, all for ratings. Amy and Ellen both have the upper hand over their husbands, more literally in Gone Girl when he finds a gift of Punch and Judy puppets. Nick begins to understand what is going on and knows ultimately hes trapped unless he can find a way to break free. Ellen goes even further, shes doesn’t just plan her death meticulously, she sees it through and is twisting the knife from the beyond the grave. Amy is not that brave, preferring to come back and honor the image of marriage. No such thought goes through Ellen’s mind. If anything Leave her to Heaven is really the darker film, if ever remade it would be far darker than Gone Girl leaving it in the dust in terms of psychology and violence. The media in the latter film really makes it more contemporary, it wouldn’t be needed for a Heaven remake. I just hope they never do that.
Taking the time to watch The Stepford Wives (1975) tells me fire sure that it’s far superior to the 2004 comedy remake really pales in comparison, the feminist bite that I found here is watered down substantially. The original even just on the surface is darker and sinister. I’m not going to compare the too, I just don’t see the need really when the original’s packed full of ideas, which I’m going to explore. I will however start by comparing this sci-fi paranoia with Westworld (1973), the amusement park populated with android hosts who are at the beck and call of the human guests whim, be them violent, sexual or anything in between. The idea of the android being used for human pleasure was only scratching the surface of how far it could be explored. Of course in the theme park a malfunction saw the robots take over and that was that until the poorly made sequels (that no-ones ever seen). In the theme park we acknowledge early on that these are not humans, in on the illusion, waiting for it to go horribly wrong. For new visitor Peter (Richard Benjamin) he is all too aware of the possible consequences of his actions, using and abusing these hosts who at least look human. He wont kill any of them, even when the safety features are in place. The illusion is all too real for him.
It’s the illusion that photographer, wife and mother Joanna (Katharine Ross) who moves with her lawyer husband from New York for a new life in the suburban town of Stepford. On the surface you have the idyllic American dream, the big house, the kids and if your lucky the perfect wife. Well most of the other residents do. All with perfect bodies and spotless houses, funny how they all live within a few miles of each other. This gated community living the dream. Joanna however starts to see cracks in the dream, with all the spare time on her hands she finds herself starting to go mad. For me I think part of that illusion and mystery is lost due to the knowledge of the remake which gives away the plot. It was about rediscovering how Joanna came to that which made the revisit worthwhile.
Leading up to that discovery she befriends recently moved in Bobbie Markowe (Paula Prentiss) who shares the same concerns start to look at little closer at the wives of Stepford who would rather live the life of the ideal wife, keeping the house spotless, makes cakes and talk as if they were selling a household product. They are living adverts for the ideal married life… for the male anyway. Perfect in every-way for the husband to enjoy, having less to worry about at home, coming back from work to a clean house and a woman who worships him. Honestly every man does want that but ultimately that’s just a childhood fantasy. The generation depicted in the film, grew up in the 1940/50’s with stay at home mothers who only ventured out to get groceries and pick up the children. An image and ideal woman who according to Freud all men look for, their mothers, someone to compare to what is basically an impossible goal to reach. These boys who become men desire that in the women they meet. Who in-turn want the father in their husband – that’s if we are looking at a heterosexual relationship. In Stepford that ideal becomes a reality for the men who are rarely at home, either at work or the men’s club.
If in Westworld the desires of the guests; male or female are met, then in Stepford only the desires of the men are being catered for. Its a male dominated environment, that reflects reality of the time. The Women’s liberation/feminism was in full swing. Women fighting for an equal voice, to be taken seriously in a male dominated society. Looking back, how much has really changed since that time. I don’t think I am really qualified to give a definitive answer. I can say in short that there is still a way to go. The workplace has made progress, the depiction of women in film and TV has improved if only slightly. Print and digital media is also slowly catching up. Its about keeping the ideas alive and fighting for what is basically equal rights, respect and representation in society as new generations grow up.
Stepford Wives is full of fear, the fear of unknown if women were allowed to be free thinking, independent people, free to act, work and dress as they please without fear of being objectified, ignore and treated less than their male counterparts in life. The ideal, yet softened feminist for the screen. Both Bobbie and Joanna represent women who can think for themselves, have a laugh and see the town for what it is. They become fixated with the wives who they can’t really hold an intelligent conversation with. We see one wife Carol (Nanette Newman) whose clearly a recovering alcoholic malfunction, or so we are lead to believe, her reaction is more robotic, there’s nothing human about her beyond her form. Her presence is rather sinister, perfect hair and body, she has achieved the ideal that adverts and the media promote, and so have all the other wives. Joanna and Bobbie then encounter Charmaine (Tina Louise) who comes with her own marital problems. Then a few weeks later a trip away and she’s transformed into a new woman, blossoming almost, yet under the facade is another shallow obedient wife.
I’m reminded of The Simpsons episode Lisa Vs. Malibu Stacy the fictional Barbie doll complete with pull-string that allows her to talk. Playing archaic female stereotypes that are being fed to young impressionable girls. Lisa takes it upon herself to design and sell her own doll with her own independent thinking and sayings. The little girl playing the giant toy company at their own game. Only to come back with the same doll, this time wearing a hat. Showing how easy it is to sell to children and how little they really care about the impact they have in their development. The men of Stepford are the same really, taking the women they met, and improving in their desire image, having overall control over their wive. The men are once again in charge. Leaving all the women subservient, quiet and of little hassle to them.
It’s in this fictional American town there’s the illusion of hope for the men, restoring order to things so they can go about their lives not needing to progress socially, science has caught up enough to allow them to turn the clock back on the women who’ve been fighting them since the 1960’s. Feminism has no place here, its fought and won with male ingenuity and science – and because they can. It’s that easy in science fiction to solve a social problem with technology, now just wait until it malfunctions.
On reflections Stepford Wives is a very dark film, drip feeding to you the suggestion that something is wrong, socially critiquing a small town in suburban New York state. We see independent women being stripped of all they have fought for, rewinding the clock to the 1950’s. There’s no hope for any of them here in the cinematic world, filmed like a cheap TV movie the ideas are even sharper because you don’t expect to find them. Even passing the Bechdel test too with flying colours which is even rarer for it’s time. A film that looks dated on the surface with razor sharp contemporary ideas, now when is it being rereleased?
If I’m honest I had mixed thoughts when it came to Elstree 1976 (2015) a little known documentary about some of the extra’s from Star Wars (1977). Instead of all the docs that had gone before focusing on the stars, the director and the origins of the film that in themselves have all taken on legendary status. But what about those bit parts which in the Star Wars universe have all become remembered, anything that’s vaguely relates to the franchise is worth sharing, selling or talking about. My reservations for this doc I think came from what could really be discovered that hadn’t already been said or discussed about the history of the film.
As soon as I got started I knew this was going to be different, unique even. Thankfully made in cooperation with Lucas Film that gave this doc more authority allowing it to be more credible, instead of just talking to the extra’s, we have recreations of the film sets, the costumes are brought out if only briefly. All these elements are important in telling the Star Wars story, without them it wouldn’t be authentic to the audience, false and not worth telling. You could say the untold story is more exciting as we have only had glimpses, If you look away from the hard-core fan-base your knowledge is not so sharp beyond the credited actors in the film.
Beginning with introductions that link the extras directly to their action figures, a strong link to the film that no average person can claim to having. Through the figures that helped to provide George Lucas with his fortune and ensuring the next two installments would be possible. The idea of action figures being tied into a film had tried and failed in the past, as history of the film tells us, for Lucas holding onto the rights to the toys was a very clever move. Becoming collectibles over time, practically anything that appeared in the three films has great value (if in great condition and in the original packaging). Ten figures to ten actors faces, all playing varying parts in the franchise’s first film.
Beyond opening comments of having their own action figures they talk very little about Star Wars. We learn of their childhoods, youth and early acting careers none of them as spectacular as Mark Hamill, Harrison Ford or Carrie Fisher who all had more success. These 10 actors have stayed in obscurity more or less. David Prowse the actor behind the helmet of Darth Vader has one of the more familiar stories, an ex body builder who turned to acting after being told he’d never be successful – because of his feet. I forgot he had a small part in A Clockwork Orange (1971). To lesser known actors such as Pam Rose who was in the Cantina as Leesub Sirlin before going onto other extra parts late 1970s and early 1980’s. Whilst others have made a career out of being an extra like Derek Lyons with more than 80 credits to his name, that’s a lot for an extra.
During the main body of the film – the making of Star Wars we gained an insight to what film was like. From the tacky costumes, the 100’s of storm troopers to prosethetics and meeting the quietly spoken George Lucas who got one of them a cup of tea. How some of them ate lunch with Hamill. I learned how some of these extras took on speaking roles such as the storm trooper who waved Obi Wan, Luke Skywalker and co through, with “the droids they were looking for”. All these and more moments that are looked over in favor of the Fisher/Harrson affair, or the quotes about the awful script. What also makes this film stand apart is the gifs, that show us those blink and you’ll miss them moments in the films where the extra’s can be found. Weird at first, you soon get used to what it going on. Really bringing to life those moments that we in the audience wouldn’t care about.
All this before moving onto post Star Wars life, some it opened the doors to steady work as an extra, for others little came of it. Yet the power of that film alone, ignoring Empire and Jedi we have a film that changed so many lives for those who worked on it. Leading to the present the culture that has been created by this little b-movie science fiction film of good vs. evil- the convention circuit that some warming to it, whilst others have shied away from it. Prowse talking about honestly how he has made a career out of Star Wars and fair play to him, there’s money to be made.
I see this short documentary as a nice little insight into those much forgotten actors who brought to life the characters who are just as celebrated, Greedo, Boba Fett and all the X-Wing fighters, the list is endless really. To see the faces behind the make-up and costumes, and their lives which brought all of that to the screen. It won’t be as exciting without an all star documentary, however its something more special, shinning a light on the overlooked actors who did gave their time and effort to bring Star Wars to life.
Another foreign film that I have been aware off but wasn’t in a rush to watch, waiting for a TV airing instead, which surprisingly paid off. I remember hearing good things about A Girl Walks Home Alone at Night (2014), a Iranian horror, with a rare female focus which is honestly very refreshing. You could easily say this is a feminist horror. With a female protagonist whose the titular girl who we follow. Beginning of a false footing with a quietly macho guy Arash (Arash Marandi) who we see loitering around a fence, before climbing over to rescue a cat, his cat. The opposite to what Marlon Brando would do (not rescue a cat), more likely o kick in the fence, venting his pent-up anger. Arash is not your typical male hero, if anything he’s the opposite of that in Bad City and fictional Iranian ghost town where the film’s based.
We see that Arash’s walked all over by his father (Marshall Manesh) drug dealer/Pimp Saeed (Dominic Rains) coming for more money that his heroin addicted father owes. His son is doing his best to look after him, who has clearly turned to drugs in the wake of his wife’s death. It’s unusual to see the son living at home and looking after his father on the screen. Of course this a more contemporary situation that Hollywood would never depict, instead it would be the daughter, looking after her father. It reminded me of Westerns, the unmarried daughter staying at home with her elderly father – sometimes blind or very ill and/cranky. This is the way I read the film after some time. A thread that I will pick up on later.
We’ve not even seen the titular girl, or so I thought we had when Saeed meets the first woman, Atti (Mozhan Marnò) in the film, who turns out to be one of his prostitutes who just wants her cut before we finally see the girl (Sheila Vand), dressed in a Hijab, not unusual in itself, but the lone figure in the dark scaring plays upon our inbuilt fears of the Islam and turning it on itself. The fear of the unknown figure within its environment inciting fear to other Iranians. At this point we are held at a distance, unsure of what real danger she poses. Interrupted at a forced sex act, fear is all the figure conveys at this stage.
Following the girl home to her basement flat, seeing her next as just a normal girl, whose shy and reclusive yet beautifully innocent features, how could this be the same girl under the hijab? We have an outsider who enjoys indie music on vinyl and seems to enjoy her own time. It’s the next few scenes that unveil her true identity and power as she lures Saeed to his demise at the hands of a female vampire. This I really didn’t see coming. I took the title too literally here which if anything has surprised me The lone stranger who walks the streets is the one you least suspect, a young woman, a vampire that to some extent is a lone gunfighter prowling the streets at night.
It’s a clever premise, playing on our fears of Islamic extremism and building on that in one of the countries whose dominant religion is Islam. Writing this review after such a horrific week, I feel this film is more relevant. We need to remember the power of fear and what it can do those who it’s inflicted upon. This fear has been confronted to an extent in A Girl Walks Home… instead if fearing the hijab for no reason other than that of extremism, we are actually given something to fear, the supernatural, a being who has take human form, nothing to do with Islam, merely the form of the vampire takes.
I’m reminded of Bone Tomahawk (2015) which played on similar fears, using the Native American and really going far out and giving the characters something to really fear and the audience too. Which leads me nicely back to the Western comparison which started with the role reversal placing Arash in the classic female role that falls for the stranger, the gunfighter, who ultimately tames him and they ride off into the sunset, or leaves her with her father. He falls for the strange girl, whose startled by the emotion that he brings out in her, she like any gunfighter is not used to such attention and the thoughts and feelings that they experience. Fighting against her natural urges and actions, doing what a vampire does best. Placing all this action in Iran is even braver.
A female lead, who plays on the fears of Islamic extremism in the guise of a horror. Does that make a female lead more acceptable, or get under the radar of censorship? Either way it’s playing against type completely for not just the horror genre but for cinema as a whole. Placing a woman in the protagonist role, the bad guy who has to be either killed or tamed. I couldn’t see a way to her demise happening. Could Arash have seen beyond her perceived innocence to see the truth? That’s the question we are left with, after all the violence she has caused, for good or bad she has done her bit to clean up Bad City the only way she knows how. As a gunfighter can only use his guns – using violence to bring peace to the town/city they are in.
In terms of horror it’s maybe not as scary as you hope, the ideas it explores and subvert make up for the lack of horror. When we do get it, it’s all about the build up, wondering how she will bite. Its the final attack that leaves you in awe as she rescues the damsel in distress. The moments which are slowed down create a sense of real awe and spectacle heightened by the black and white cinematography, be them horror or not. For me the real strength of the film is gender swapping of roles a Western in the guise of a horror, which for me is an added bonus. Ultimately it’s a refreshing film that takes our fears, placing them in a completely foreign country.
Just over a year ago I reviewed The Big Country (1958) writing it in response to having just read Five Came Back by Mark Harris which focused on five directors including William Wyler who documented the WWII from the skies, most memorably – The Memphis Belle (1944). The book has just been turned into a 3-part documentary series now. I left my review wanting to watch his first film coming back home to Hollywood, wanting to consider those veterans who were all starting to come home, not all in the same shape that families last saw them go off in. These were the lucky ones, countless men were lost in action and the line of duty but not in vain. The Best Years of Our Lives (1946) was Wyler’s tribute to these men, America’s veterans from the world’s most deadly brutal conflict. It was also a massive eye-opener to the public that their veterans were coming home, whilst some were adapting well to civilian life there were of course many who weren’t.
There aren’t many films from the 1940s that run to almost 3 hours in length, yet those don’t have such an important heart-felt message to deliver. It has to run at a leisurely pace to feel like real life, no stylish editing to take away from the documentary style aesthetic that combined actors and amateurs who really brought home what civilian life meant for these veterans. We follow three ex-servicemen who are trying to get home. Taking one from the three main arms of the forces – Navy, Army and the Air force we see three very different men return home. The first hour is full of emotion as we follow them first meeting to the taxi they share. Each optimistic and uncertain of what lays beyond that door to their past lives.
First we meet Fred Derry (Dana Andrews) as he wants to get a flight home, none are going his way for now. Whilst civilians find it so easy, as one passenger literally is just handed his pre-booked tickets. He has to return to his own kind to get a trip home, in a bomber that no longer carries bombs, just passengers where he meets the other two veterans – Al Stephenson (Fredric March) a sergeant who fought the ground war and Homer Parrish (Harold Russell) a navy officer who has lost his arms to below the elbow, leaving him with hooks, a lasting reminder of the warm and its personal cost to him. Having him on-screen is as reminder of the real sacrifices, Russell a non-professional actor who can really bring home what went on at sea, on the land and in the skies of war. He came close to paying the ultimate cost. It’s a shock to see him, yet we quickly accept him and his situation. He can cope with them why can’t we. I was amazed how he could operate these complex hooks which allow him to function. There’s an underlying fear – will he be accepted by his family and ultimately his fiance Wilma (Cathy O’Donnell) who he has to reconnect with.
At this point we don’t know how the war has really affected the other two who have come back pretty much intact – on the surface anyway. It’s when as I keep mentioning they get home do we start to understand what they are coming back to. For Al the banker he’s has changed emotionally, more assertive and sure of himself. His family isn’t yet ready to receive this man back into their lives. Taking his wife Milly (Myrna Loy) and daughter Peggy (Teresa Wright) on a bender. They clearly haven’t seen this side of their father and husband who has really come of what was a very conservative life of a comfortable job in a bank that assured his families future.
Whilst Fred takes a bit longer to work out. After learning his wife (of only 20 days when he last saw her) had moved out and becoming a club singer. Not the life he was expecting to come back to. He represents all those men who fell in love and got married before their leave was up. Understandably so, no one knew if they would return and wanted to make the most of what time they had. He’s one of the average Joe’s (yes Dana Andrews) who we see again at Butch’s (Hoagy Carmichael) drugstore where we also find Al and Homer who have formed a bond that would never have happened at war, three division of the armed forces have come together. Alcohol fueled and very emotional. It’s at Butch’s that they are all able to open up, start to see their futures.
You could see this as just another standard film of the era, yet there’s something very different in the characterisations, we have more realism, sure they are all well acted, with a nod in Harold Russell, one of the few men in the film who saw action validating what this film is about. He has nothing to lose from his role. You could say the film relies on him which would be unfair, the trained actors/actresses.
Turning away from Homer we have Fred who gives us the first glimpse at what P.T.S.D. really is, of course it’s only fleeting, a nightmare of his time on a bombing mission. Not able to properly process what has happened, to grieve for those he has lost and the scenes he has seen whilst at war. He has it probably just as hard as Homer adapting to civilian life, having to find a job, not wanting to return to his past to support him. A wife whose not the person he married, the woman he knew was in the photo he held onto for 3 years, not the woman who wants the uniform, the image of his past. Both are looking for something in each other that no longer or never really existed, an ideal version. Whilst Homer is unsure that he will be accepted by his family and fiance, not the man they saw leave to fight. It’s one that so many others returning home were facing at the time.
The film drives home what had changed at home in America, that it hadn’t stood still. It’s not like going on a holiday only to see the house is still standing and everyone around you is still there. There was a financial boom during the period, massive change at home, a word I am not afraid to repeat over and over now. Home is what the film is all about, what it means to so many when away for so long. The expectations of the veterans, the civilians who welcome them back and adapt to these changed men to a life they had all but forgotten. No longer giving or carrying out orders, running for or fighting the enemy, all that is over. Going back to where they had always wanted to be. Society at the time was going through a state of mass readjustment, making room and accepting these men back into daily life, a whole other battle. The Best Years of Our Lives went a long way to making it easier for veterans to be accepted back home after they had longed for it ever-since they left.
Lastly I want to find a connection between this film and The Big Country which saw a man out-of-place, adapting to an alien world that spoke his own language yet he had to prove himself to those around him. A war of his own you could say. It’s nothing like Years of Our Lives which was a much-needed film for its time. Much as Wyler’s last film before leaving for war himself Mrs. Miniver (1942) encouraged his own country to get behind the war in Europe. Two films that captured the spirit of the war. Looking at the Western it’s so far away from this time it’s something else entirely, a look back at the war, maybe another look is needed, I know I’ll be taking in Mrs. Miniver soon.
I’ve been considering talking about Kreuzweg/Stations of the Cross (2014) for a few hours now. Wondering how to approach such a loaded film. Now I am not a Catholic and if you were to meet me I would be more honest in my opinion on the faith. Not to say I am extreme, yet I am not altogether positive about the religion. I’ve watched a few films recently that touch on the religion in some aspects, each time they have produced a strong emotional response of discussion. The first being Ken Loach‘s film Jimmy’s Hall (2013), the beautifully shot Ida (2013) and most recently Stations of the Cross. I know my position is heavily formed by family history and discussion. The church is only now accepting its own dark past, the forced adoptions of unmarried women’s babies, the awful sexual abuse in the church by priests. I could go on and have a rant, which I really don’t want to do. No religion is perfect for sure, however Catholicism strict teachings have not helped to project the best image of the church.
Starting with Jimmy’s Hall which is set just during the depression and the beginning of the troubles in Ireland. Moving away from the politics which is both messy and complicated. We have a fight between an Irish communist – Jimmy Hall (Barry Ward) who has slipped back into the country where he is actively encouraged to reopen a dance hall. However at every turn he’s met by the church, in the form of Father Sheridan (Jim Norton) who at first asks him to vacate the property, as it owned by the church – fair enough, could be seen as trespassing. All the community want to do is let of some steam and enjoy themselves. To learn new dances, to exchange ideas – maybe talk about Marxism too. There are flashbacks to before Hall’s self-imposed exile which sees a happy gathering, of course some trouble before he gives in. It’s the hold of the church, the teachings of the bible that are so ruthlessly enforced upon these people who are just wanting to unwind. The scenes between Hall and Sheridan frustrate me, even just thinking about them I want to shout at the screen. Maybe that’s the power of Loach who I find controversial, our politics definitely clash shall we say. I feel like getting on my feet and shouting NO, this is wrong.
Seeing Jimmy’s Hall effect on me as more part of Loach’s power as a director, I can’t say the same for Ida which is more honest and open to debate the life of a young women whose about to enter into the sisterhood, devoting her life to God. Which is her choice, not mine, I could never devote myself to a divine being. Here Anna (Agata Trzebuchowska) a novitiate nun’s told by her mother superior that before she takes her vows she’s informed of her Jewish roots, with a family member still alive. Coming from a life in the church (left by her parents during the German occupation). Already she has a get out of jail card there. It’s unheard of to have a Jewish nun, the two words really don’t fit. Advised to go away and meet her aunt Wanda (Agata Kulesza) who is the very opposite to a pure life. This is the 1960’s, even in Poland under iron curtain. Anna during the course of the film, learns about her parents and life outside of the church, what she has missed out on and about to give up soon. It’s a big ask of anyone to do that. I was shocked by the sudden ending that saw her not being able to live with herself. The battle between her two faiths fighting for a place in her life. All this thrust upon her before another life altering decision. All this could have been avoided if the Catholic church told her sooner of her own history. Left open for our interpretation. Is the church simply looking out for her, did she choose to become a nun of her own freewill.
Moving forward to Stations of the Cross a 14 act/stations/chapters film that follows a girl Maria (Lea van Acken) from her preparation for confirmation to sadly her death. Depicted like a modern-day telling of the Easter story. This time not as grand or spectacular cinematically. Visually is very plain, the camera is held at one fixed position, only ever-moving when absolutely necessary for the station to continue to work. It’s very christian in design, nothing at all fancy, no special effects, focusing on the dialogue. Stripped of any beauty to allow the message to be brought home, one very much of anti-Catholicism.
Beginning with the last lesson before confirmation next weekend, the end of childhood and the beginning of adulthood in the church, we’re allowed into hear what Pater Weber (Florian Stetter) is talking about, an emphasis on sacrifice and being a soldier for God. Spreading the word and enforcing the teachings, not to give into temptation. Something that Maria takes a little too literally, seeing herself as someone to be sacrificed for God. It’s scary to hear how unquestioning these children are, absorbing all these ideas, without being able to process them properly.
We discover how strict Maria’s family are, her mother Franziska Weisz is clearly a strict Catholic who can’t see what is happening to her daughter as she verges on anorexia and ultimately death. Again you want to shout at the mother, let her be a child, to make mistakes as she grows up. It’s just not an option. Maria a biblical name goes on a journey that sees her not get closer to God but ultimately further away. Unable to see past all the teachings and believe in her faith. Her upbringing is not to help either, with only a nanny Bernadette (Lucie Aron) to turn to, clearly not religious but can still see the good and love in his troubled young girl who is going through enough with puberty, to be faced with the a strict family that can not see beyond the words of the bible.
The film is definitely attacking the church and not holding any punches either. There’s an agenda here which can’t be ignored. We see an innocent girl becoming more and more troubled as the film progresses. Is the church that strict, we see Pater Weber gives Maria a body of Christ which ultimately kills her. This doesn’t take away the devotion that Maria has for her cause, rightful or not it maybe she sees it through and no-one can stop her, it’s the power of faith. Which makes me now reconsider is this an attack on the church or a modern retelling of the Easter story. I’m now more confused, showing how dense the Catholic religion is to non-believers of the faith.
I’m going to try something new in this review – 3 films, well 2 films and a TV episode all titled – Cape Fear. For sometime I’ve been thinking about the relationship between these horror films. Having also read that the Martin Scorsese remake in 1991 was pointless really, I need to see this for myself to understand what is actually going on here. Has Scorsese wasted a cast and crews time and a film companies money, not to mention the audience who went to see etc. I’ll finish on a more comedic note with The Simpsons spoof Cape Feare which combines the best of both films. I’m one film in – the original which I shamefully saw in about 9 parts on YouTube whilst working at a summer camp a few years ago.
The 1962 original released as part of a cycle of horror films that attempted to emulate Psycho (1960) which reshaped the genre forever, what a was expected from the genre and its very form. What followed was a series of cheap knock-offs so to speak that tried to replicate that magic for the next few years. With time for the industry to react one of the first films out using A-list actors with well established careers, such as Deborah Kerr‘s The Innocents (1961), and the cult classic of Whatever Happened to Baby Jane? (1962). However Cape Fear has more in common with film noir, or the first shoots of neo-noir after it ended a few years earlier with Touch of Evil (1959). Take some of the best bits of The Night of the Hunter (1955) and repackage it into a more audience friendly film that has also become a classic.
Taking the Charles Laughton noir of a preacher who works his way into a community, marrying a Jail birds widow, in order to get his hands on the money which the dead husband has hidden. Memorably played by Robert Mitchum, whose physical presence transformed the role and the film into that of almost folklore horror. Seeing America through the eyes of an English director who gave us his vision of a country deeply rooted in its religion that could be so easily be corrupted. The Mitchum character of Harry Powell becomes Max Cady, again not long released from prison has a one track mind, not money, he has plenty of that. Its more like a destiny that he has to fulfill coming to the home town of successful lawyer and family man Sam Bowden (Gregory Peck) who had to testify against him on an attack charge against an innocent woman. After first meeting Cady we know he’s not a family man, not meant to live around law-abiding people. He’s not a gentlemen who stops to pick up papers for woman on the stairs. He’s to be avoided, even before we learn his back story.
The Cady’s live in reasonable comfort, a small lawyer whose life is about to be turned upside down, about to take him and his wife Peggy (Polly Bergen) and daughter Nancy (Lori Martin). I couldn’t help but start to draw comparisons with this to the remake, what were the new relationship that brings Cady to town. It’s more complex for sure in the remake. Back to this more straightforward film that doesn’t waste time establishing whose the good and bad guys. However it’s the law whose hands are tied, Cady’s being doing more than marking the days in his cell before being released. Reading up on the law and planning his revenge. Starting his war of terror against Bowden and his family, taking aim at the teenage daughter – Nancy whose awareness of the male gaze and sexual power is about to blow wide open.
Cady is not just a deranged criminal out for revenge he’s a sexual predator too, making Nancy his next victim. This could be where Scorsese got a bit of tunnel vision, along with changing taste and the loosening of censorship which allowed for a more adult version of the film. Nonetheless the original filmed in cheap/standard black and white adds another layer to this dark film that gets more intense scene by scene. Tying Sam in knots with nowhere to turn but to lead him into a trap on the houseboat along the Cape Fear river. The sexuality is all coming from Mitchum, even middle-aged has a decent body that added to his domineering on-screen presence. If anything I found the ending lackluster, instead of what the audience wants – and Scorsese gives us. We have the law winning out, the courts of justice putting Cady back behind bars before a swift and happy ending. It feels after all of that struggle the good and civilised in Bowden wins out, his primal desire and wishes earlier on in the film to shoot him are repressed to allow him to drag him to a prison cell before a having another trial. Hopefully leading to reform, something I really can’t see happening to Cady, whoever plays this disturbed character.
Onto the remake now, which after hearing it was pointless, I’m starting to see why after just finishing it. I first watched it at University, thinking it was a great thriller, I even used it as part of my research for thrillers and suspense. What the hell was I thinking, more to the point what was Martin Scorsese thinking. It wasn’t even a film he wanted to do, it was an assignment given to him by the Universal, for reasons I just don’t understand, I don’t think he does either. Probably hoping to get his next project The Age of Innocence (1993).
Lets take a look at the film on the face of it, a remake of the 1960’s classic thriller which saw the Bowden family being tormented by the deranged Max Cady that still remains at the core of this film. However 30 years have passed and the script admittedly needed altering in some respects. There’s far more sex on-screen, along with the usual depiction of Scorsese penchant for violence. Making it a good match, but then the same can be said of lots of directors. He’s a director for hire here. The main difference is Cady played by a hammy Robert De Niro whose clearly having a ball, glad to be working with his old pal Marty one more time. The crime committed now is, aggravated assault, essentially rape when you get to know the character. He’s come back to get revenge on his old lawyer Sam Bowden (Nick Nolte) who we learn buried evidence that could have allowed Cady to go free. That facts are made clear early on away from Cady who is beginning his campaign of fear.
Originally Bowden was a witness to an assault committed by Cady, now we see that the lawyer has used his professional power to alter the course of Cady’s life. I couldn’t have seen that working in 1962, only a few years from playing Atticus Finch (Peck) couldn’t betray that upstanding heroic image. Whilst Mitchum could’ve easily played that role to the extreme without getting as hammy as De Niro. We spend more time with the daughter now named Danielle (Juliette Lewis) who is more sexually aware. Whilst the wife is pretty much unchanged, reacting instead to the plot as it unfolds. If anything she is more traumatised by the films events. So the father and daughter get the thick of it.
A memorable addition or “nod” of approval to the remake, is the inclusion of three of the original cast Peck, Mitchum and Martin Balsam each having a few scenes. Was this more a ploy to bring in the older audience to see three older actors once more, or to say that the film is not being made without their blessing. I think its more the former with a bit of promotional casting. Mitchum first appears as the detective who wants to help but is forced to not suggest to seek alternatives. Whilst Peck is clearly having more fun in his cameo as Lee Heller who is Cady’s defence lawyer. Whilst a clearly bored Martin Balsam the original detective plays the judge who rules a restraining order in Cady’s favor. The aging actor clearly underused and wondering what the hell he is doing on set.
The law is clearly not in Bowden’s side throughout, doing all he can to protect his family, being screwed at every turn by a criminal who has read his books, including the Bible and Sexus (just for added smut). There are times when you are on the Bowden’s side, then you think, haven’t we been here before, only in black and white and not for as long. Drawing out the scenes and adding new ones that only drag out this practically scene for scene remake. The religious overtones are very heavy and clearly a directorial stroke, which makes the work his – overtly.
Ultimately it’s a hammy overreacted, waste of film that sees an accomplished director scraping the barrel with sacred material that shouldn’t have been touched. He should have looked back to Dead Calm (1989) which had the boat thriller in the bag in every way. We have actors who are doing their best, whilst some are just glad for the bigger paycheck and a few days work. Lastly Scorsese only makes you think about the original more overtly with the lazy use of the original score by Bernard Herrmann, conducted by Elmer Bernstein who simply conducted it for the “new” soundtrack. There’s no attempt to be really a unique film that is about the same basic premise, its the just the same just sexed up.
Now I want to watch the far superior Simpsons parody which focuses in the best elements. The second episode of season 5 – (yes it’s that old), a longtime favorite of mine. I remember getting it on video – the murder mysteries tape. Makes me feel old just thinking about it. It’s been a while since I last saw the episode until last night. It was still as fresh and spot on with the jokes that came thick and fast. Midway through the golden age of the now long running animated sitcom, which has now become the longest running of its kind too. Cape Feare was also the third time that Sideshow Bob (Kelsey Grammer) appears in this now iconic role. Assuming the Max Cady role directly from the Scorsese’s film gave us a year before. It’s a cheeky spoof that is more entertaining that the thriller which is 6 times as long.
I think the focus was on the more recent film still fresh in the public consciousness, which is understandable, leaving the original alone. Taking the best bits of a pointless film and making fun of the rest in 20 minutes of animation. We already know that Bob has it in for Bart (Nancy Cartwright) who has twice already found him out, once for robbery, and for attempted murder. Now it’s time for revenge. There’s no need to build up that history between the two except in a few short scenes. The blood written letters and the parole hearing before Bob’s released, using his charm to gain his freedom.
Already the Simpson family are on edge, the letters and now the cinema scene which is ensures we are in for a scene for scene spoof. Of course there’s more common sense at play, the harassments taken seriously by the police instead of going down the private detective route – which leads to the fishing wire and teddy bear set-up which isn’t taken seriously. Ultimately they’re referred to the FBI who put them into the Witness Relocation Program giving them a new identity and opening titles. It’s all played fast a loose. Yet the law is on the families side, moving the spoof quickly on, there’s no time to discuss the need to use a gun or to kill Bob, it’s about hiding.
The finale is more family friendly with a Gilbert and Sullivan homage, making the most of an earlier scene in the car journey. The houseboat is loose on the water, just not out of control as Bart uses the performance to buy him time. He’s too clever to result to deadly violence to see his enemy (not Moe Szyslak (Hank Azaria) and his panda’s). The episode delivers some of the finest moments not just of the season but a collection of jokes that are better than the expensive thriller that tries to outdo the original.
So ends my first 3 (2 and a spoof) film review, attempting to find a relationship and history. I’ve chosen an easier trilogy (of sorts) to begin with a film, a remake and a spoof. I can see how it a classic (before it was more common) to remake a film. Seeing that it was sexed up, add some violence and some cheeky cameos to draw in the audiences. Whilst a controversial cartoon plays fast and loose, appropriate the events of a recent film and make fun of it, so is the nature of a spoof which in the case of this film is more entertaining, than the remake.