Columnists
Entries from December 2013
By Todd Garbarini
Mary
Poppins (1964) was a
first for me in two ways: one of the earliest movies I can remember seeing in a
theater (I was five years old when it was reissued in 1973 and the Rialto
Cinema in Westfield, New Jersey, the theater where I saw it, is actually one of
the few remaining theaters from that era that is still in business) and one of
the first movies I saw played back on a VCR (in 1980). I could hardly believe my eyes at age 5 and
wondered just how in the world Mary Poppins (she is never, ever to be called
just “Maryâ€), the chimney sweeper, and her two young charges managed to make
their way into the sidewalk paintings with all of the colorful characters. 40 years later, I could pretty much figure it
out for myself having seen many behind-the-scenes documentaries. And yet even
though the man behind the curtain has been exposed, it still does not detract
from the sheer magic that is this now 50-year-old film, and certainly one of
the longest Disney outings at two hours and nineteen minutes. The songs are pure magic and there is not a
dull one in the entire film, another rarity.
Julie Andrews is positively radiant as
the titular heroine who comes to save the day when Jane and Michael Banks (Karen
Dotrice and Matthew Garber respectively, of course), the young children of the
too-busy-for-children parents George Banks (David Tomlinson) and Winifred Banks
(Glynis Johns), want a new nanny after they drive off their last one (Elsa
Lanchester) in a fit of aggravation. Their
ripped-up-by-their-father classified ad makes its way to Mary Poppins who appears
to be just what the children ordered. She
takes them on several adventures, the most colorful of which involves the
aforementioned jaunt into the colorful sidewalk chalk drawings. Animation and live action match in this
sequence to produce some truly remarkable sequences. The music is infectious and you cannot help
but find yourself humming along with the characters.
Alas, all good things must come to an
end, and the long and short of it is that Mary Poppins, who successfully brings
the children together with their parents, must leave after a job
well-done. While it becomes apparent
that the children now no longer need Mary Poppins, Mary Poppins indeed has
needed the children…and it shows as she flies off.
The film is a great showcase for the
considerable talents of Julie Andrews who was 28 when she made the film and
also won an Oscar for Best Actress. Dick
Van Dyke is a complete joy, bouncing around with reckless abandon. Karen Dotrice and the late Matthew Garber are
very good as the children.
The sesquipedalian jawbreaker Supercalifragilisticexpialidocious is
perhaps the film’s most well-known song simply because of its ability to
challenge even the most seasoned logophile. A Spoonful of Sugar and the Oscar-winning Chim Chim Cher-ee are additional delights.
Pamela Lyndon Travers, the author of
the original Mary Poppins stories upon which this film is based, reportedly
gave Walt Disney a hard time as he attempted to buy the book rights from her – he
spent over roughly 20 years courting her. This story has come to light and is featured in the new Disney film, Saving Mr. Banks, and it is receiving a
lot of publicity as it stars Tom Hanks as Walt Disney and Emma Thompson as Mary
Poppins’ creator.
Mary
Poppins has been
released on DVD for its 40th and its 45th anniversaries. The new release features a combination
DVD/Blu-ray/Digital Copy and ports over all the previous extras (which are
considerable, though they are only presented in standard definition) and adds
two new ones in high definition: a 14-minute piece called Becoming
Mr. Sherman which features Richard Sherman, one of the writers of
the film’s music, speaking with actor Jason
Schwartzman (who actually portrays Richard Sherman in the
aforementioned Saving Mr.
Banks)talking about the making of the film. The other extra is a Karaoke supplement.
The film looks gorgeous and sounds
terrific on Blu-ray and is a must for Disney aficionados.
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By Ernie Magnotta
Over the years, Friday the 13th has been called many things. Upon its
release in May of 1980, critics who reviewed the low budget, independent wonder
called it everything from a blatant Halloween
clone (which director Sean Cunningham never denied it was) to an overly
violent dead teenager movie made with no apparent talent or intelligence.
Gene Siskel was so outraged by the film
that he called Cunningham “one of the most despicable creatures ever to infest
the movie business.†Siskel even went so far as to publish the home address of
actress Betsy Palmer (who gives a magnificent performance in the film) and he
encouraged fans to write to her and express their disappointment in her taking
a role in such a ghastly film.
Why did this creepy little horror film
strike such a negative chord in critics all over the country? To answer that
question, we must go back to 1978. The Alfred Hitchcock/Italian giallo-inspired
Halloween was released that year and
was not only loved by the movie-going public, but the near perfect film was
universally praised by critics including Roger Ebert, who rightfully called it “A
film so terrifying that I would compare it to Psycho.â€
Critics and audiences alike were in awe of
the way director John Carpenter masterfully built suspense and the amazing film
became an instant classic as well as a box office phenomenon.
Fast forward to 1980; Director Sean
Cunningham decides to make a horror film and very wisely comes up with the idea
to combine two of the most current and successful scary movies: Halloween and George A. Romero’s classic
1979 zombie epic, Dawn of the Dead.
Cunningham would use Halloween’s structure (he would also borrow from Mario Bava’s
groundbreaking 1971 giallo film, A Bay of
Blood aka Twitch of the Death Nerve)
while adding Dawn’s amazingly graphic
and realistic gore effects. He would even engage the talents of the man
responsible for Dawn’s innovative gore,
special FX maestro Tom Savini.
This is primarily what outraged critics of
the time. In their eyes, Cunningham could not match Carpenter in masterfully
building terror and suspense (and there is much truth to that), so, instead,
the filmmaker would rely solely on realistic and bloody effects in order to
scare his target audience. The film was also accused of equating
sex/drugs/alcohol with death as well as being both misogynistic and illogical.
Now, I’ll be the first to say that when it
comes to the art of filmmaking, Friday
the 13th cannot hold a candle to Halloween, but I refuse to agree with anyone who calls Friday worthless, misogynistic and
illogical junk whose only talent can be found in its gore content.
Yes, the blood flows and Savini’s effects
are still as astonishing now as they were 33 years ago, but the entertaining
film works for many other reasons which I’ll list right now.
First of all, just like Halloween, the film has a
documentary-like feel to it. Cunningham simply shows us a likeable group of teenage
counselors (one of whom is a young Kevin Bacon) who are hard at work fixing up
Camp Crystal Lake a few weeks before the noisy children are due to arrive. The
characters have no Hollywood-esque dramatic motivations or conflicts. They are
just a very normal, happy and realistic group going about their daily business.
As viewers, we almost feel as if we’re eavesdropping on their lives.
This technique is greatly aided by the more
than competent writing of Victor Miller who wisely avoids stereotypes such as “the
jock†or “the bitch†and creates a pleasant group of normal and realistic kids.
The wonderfully natural acting of the kids themselves also helps. We like this
group and when the killer’s POV shots interrupt these normal, quiet scenes, it
really has an impact.
Next up is Sean Cunningham’s directorial
style. (For those who have said this film is little more than a gore-fest,
listen up.) Cunningham uses tried and true techniques such as showing us early
on the horror that the killer is capable of, then showing us exactly where the
killer is and, finally, having his likeable characters enter the killer’s space
one at a time. Naturally, this technique produces a fair amount of tension,
suspense and scares.
I won’t reveal the killer’s identity, but I
will say that it’s not our hockey masked pal, Jason. (Jason’s reign of terror
begins in part 2 and he doesn’t don his iconic mask until part 3.) However, once
you know who the killer is and learn the motivation behind the murders, you
will be petrified by the killer’s terrifying personality. Not only that, but upon
repeat viewings of the quieter, early scenes, knowledge of the killer’s
personality creates even more eerie, goose bump-like scares.
Cunningham also creates a nice moody
atmosphere by having half of the film take place during a nighttime thunderstorm.
Combine that with the quiet, isolated camp location and a moving POV camera
which suggests a creepy, violent and vengeful presence always lurking nearby
and you have not only a very scary little film, but a real feeling of almost
inescapable doom.
I can’t go on about the film’s scare factor
without mentioning the frightening musical score by the great Harry Manfredini.
His instantly recognizable “ki ki ki, ma ma ma†has become a part of horror
music history and now stands tall alongside other immortal horror themes such
as Bernard Hermann’s magnificent score for Psycho,
John Williams’ often imitated, but never duplicated score for Jaws and John Carpenter’s iconic and
terrifying Halloween theme.
Last, but certainly not least, is the final
scare of the film. Without giving away too much, I have to say that it is one
of the most shocking and unexpected scares in horror movie history and second
only to the brilliant ending of Brian De Palma’s Carrie (1976). It’s a magnificently crafted scene that can be
credited to Sean Cunningham’s solid direction, Victor Miller’s imaginative
writing, Adrienne King’s subtle and naturalistic acting, Tom Savini’s
magnificent makeup work and Harry Manfredini’s frightening music all working as
one to give audiences the fright of their lives.
And that’s just the final scene. All those
elements work together throughout the entire film and help to create a fun,
scary rollercoaster ride. The gore effects work more as a punctuation mark at
the end of a sentence. It usually caps off a tense and frightening scene. It is
not the only technique at work here. As a matter of fact, take the very minimal
amount of gore out of the film and you still have an extremely eerie,
claustrophobic and terrifying film.
As far as being misogynistic, equating
sex/alcohol/drugs with death and being illogical goes, critics couldn’t have
been more off base.
Let’s start with misogyny. First of all,
there is an equal amount of male and female deaths, and Kevin Bacon’s death is
probably the best and most graphic death scene in the film. Second of all, and
don’t read this if you haven’t seen the film, the killer is female. So, if the
filmmakers hated women, the killer would’ve been a man. Saying that this film hates
women is ridiculous.
Next up is the idea that the kids were
punished by death for engaging in sex, drinking and smoking pot. Well, if that
were the case, then why does the final girl survive? Midway through the film she
indulges in both beer and marijuana. It is also revealed that she was in a
relationship with the head of the camp and, although it isn’t shown that they
had sex, the dialogue strongly suggests it. Much like Halloween (the female survivor of that film also smokes pot and
clearly wants to be in a relationship with a boy), this idea of
sex/drugs/alcohol being punishable by violent death is not a part of Friday the 13th, but would be
misinterpreted by future slasher filmmakers thereby beginning that slasher
“rule.â€
Lastly is the ridiculous idea that all of
the characters in this film do completely illogical things before getting
killed. This never happens. First of all, the characters are silently killed
off one by one in a Ten Little Indians manner.
The remaining characters have no idea that there is a killer among them, so it
makes sense that they would go about their business as if everything is normal.
Also, once the last two characters sense that something is wrong, they both do
completely logical things. Unfortunately, they are thwarted by the intelligent
killer who is always one step ahead of them.
For example, when they can’t find anyone,
they try to call for help, but, unbeknownst to them, the line has been cut.
(They believe that it’s just out of order due to the storm.) Next, they find a
bloody axe in one of the cabins and immediately decide to leave, but their car
has been sabotaged. Their last idea is to just hike the ten miles to
civilization and get help, but it’s pitch black outside and a thunderstorm is
raging.
With the exception of the heroine knocking
out the killer a few times and then either not continuing to pummel her or
throwing the weapon aside, the characters all act logically/intelligently in
every situation, but still get killed which is one of the reasons why the film
is so scary.
So, is it a masterful piece of cinema like Halloween or Psycho? Certainly not. However, it’s far from worthless junk and it
totally works without the effects which, by the way, take up less than sixty seconds
of the film’s 95 minute running time. At the time, those amazing gore effects
were the only things that were new in this type of film, so that’s what critics
mainly became fixated on. Unfortunately, they missed much of the wonderful
craftsmanship that went into the rest of the film.
Friday the 13th may be a dead
teenager movie, but it’s one of the best of its type. While not in the same
league as its predecessors, it’s a much better film than it’s been given credit
for. It’s also an important film in that, along with Halloween, it created a very successful subgenre/formula of the
horror film and, due to being released by Paramount Pictures and becoming a
huge financial success, it gave up and coming filmmakers a chance to break into
the Hollywood system by producing their own low budget slasher films which
utilized the same structure and similar techniques.
To date, the film has spawned ten sequels,
one remake, countless imitations and the character of Jason has become an icon
of fright. Entire books have been written about the series and at least one
book was wholly devoted to the groundbreaking first film. There have also been Friday the 13th comic books,
novelizations, video games, action figures and conventions. Not bad for a little
movie that has been wrongfully dismissed as an illogical, misogynistic, incompetent
spectacle of gore.
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by
Todd Garbarini
Martin Scorsese's Taxi Driver (1976) is one of the greatest American films ever made.
It is also one of the most disturbing,
and it is astonishing to look back and see that a major studio (Columbia
Pictures) released it as is. Although nominated
for Best Picture, Best Actor (Robert DeNiro), Best Supporting Actress (Jodie
Foster), and Best Original Score (Bernard Herrmann, who also was nominated in
the same year for his impressive score to Brian DePalma’s Obsession, albeit posthumously) by the Academy of Motion Picture
Arts and Sciences, it won none. The top
honor instead went to John Avildsen’s Rocky,
the story of a streetwise debt collector in Philadelphia who gets the chance to
become a boxing world superstar. Mr.
Alvidsen also walked away with the statue for Best Director, and the fact that
Mr. Scorsese was not even nominated in this category has long been considered
to be one of the most, if not the
most, egregious Oscar snub(s) in the Academy’s history, something the organization
appears to have attempted to smooth over with what is generally considered to
be his consolation prize - his Oscar for The
Departed (2006), a good film but not in the same league as his greatest work
(he lost out on directing Oscars for Raging Bull (1980), The Last Temptation of Christ (1988), Goodfellas (1990), and The
Aviator (2004). )
Robert De Niro gives one of his
greatest screen performances as Travis Bickle, a lonely cabdriver who deliberately
works long hours because he cannot sleep. He befriends Iris (Jodie Foster), a
12-year-old prostitute whose pimp Sport (Harvey Keitel) raffles off a menu of
shocking sex acts (even by today’s barely-there standards) not heard outside of
a porno film or a sound bite by Toronto Mayor Rob Ford that she and Travis can engage
in for a price. Instead of taking up the
offer, Travis uses his time with Iris to try and convince her to leave the
profession that she is a part of. When
she refuses, he arms himself to the teeth and kills her pimp, her John, and the
lowlife who stands in the hall and collects the money in what was at that point
in American cinema one of the most shocking and bloody sequences ever
filmed. Today, you could probably show
it on network television with few cuts, if any.
What makes Taxi Driver so memorable is the way that it captures New York City
in the summer of 1975 when it was filmed. The city was a terribly depressing and dangerous place to be at that
time, and cinematographer Michael Chapman manages to capture the Big Apple in a
way that few cameramen have - Owen Roizman’s work on The French Connection (1971) and The Taking of Pelham 123 (1974) being two obvious exceptions. In the midst of all of this, photographer Steve
Schapiro took innumerable publicity shots on the set of the film and captured
the cast in their moments during camera set-ups, prior to and after shooting,
and while taking a break. The images are
a fascinating look at the ideas that both Martin Scorsese and screenwriter Paul
Schrader had about the city and the central character, the aforementioned
Bickle, and how they wanted to get those ideas across to the audience. The city itself is also a character in Taxi Driver and this fact comes out quite
strikingly in Mr. Schapiro’s on-set photographs which are now available for aficionados
of this great film in the form of a new book by Taschen, the glorious publisher of such mammoth
tomes on cinema greats like Kubrick, Fellini, Truffaut, Bergman, and
others.
Simply titled Taxi Driver, this stunning, oversized book is a collection of
beautiful photographs taken by Mr. Shapiro that depict much of the action of
the film and candid, behind-the-scenes shots. It begins with a foreward by director Scorsese, written in 2010 while he
was shooting Hugo (2011) in London,
and it follows with an introduction which is a reprinting of Richard Thompson’s
interview with Mr. Schrader from the March/April 1976 issue of cinema
cognoscenti magazine fave Film Comment;
Paul Garner’s “It’s Dilemma, It’s Delimit, It’s De Niro†essay from New York magazine from May 16, 1977;
Norma McLain Stoop’s essay “In the Middle of the Street in the Middle of the
Night†from After Dark, May 1976; Judy
Klemesrud’s essay “Jodie Foster’s Rise From Disney to Depravity†from the New
York Times on March 7, 1976; Lawrence Grobel’s Playboy Interview with Robert De
Niro from Playboy in January 1989; Richard
Goldstein and Mark Jacobson’s interview “Martin Scorsese Tells All: Blood and
Guts Turn Me On!†from The Village Voice,
April 5, 1976; and Mr. Schrader’s interview with Mr. Scorsese from January 29,
1982, published in Cahiers du Cinema,
during the editing of the eerily prescient The
King of Comedy, its relation to Taxi
Driver as a companion piece included for obvious reasons. The rest of the text is German and French
translations of the aforementioned essays.
The most unsettling images are not of
the film’s bloodshed at the end, though they are quite graphic and colorful and
which friend Father Francis Principe told the director was a little too much “Good
Friday†and not enough “Easter Sunday†when he viewed it at a private screening
in 1976, but of the slow dancing sequence between Sport and Iris, depicted in
the this book. Here is a twelve year-old
girl being told by a man who uses her nascent sexuality for his own method of
making money, that she’s his woman. It’s
really quite revolting, and probably goes on today with all the multiple cases
of sex trafficking in the world. Taxi Driver doubles as a cautionary
tale, its religious themes also present.
When Taxi Driver was released to theaters in 1976, the ending was so
bloody that in order to avoid receiving an X rating from the MPAA, the director
was faced with cutting down the scenes, something he did not want to do. He opted instead to de-saturate, or lessen
the amount of color, in the sequence so it would not look as graphic. This action was incorporated into the film artistically
to represent what the murder scene might have looked like in the tabloids. On the
film’s 35th anniversary in 2011, the film was released on
Blu-ray. Since times have changed, there
was an effort afoot to re-saturate the film and make it look the way that it
was intended to look prior to the color reduction process. Unfortunately, that color negative could not
be located, and there is talk that it might not have survived. Mr. Shapiro’s photographs of this brutally
violent sequence, replicated in this book, might be all that visually remains of
this controversial sequence.
Taxi
Driver is a stunning
achievement from Tashen, and I personally want to thank Mr. Schapiro for having
taken such amazing photographs of this incredible film. A must for any serious fan of American
cinema.
CLICK HERE TO ORDER THE BOOK DISCOUNTED FROM AMAZON.COM.
CLICK HERE TO ORDER THE FILM, TAXI DRIVER, MASTERED
IN 4K BLU-RAY DISCOUNTED FROM AMAZON.COM.
By Todd Garbarini
Amber
Heard was nineteen when she played the title character in Jonathan Levine's
slasher film All the Boys Love Mandy Lane;
she can at least get away with playing a seventeen year-old. Mandy
Lane, which debuts this month on Blu-ray, is better known for its
reputation of having been shelved for seven years following its debut at the
2006 Toronto Film Festival for reasons best served by another article. Up to this point, Ms. Heard was already a
veteran of four films and several television appearances; this is her first
real starring role, as the film rests on her shoulders. She gives quite a remarkably natural
performance and having seen her work since this 2005-lensed outing, I would
attribute her onscreen “nervousness†as the object of affection by
testosterone-driven wolves in her midst to her skill as a serious dramatic
actress than to an inability to relax and just “beâ€.
Mandy
Lane represents the epitome of the adolescent female sexual ideal, The Perfect High
School Girl - the girl all the boys vie for; the girl all the girls want to be
or want to destroy. The tone is set in
the film’s opening shot as the camera focuses on Mandy Lane’s breasts,
revealing the dumbfounded stares of the average-looking boys and girls in the
hallway, and conveys their longing cinematically without being
exploitative. She is friends with Emmett
(Michael Welch), a nerdish boy whose desire for Mandy is as strong as all the
other guys, but he tries to hide it. He
just knows that she is out of his league. In some ways, the film seems like it plays like a modern day “horny
teenager†flick, but that would be a cursory dismissal. While the 1980s will probably be remembered
as the birth of the horny teenager horror film, which started in 1978 when
Michael Myers bludgeoned his sister to death after “the sex act†in John
Carpenter’s Halloween (1978), the
films of the 2000s will no doubt be looked upon as the remake era, or most
certainly the “influenced by†era. Sean
Cunningham made Friday the 13th
a superstitious day to be reckoned with, and premarital sex was forever labeled
as a crime punishable by death by deranged killers. Still, young men with
sex on their minds did all they could to get the girls of their dreams into
bed. He Knows You’re Alone
(1980), My Bloody Valentine (1981), The Burning (1981), The Boogens (1981), Halloween
II (1981), and countless other stalk-and-slash films repeated this formula
with much less panache and cinematic style than Mr. Carpenter did in his
watershed film, even prompting a send-up of horror films in the form of Student Bodies (1981), a comedy that
ridiculed death as the inevitable outcome to teenage sex.
When
Wes Craven's Scream (1996) reignited
interest in horror in 1996 and proved that it was once again viable box office,
so has there been resurgence in the teenage sex and death flick. Unlike
the gawky and under-confident teenagers of a quarter century ago who had to
borrow their parents’ oversized cars to get some action, today's teens are
muscular and sexy model types who seem to have stepped off of the pages of GQ
and Playboy magazines. Most of them appear to have money and their own
set of wheels. In Mandy Lane,
director Jonathan Levine manages to take a very overdone and tired horror
subgenre and make it different and interesting. The obnoxious jock Dylan
(Adam Powell) and his posse of over-stimulated friends, all expertly portrayed
by Whitney Able (Chloe), Luke Grimes (Jake), Melissa Price (Marlin), Edwin
Hodge (Bird), and Aaron Himelstein (Red), invite Mandy Lane to a party at his
house. Mandy agrees, and elects to bring her awkward friend Emmet along,
much to Dylan's chagrin. Once there, Dylan puts the moves on Mandy who nervously
brushes off his advances. This disgusts Emmet who tricks Dylan into a
maneuver designed to impress Mandy but that effectively takes Dylan out of the
game completely. Nine months after Dylan's untimely demise, Red
rounds up Chloe, Jake, Marlin, and Bird for a weekend at his father's mansion
in Bastrop, TX. The locales should look
familiar to Tobe Hooper fans.
A
caretaker in the form of a much older Garth (Anson Mount) who lives in a shed
in the back is there to oversee the teens and protect them, complete with a
firearm at his side. Mandy, whose parents died when she was young and is
now being raised by her aunt, is invited and decides to go along. Once
there, the guys all descend upon The Perfect Blonde, making no bones about how
much they want to jump hers. Jake is especially aggressive and looks a
bit like Robert Pattinson from the Twilight
films. Mandy is made the most uncomfortable by him, which makes one ponder
why she would agree to spend the weekend with a group of people who all want
the one thing from her that she is not willing to surrender. That
question is answered near the end in an interesting twist.
Things
begin to go wrong rather quickly and it does not take the high schoolers long
to learn that there is a murderer in their midst. Director Levine reveals
the killer’s identity early on and yet despite that, the film remains
interesting enough for the audience to want to see it through to the end.
He directs the film with a restrained hand, which is refreshing when most films
like this tend to hit the audience over the head with quick cuts, loud music
and sound effects in a desperate effort to be suspenseful. The middle of
the film drags a bit but not by too much, and perhaps Mandy Lane would benefit by some tighter editing.
The
females in the film are snotty and bitchy but not in an overly hateful
fashion. Unlike the shallow vamps in the Black Christmas remake in 2006 and many others of its ilk, Chloe
and Marlin, just like the guys who are all pining after Mandy, are all real
people. Credit must go to the performers in this film. They all
talk and sound like real teenagers who are looking to find their place in the world,
and are concerned with how others perceive them and are the types to surrender
to peer pressure. The script by Jacob Forman is, no pun intended, a cut
above standard fare, providing archetypes that are familiar yet different.
The
film also possesses a good use of existing music - try to watch the racetrack
scene set to the Go-Go’s “Our Lips Are Sealed†without smirking at the subtle
irony. The score by Mark Schultz is also
very good.
The Anchor Bay Blu-ray, which provides a terrific visual and aural transfer, has a
feature-length commentary with director Levine and judging from his comments it
was recorded this year. Mr. Levine
provides an interesting, engaging and very funny commentary seen from the
standpoint of a director who made his first film some eight years ago (he has
since directed three films since Mandy
Lane). At times he complains that he
wishes he had done a certain shot differently, but that is inevitable through
the benefit of time and hindsight. The
standard DVD also contains this commentary.
All
in all, All the Boys Love Mandy Lane
is an above-average slasher film.
NOTE: If you have a region-free DVD or Blu-ray
player, the French DVD and Blu-ray releases of the film both have a 28-minute
interview with Ms. Heard, shot circa 2006, wherein she talks about the
film. A 14-minute interview with the
director can also be found on this edition. However, there is no running commentary on these versions, which also
possess English-language soundtracks.
CLICK HERE TO ORDER THE ANCHOR BAY BLU-RAY FROM AMAZON
By Todd Garbarini
William Friedkin's The Exorcist (1973), based upon the novel of the same name by
William Peter Blatty, is one of the greatest and most powerful American motion
pictures ever made. With an impressive
cast that includes Ellen Burstyn, Max Von Sydow, Jason Miller, Lee J. Cobb,
Jack MacGowran and newcomer Linda Blair, The
Exorcist had its origins in a 1949 case involving the purported demonic
possession of a young Evangelical Lutheran boy in Cottage City, MD who is still
alive to this day, is retired from NASA, and claims to have no memory of the
events that he experienced. Mr. Blatty, who
read about the events at the time, thought about the story for years until he
wrote the book circa 1969, some 20 years later, in the house of his ex-wife in
Encino, CA.
Coming on the heels of my all-time
favorite film, 1971’s Oscar-winning The French
Connection, Mr. Friedkin never thought of The Exorcist as a horror film but rather as the serious exploration
of the nature of faith and desperately wanted to direct the film. While watching The Exorcist, what is most striking about it is its unique ability
to present the material as something that seemingly could absolutely
happen. The idea of demonic possession
has arguably never been so deftly handled and depicted as it is in this film. Other attempts by filmmakers to create
convincing film explorations of the subject, mostly in the wake of this
enormously successful venture, have largely been ineffective. With the release of the film on Blu-ray in
2010, the film was given a much-needed high definition upgrade and you can read
Lee Pfeiffer’s review of that Blu-ray here. The new 40th anniversary release is identical to the 2010
release in that all the material from discs one and two of the 2010 Blu-ray
appears to be ported over on to one disc for the new release. A second Blu-ray includes a new documentary called
Beyond Comprehension: William Peter
Blatty’s The Exorcist (27:49) wherein Mr. Blatty revisits the Encino, CA house
that he wrote the book in for the first time in over 40 years (now it a guest house
that belongs to actress Angela Lansbury - do you think she knows that?). Mr. Blatty discusses his two aborted attempts
to write the novel and that he was originally a comedy writer(!). Father Karras (the Jason Miller character in
the film) is Mr. Blatty’s alter-ego, and like Karras, Blatty’s mother lived in
a nursing home and passed away there. Perhaps
the saddest revelation is the fact that he lost a son six years ago at the age
of 19 due to heart inflammation.
The second documentary on the second
Blu-ray is an interview with Father Eugene Gallagher (19:47) who was part of
the Philodemic Debating Team and had a professional relationship with Mr.
Blatty and discusses his experiences while Mr. Blatty was writing the novel.
Also included with this 40th
anniversary package is a small hardcover excerpt of the excellent autobiography
by William Friedkin called The Friedkin
Connection and it contains his passages about the making of The Exorcist which is truly a
fascinating read.
If you already have the original
Blu-ray from 2010, there is probably little reason to upgrade; get yourself The Friedkin Connection if you have not
already.
For Exorcist
completists.
CLICK HERE TO ORDER BLU-RAY FROM AMAZON
CLICK HERE TO ORDER "THE FRIEDKIN CONNECTION" BOOK FROM AMAZON
(This book was recently reviewed by Lee Pfeiffer. Here is columnist Adrian Smith's take on this volume.)
Crab
Monsters, Teenage Cavemen and Candy Stripe Nurses - Roger Corman: King of the B
Movie
by
Chris Nashawaty Introduction by John Landis
ISBN: 1-4197-0669-1
Hardback
272
pages
As
part of the Gothic season at the British Film Institute recently, Roger Corman
sat and signed autographs for well over an hour as the line of fans and
admirers snaked its way around the building. At least 50% of those fans were
clutching copies of this new coffee-table book, a visual delight from Chris
Nashawaty, writer for Entertainment Weekly.
Several
books have been published on the Corman phenomenon, most notably his own
autobiography How I Made a Hundred Movies in Hollywood and Never Lost a
Dime. Since that was published in 1990 he has made at least a hundred more.
Until he gets around to updating that volume, which given his continuing
workload in film production seems unlikely, we are lucky that so many other
writers and filmmakers are constantly willing dive into his career.
Whilst
not as revealing or personal as Bevery Gray's excellent Roger Corman: An
Unauthorised Life, Nashawaty's book is a real joy. He has selected over 150
images, many of which are previously unpublished. Artwork, photos and movie
stills are presented in full colour alongside an oral history of the life and
career of Roger Corman, from his childhood right up to the present day.
Corman's contribution to the movie business is immense, and, as covered in the
book, his honorary Academy Award in 2009 was well deserved. Those lined up to
congratulate him on that night included Jonathan Demme, Ron Howard, Jack
Nicholson and Peter Bogdanovich. The list of those filmmakers who have
graduated from the "Corman School" is almost endless, and the fact
that he is still making films today means that yet another generation are
learning from the master.
As
evidenced by a photograph of him on the Hawaiian set of Piranhaconda
(2012), Corman is very much a hands-on producer. He has an almost preternatural
sense of what is going to become the next big thing in the business; providing
teenage movies for the drive-ins in the 1950s, using VHS before the major
studios in the late 1970s or bringing monster mash-up movies to the Syfy
channel (as well as Piranhaconda, Corman has been responsible for Sharktopus
(2010), Dinocroc vs. Supergator (2010) and Dinoshark (2010), the
latter as both producer and star).
As
well as dozens of new interviews, the book also critically examines some of the
key titles from Corman's back-catalogue, either as director or producer. Attack
of the Crab Monsters (1957), The Little Shop of Horrors (1960), The
Intruder (1962), The Big Doll House (1971), Boxcar Bertha
(1972, an early film from Martin Scorsese) and even The Slumber Party
Massacre (1982) are all touched on, amongst many more. One can use Nashawaty's
selections as a list for beginners keen to gain an understanding of Corman as a
filmmaker.
With
Christmas just around the corner, this book is well worth considering sending
to the movie lover in your life. It makes the perfect introduction to Roger
Corman and his work, and contains new stories and anecdotes as well as a few
that will be familiar to aficionados. And as he is showing no sign of slowing
down, the Corman story is not over yet.
Click here to order from Amazon
Click here to order from Amazon UK
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