Cinema Retro
Entries from Wednesday, December 17. 2014
BY ROD BARNETT
I
was completely gob-smacked by this one, folks. From the title and description of this 1980 release, I
was expecting a smarmy slasher film that used the holiday season for a cheap
backdrop and even cheaper jokes. What I got instead was a very well-made
character study reminiscent of Polanski's Repulsion. Although not as good
as that classic, it stands proudly beside it as a fascinating picture of a slow
descent into madness and murder. If anything, Harry Standling is a more
sympathetic main character as we are shown in a brief prologue the genesis of
both his fixation on Christmas and the reason for his awkwardness with people.
At an impressionable age the young Harry crept downstairs on Christmas Eve to
see Santa sexually gratifying his mother. That this Santa was actually his father
didn't register and the traumatized boy never really got over the sight of
Jolly Old Saint Nick pleasuring Mom. But let me tell you the story.....
Harry
Standling (Brandon Maggart) is an introverted middle-aged man whose hobby is
all things Christmas. Perfectly in sync with his obsessive regard for the
season, he has worked in a toy factory for most of his adult life. Harry's
years of experience have finally landed him a management job in the company and
he seems to have thought that his new position would allow him to make better
toys for kids. With the Christmas season approaching, he finds the hostile
anti-holiday attitudes of his co-workers and the disappointment of no longer
working directly with the toys getting to him. But what starts off looking like
a bout of holiday depression begins to turn nasty.
Clearly
sad and disappointed by the adults around him, he begins to focus on the joys
Christmas brings to kids. For years Harry has kept detailed written accounts of
the actions of the children that live in his neighborhood and bound books
listing "bad" and "good" kids line his shelves. As he
starts spending more time going through them, adding black & white marks,
he becomes more unstable.
In
his home workshop he fashions a Santa costume, paints an elaborate mural of
Santa's sleigh on the sides of his van and begins to make plans. Learning from
a snide PR man of his company's halfhearted stab at charity by donating toys to
the local children's hospital, Harry is livid. Dressing as Santa he sneaks into
the factory at night, stealing a van load of toys, and on Christmas Eve
delivers them to the surprised and happy hospital staff. Elated by this near
perfect moment of holiday cheer he tracks the company PR man to a church where
he's attending a Christmas service. After waiting outside, a silent Santa,
Harry is taunted by some of the churchgoers and stabs two of them to death with
a toy solider! Driving away he next goes to the house of a co-worker who has
insulted and belittled him repeatedly. After a failed attempt to go down the
chimney he finds an open basement window, creeps in and kills the man right in
front of his wife. Disturbingly, the dead man's awakened kids wave happily to
the departing Santa just as their mother's screams ring out.
On
Christmas Day the cops are running around hunting a killer Santa, even going so
far as to put a bunch of them in a line up for witnesses from the church. But
an APB on St. Nick on December the 25th isn't exactly the best move and does
not net them their guy. Harry has spent the night in his van outside the toy
factory and awakens to the realization of his plight. Afraid to go home he
breaks into the place and, as if in a fantasy about really being Santa Claus,
turns on all the toy making equipment. As news reports stoke the fears of the
public Harry's younger brother Philip (Jeffery DeMunn) begins to think his
brother is involved. He becomes convinced that his unbalanced sibling is the
killer after a rambling phone call from him that afternoon. When night falls on
Christmas, Harry ventures out again but ends up being chased through the
streets by an actual torch-bearing mob until he escapes to his brother's home.
An enraged Philip demands answers, resulting in a family fight that brings the
tragic tale to a close.
In
a film with many things to praise the first should be the performance of
Brandon Maggart. He does a truly brilliant job of getting inside Harry's head,
showing us the broken way his mind functions. The moment I knew he was simply
not going to make a wrong step was in a sequence midway through his Christmas
Eve rounds. He has stopped outside a community house and is watching a
neighborhood party through a window. Spotted in his Santa outfit, he's pulled
inside and asked to join in the celebration with children and adults alike.
It's a beautiful scene that shows what his life could have been like as he
happily dances with everyone and enjoys a few drinks. Maggart is note perfect
here — he even elicits a chill as he says goodbye to the kids with a stern warning
about being good.
Another
thing to single out is the exceptionally fine cinematography of the film. For a
movie made on such a small budget Christmas Evil looks incredible.
From one of the three (!) commentary tracks included in this release I learned
that director Lewis Jackson spent a lot his budget to get Ricardo Aronovich as
his Director of Photography; his skill certainly makes the film a joy to look
at. There are more than a dozen shots here that rival the best Christmas images
I've seen captured in the movies, with some of them being heartbreakingly well
composed. Jackson points out in brief liner notes that his prime visual
inspiration was the Christmas paintings of Thomas Nast and it really shows.
That a film of this type can be so beautiful puts to shame the sad Christmas
movies pumped out every year by Hollywood.
As
much as I liked the movie I have to admit it's not perfect. The last third of
the film isn't as sure footed as the beginning It's as if the focus has been
lost as Harry parades around the toy factory and it comes dangerously close to
derailing as he’s being pursued by the mob of angry parents. But by the time
the brothers have fought and credits roll over the haunting final image I found
it easy to forgive these small hiccups. Of course, a movie about a murderous
Santa Claus isn't going to be an easy sell for 90% of the public but I think
plenty of folks would love this were it given a chance.
Continue reading "REVIEW: "CHRISTMAS EVIL" (1980) (AKA "YOU BETTER WATCH OUT!") DUAL FORMAT RELEASE FROM VINEGAR SYNDROME"
DVD
Review: Out of the Unknown
7-disc Region 2 DVD box set from the BFI
By Adrian Smith
Famously,
or rather, infamously, the BBC took a rather cavalier approach to the
preservation of its television output in the 1950s and 1960s. Due to the cost
of videotape, once pre-recorded programmes had been broadcast,the tape was
wiped and used again. For programmes to be kept for repeat use or to be sold to
other territories around the world, the episode would be transferred to film,
and it this process we have to thank that any television from this period has
survived at all.
Out of the Unknown was an attempt to
present serious, adult science fiction on television, adapting well-known and
important authors like John Wyndham, Ray Bradbury, Isaac Asimov, J.G. Ballard and
E.M. Forster. The single play was a tradition by this point, with popular
series such as Armchair Theatre (1956-74) demonstrating the legacy of
television's theatrical origins in live drama. Although largely neglected as a
format today in favour of long-running series, both the BBC and independent
television in the 1950s through to the 1970s ran hundreds of single dramas. Out
of the Unknown presented a different adaptation every week. Commissioned by
Sidney Newman, the man responsible for both Armchair Theatre and Doctor
Who (1963-89; 2005-), the series took the BBCs remit to educate and inform
very seriously. Producer Irene Shubik, quoted in the booklet accompanying this
release, explained:
"Good
science fiction is a way of saying something you can't say in straightforward
terms... I tried to get [stories] that had some sort of message."
Like
any anthology, some of the episodes here work brilliantly, others less so, but
they are always interesting and prove the potential that science fiction has to
provide a commentary on the human condition; our fears, concerns and hopes.
From speculations on the potential of robotics to disastrous space missions and
mind-altering technology, Out of the Unknown provided ample food for
thought for its audience on a regular basis and is still fascinating.
The
series began in 1965 in black and white on the BBC, and ran for four series,
finally ending in colour in 1971. Twenty-eight episodes are completely missing
from the archive. This new box set contains the remaining twenty-four complete
episodes and five incomplete or reconstructed episodes, using a mix of clips,
still images and sound. Fans and amateur archivists have played a major role in
assisting the BFI to gather every remaining element so that this set represents
the entire sum of what has survived. Along with this Herculean effort a wealth
of extra features have been created including audio commentaries with
historians, experts and cast members, filmed interviews and a forty-minute
documentary. The accompanying booklet features in-depth essays and a complete
episode guide with cast and crew listings.
Out of the Unknown is a compelling
glimpse into the television production of the past, when commissioning editors
like Sidney Newman were prepared to take risks and assume a higher level of
intelligence in the audience than one feels is assumed by TV executives today.
Out
of the Unknown is released on 24 November 2014 and can be pre-ordered by clicking here.
BY FRED BLOSSER
John
Irvin’s 1980 movie version of Frederick Forsyth’s “The Dogs of War†approaches
its subject with much the same blunt detachment and minute attention to detail
that characterized Forsyth’s bestselling 1974 novel. It’s generally low-key tone and characters
seem a far cry from today’s over-the-top action films in which mercenaries and
paramilitary agents are usually depicted as aging musclemen (“The
Expendablesâ€), manic cokeheads (“Sabotageâ€), and comic-book caricatures (“G.I.
Joeâ€).
Freelance
soldier Jamie Shannon (Christopher Walken) returns home after a failed mission
in Central America. He doesn’t have much
of a life off the job. Divorced, he
lives in a dumpy apartment in Washington Heights, keeping one gun in the
refrigerator and another in a desk drawer. His only friend is a kid whom he pays to carry his groceries home; he
doesn’t even know the kid’s name. When a
mysterious businessman pays Shannon to scout out the military defenses of the
insane dictator General Kimba in the impoverished African nation of Zangaro,
Shannon takes the assignment and flies to Zangaro, posing as a nature
photographer. His cover blown, he is
arrested, imprisoned, beaten, and eventually thrown out of the country. Back in New York, Shannon’s reconnaissance
having identified holes in Kimba’s defenses, the businessman resurfaces and
offers Shannon the job of leading a mercenary coup against Kimba. Shannon recruits three friends from his old
team, Drew (Tom Berenger), Derek (Paul Freeman), and Michel (Jean Francois
Stevenin), puts together a deal for arms and equipment, and heads back to
Zangaro to meet up with and lead a rebel army assembled by Kimba’s corrupt
rival, Col. Bobi.
Much
of Forsyth’s novel described, step by step, the ways and means of financing,
organizing, and executing a military coup. It’s gripping stuff on the printed page, but not very cinematic. The film covers the same ground in about a
half hour of running time. Filling out
the story for the screen, the script gives Shannon (in the novel, he’s an
Irish-born Englishman named “Cat†Shannon) more of a backstory and adds a
couple of new female characters. In the
novel, Shannon’s recon in Zangaro is uneventful. By putting him through the wringer, the movie
punches up the action and gives Shannon a personal reason for agreeing to
depose Kimba. Arguably, it also provides
a stronger rationale for Shannon’s decision, in both the novel and the movie,
to derail his employer’s plan to install the crooked Col. Bobi and instead put
Bobi’s honest rival, Dr. Okoye (Winston Ntshona), in the Presidential
palace.
The
Twilight Time Blu-ray features a handsome transfer of the U.S. theatrical
feature as well as the international version, which runs 15 minutes longer but
doesn’t add anything of vital substance. There is a handsome souvenir booklet by Julie Kirgo, and the art on the
keep case reproduces the U.S. poster art featuring Walken and his unbilled
co-star, the impressive XM-18E1R grenade launcher used by Shannon in the
climactic attack on Kimba’s compound. The Twilight Time Blu-ray, which is limited to 3,000 copies, is
available HERE.
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