An interview with one Klassy guy

Sean Gill answers a few questions about his newest play, LAURIE DEACON AND THE NIGHT CALLER, in an interview with Stagebuzz that you can access HERE. Note that Ironside gets a mention.

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Film Review: FALLING DOWN (1993, Joel Schumacher)

Stars: 3.4 of 5.
Running Time: 113 minutes.
Tag-line: "The adventures of an ordinary man at war with the everyday world."
Notable Cast or Crew: Michael Douglas, Robert Duvall, Rachel Tictotin (TOTAL RECALL, CON AIR), Tuesday Weld (PRETTY POISON, LORD LOVE A DUCK), Barbara Hershey (THE RIGHT STUFF, THE STUNT MAN), Raymond J. Barry (COOL RUNNINGS, BORN ON THE FOURTH OF JULY), and Frederic Forrest (APOCALYPSE NOW, TRAUMA, THE CONVERSATION). Music by James Newton Howard (WATERWORLD, UNBREAKABLE, ER). Cinematography by Andrej Bartkowiak (PRINCE OF THE CITY, Q&A, TWINS, SPEED).
Best one-liner: See review.

Despite its famous rant pertaining to certain golden-arched dining establishment (well, technically it's 'WhammyBurger'), FALLING DOWN is kind of like McTAXI DRIVER.

We've got our white male rage, our paramilitary transformation, and our casual racism; but instead of delving deeply into our hero's mind to see the deadened core, the writhing frustrations, and the bubbling violence firsthand (like in ROLLING THUNDER, HARDCORE, or RAGING BULL), we've got ridiculous situations, clichés, and a parade of one-liners. On an intellectual level, this film is a failure. It tries to mimic the mere trappings of past masterpieces (the Schrader flicks I’ve named, the snowglobe breakage from CITIZEN KANE, the hypnotic traffic jam that opens 8 1/2), in my opinion, so that it doesn't have to ask the tough questions, and instead would sorta just slide into the pantheon of greatness like a slick little puzzle piece. Well, that didn’t work. So why almost three and a half stars?

Well, as Freddy Krueger would attest, I am a sucker for one-liners. And these one-liners are damn solid. And they’re all delivered by a horn-rimmed, wearily psychotic Michael Douglas.

I am also a sucker for scenes that could have easily been culled from a classic Golan-Globus flick. Scenes like this one.

To a convenience store owner, as he trashes his overpriced goods: “I’m just standing up for my rights as a consumer!” To a would-be drive-by artist: “Take some shooting lessons, asshole!”

To a rich, crusty golfer: “You're gonna die, wearing that stupid hat. How does it feel?”


It feels pretty good from out here, Mike.

As such, the entertainment level is where FALLING DOWN succeeds. Most of the time, it feels like a straight-up comedy. Hey- it’s from the director of D.C. CAB, not THE SEVENTH SEAL. And, even in 1993, it adheres to that ironclad rule of 80’s cinema: if there’s ever a fancy, special order cake present, it must not be eaten: someone will be sucker-punched and –KER-SQUASH- land right on top of it. Frederic Forrest gets a nice bit part as a closeted Neo-Nazi:

Frederic Forrest: terrifying.

Rachel Ticotin plays -gasp- a tuff Latina cop, Tuesday Weld sends a postcard from Nagsville, U.S.A., and Robert Duvall’s a worn out detective on that clichéd last day before retirement (but still manages to imbue his cardboard role with an abundance of humanity) .

Rounding out the talent is hazy, sweltering, evocative L.A. cinematography by Sidney Lumet-lenser Andrej Bartkowiak. I'm getting sweaty just thinking about it. In all, I'll pass along about three and a half stars.

-Sean Gill

Junta Juleil's Summer '10 Movie Series
1. HELL IN THE PACIFIC (1968, John Boorman)
2. KUFFS (1992, Bruce A. Evans)
3. THE OUTFIT (1973, John Flynn)

4. FOR Y'UR HEIGHT ONLY (1981, Eddie Nicart)

5. A*P*E (1976, Paul Leder)

6. BLIND FURY (1989, Philip Noyce)
7. HIS KIND OF WOMAN (1951, John Farrow)
8. HIGH SCHOOL U.S.A. (1983, Rod Amateau)
9. DR. JEKYLL AND MS. HYDE (1995, David Price)
10. MIDNIGHT IN THE GARDEN OF GOOD AND EVIL (1997, Clint Eastwood)
11. 1990: BRONX WARRIORS (1982, Enzo G. Castellari)
12. FALLING DOWN (1993, Joel Schumacher)
13. ...

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Film Review: NIGHTFALL (1957, Jacques Tourneur)

Stars: 4.4 of 5.
Running Time: 78 minutes.
Tag-line: "YOU COULD GO TO THE MOVIES EVERY DAY FOR FIVE YEARS---BEFORE YOU'D SEE ANOTHER PICTURE WITH SO MANY THRILLS AND SO MUCH SUSPENSE!" Notable Cast or Crew: Aldo Ray (MEN IN WAR, THE GREEN BERETS), Ann Bancroft (THE GRADUATE, HOME FOR THE HOLIDAYS), Brian Keith (THE WIND AND THE LION, THE YAKUZA, THE DEADLY COMPANIONS), Jocelyn Brando (Marlon's sister, THE BIG HEAT, MOMMIE DEAREST), Frank Albertson (PSYCHO, IT'S A WONDERFUL LIFE), and James Gregory (THE MANCHURIAN CANDIDATE, THE NAKED CITY). Story by David Goodis (DARK PASSAGE, SHOOT THE PIANO PLAYER) and screenplay by Stirling Silliphant (TELEFON, VILLAGE OF THE DAMNED, SHAFT IN AFRICA).
Best one-liner: A loving wife to her husband after a long day's work: "What you need is a drink... and some lamb stew, come on."

French director Jacques Tourneur (OUT OF THE PAST, CAT PEOPLE, I WALKED WITH A ZOMBIE) was a man who thrived on peculiar shadows, a fine mist, and the the realms of the unknown- whether it be in one of those frightening, out-of-the-way places, or somewhere deep within the dark, bracken-carpeted forest of a man's soul. And despite being best known for his accomplishments in horror and films noir, the man had a great affinity for nature, and never shied away from reveling in the grandeur of a majestic American landscape. NIGHTFALL is darkness and light. Neon-bedaubed, ice-rattling-in-a-highball-glass, murderous alleyway thug mystery is contrasted with gleaming snowscapes, the smell of pine, a mislaid bag of dough, and a traumatic memory- the flashback-driven answers. In my review, I'd prefer not to touch upon the specifics of the plot, so instead I'll consider the mood and the characterizations.

Aldo Ray is our protagonist. With a palooka exterior (albeit somewhat of a baby-faced one) and a soothing, gentle voice, it's really no surprise that Bruce Willis was tasked with seeing as many Aldo Ray films as possible in preparation his role in PULP FICTION- though perhaps a more accurate modern comparison would be one with David Morse. Ray can play the sort of big lug who'll admit it when he's scared, but still'll have no trouble serving up a platter of knuckle sandwiches if he has to (which is, surprisingly, almost never in NIGHTFALL).

He's even supposed to be an artist (!), too, which is a slight stretch, but he's a bizarre enough specimen to pull it off. He orders at a bar– "Vodka on the rocks, with a lemon twist." "Lemon twist or a big twist?," asks the long in the tooth bartender. "You look like the big twist type," Ray mildly replies. I love it.

Our female lead is a young Ann Bancroft. Somehow coming across as simulataneously as a more sweet-tempered and edgier version of Joan Crawford, she is pretty damned fantastic. Playing a model (and called a "mannequin" by her higher ups!) she gets a terrific Hitchcockian moment where she must escape goons at her own fashion show, dashing away from the crowd, cape and all! She has a palpable chemistry with Ray, both when they're at odds (wounded and at her apartment, he grumbles "Nice place- I'll try not to bleed all over everything!") and when they're working together (Ray aids her in her fashion show exit by awkwardly carrying and running with her). After their voguish escapade, Bancroft wonders what her boss, Mrs. Lipton, would say- "It's $650 worth of sequins!" Ray responds, earnestly- "Mrs. Lipton's never seen what a .45 can do to a set of sequins."

"Youre the most wanted man I know..." KISSSS

Amidst these great escapes, flashbacks, frame jobs, and misplaced bags of loot, we've got a duo of heavies, played by Brian Keith and Rudy Bond. Brian Keith has always got a sort of 'relaxed-bordering-on-weary,' matter-of-fact demeanor, and here it suits his killer quite well. Rudy Bond is the more unhinged of the two, leering, joking and waving a gun around like an overweight proto-Alan Arkin. ("I got a mind to give you an extra belly-button!") But maybe he just wants to be liked (?!). In one notable scene, they're roughing up Ray upon the shadowy, expressionistic landscape of an industrial park. Between the twirling gears, upright derricks, curling iron arms, seas of gravel, and savage gunmen, the sequence serves to genuinely rattle the audience. As I watched it, I realized it reminded me of something else– when Dennis Hopper perpetrates some lipstick-smeared intimidation on Kyle MacLachlan in BLUE VELVET! (And, as a side note, a suspense scene involving the spinning blades of a snowmobile was a clear inspiration for the flying wing 'propellers of death' sequence in RAIDERS OF THE LOST ARK.)

In all, NIGHTFALL is a taut, moody noir, packed with sharp, clever Stirling Silliphant dialogue; poetic, mysterious Tourneur visuals; and likable, workmanlike performances. It's no OUT OF THE PAST (my favorite noir), but how could it be? Just about four and a half stars.

-Sean Gill

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Film Review: THIS WOMAN IS DANGEROUS (1952, Felix E. Feist)

Stars: 3 of 5.
Running Time: 100 minutes.
Tag-line: See review.
Notable Cast or Crew: Joan Crawford, Dennis Morgan (THE GREAT ZIEGFIELD, IN THIS OUR LIFE), David Brian (HOW THE WEST WAS WON, FLAMINGO ROAD), Richard Webb (OUT OF THE PAST, SULLIVAN'S TRAVELS), Philip Carey (DEAD RINGER, CALAMITY JANE), Mari Aldon (SUMMERTIME, THE BAREFOOT CONTESSA).
Best one-liner: "She's such a hot rod!"

Let's see here- what do I want to watch tonight? "THIS STORY IS A SCREEN-SCORCHER! Beth Austin... stylish name, stylish dame...known for what she was to mug and millionaire...EVERY INCH A LADY...till you look at the record! Part of her was Ritz - part of her was "racket" - all of her was exciting! Beth Austin---stylish dame with a stylish name---who lived by jungle law in a big city and clawed her way to where the money was...!" Holy shit, THIS WOMAN IS DANGEROUS! Let's fire it up!


THIS WOMAN IS DANGEROUS


THIS WOMAN KNOWS WHERE YOU LIVE


THIS WOMAN IS GONNA FUCK WITH YOUR SHIT

But wait just one second– it pains me to report that THIS WOMAN IS DANGEROUS is simply not that great a movie. It was Joan's final film at Warner Brothers (the studio at which she engineered her MILDRED PIERCE-ian comeback), and apparently her relations with the top brass had eroded to the point where she- and presumably everyone around her, by proximity– was miserable. Later, even post-TROG, she referred to it as the worst bit of her filmography. While I wouldn't personally go that far, I will say that it's frustratingly lackluster. THIS WOMAN IS DANGEROUS is really not an appropriate title. Maybe THIS WOMAN IS MOPEY or THIS WOMAN IS PISSED AT WARNER BROTHERS would have been more suitable. The most dangerous things she does in the movie involve the slapping depicted above, the swatting of a gun with her purse, and a scene where she makes salad dressing (more on that in a bit).

The plot is pretty simple. Joan is dating this gangster-type, Matt (David Brian), who along with his brother Will (Philip Carey), sister-in-law Ann (Mari Aldon), and a whole host of criminals rob and thieve and burgle and kill. Joan sometimes helps out in their cons, but as far as I can tell, she never has brandished a gun or lived by jungle law in the big city just to claw herself to where the money was or whatever. Anyway, she's losing her eyesight (a prequel to the Crawford episode of NIGHT GALLERY?), and requires drastic measures.

She travels to Indiana where she's operated on by Dr. Ben (Dennis Morgan) who's not only a doctor of eyes, but a doctor of love, as well. Matt gets wind of this nascent romance and speeds across the country to put a stop to the Hippocratic hanky-panky and reclaim his shoulder-padded babe before she goes 'straight'– for good! Now I'm sure that this doesn't sound too bad, and it isn't- it's just that the characters and the writing are about as stock as can be. Joan does a pretty great job, all things considered, but the criminals are grumbling one-dimensional stereotypes. Probably the best thing any of them does is punch the keys on a piano for dramatic emphasis. Mostly it's exchanges like, "Lay off the grain, will ya?" –"Shaddup!"

These guys are extremely underdeveloped. "You crazy ape!" The drinking game-inclined could surely try something involving each utterance of "Shaddup."

"SHADDUP!"

And on the side of the 'good guys,' it's even worse. The pursuing FBI men have all the personality of a pack of Little Debbie lemon wafers, and our doctor/paramour has a propensity for announcing positively groan-inducing dialogue to our cured Ms. Crawford–

"I'm sure your life is gonna be much BRIGHTER from now on," or "In many ways, you've opened MY eyes," to name a few.

The cinematography by Ted D. McCord (THE TREASURE OF THE SIERRA MADRE, EAST OF EDEN) is sharp and atmospheric. Stark underlighting in the clinic scenes lends the film a disorienting, nearly expressionistic quality, but you can't help but wonder if they were simply emulating DARK PASSAGE. A few slow, overlapping fades produce some abstract, bizarre imagery (I mean, more than usual).

A subliminal skull? (Click the pic for a larger view.)

Crawford's beauty is referenced just about every five minutes. I have to wonder if it was in her contract. But she spends most of the film sort of looking off into the distance with a troubled expression.

Is she perhaps deriving some secret satisfaction by visualizing herself dismembering her studio adversaries?

Hard to say. There's a fantastic moment when she leaps into action in a kitchen, insisting that she'll make the salad dressing. (?!)

I think it's safe to say that even Bob Mitchum would look more at home in the kitchen, tossing on an apron and cooking up a storm. Look at the utterly macabre, alien glare with which Crawford regards her child co-star. Is she visualizing another dismemberment? Is she just looking for an excuse? Perhaps a wire-hanger left carelessly on the countertop? A wire-hanger left by a little girl who's clearly asking for a cudgeling? Later on, the girl remarks "Your salad dressing was wonderful!" Seriously? Isn't it just olive oil, maybe some lemon, a touch of pepper if we're lucky? But nevermind. I'd rather not go on the record as criticizing Ms. Crawford's kitchen prowess. After all, THIS WOMAN IS DANGEROUS. Three stars.

Side note: and there's a pretty schweet stunt near the end, where a man is shot from a ladder, crashes through a plate glass window, and lands with a bone-crunching *WHOMP* on the floor. Fine stuntwork, fellas!


-Sean Gill

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Contemplating whether a review is worth $19.95 + $5.95 S&H X 3

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Free reading of LAURIE DEACON AND THE NIGHT CALLER today at 2PM!

All the details are HERE. If you're in New York City and free this afternoon, you should check it out!

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Film Review: 1990- THE BRONX WARRIORS (1982, Enzo G. Castellari)

Stars: 5 of 5.
Running Time: 97 minutes.
Tag-line: "In the year 1990, the Bronx is officially declared No Man's Land. The authorities give up all attempts to restore law and order. From then on, the area is ruled by the Riders."
Notable Cast or Crew: Mark Gregory (THUNDER, JUST A DAMNED SOLDIER), Fred Williamson (INGLORIOUS BASTARDS, VIGILANTE), Vic Morrow (BLACKBOARD JUNGLE, THE LAST SHARK), Christopher Connelly (BENJI, MANHATTAN BABY), Joshua Sinclair (KEOMA, THE LAST SHARK), Ennio Girolami (TENEBRE, LIGHT BLAST), Stefania Girolami Goodwin (Castellari's daughter- also in HEROIN BUSTERS, SINBAD OF THE SEVEN SEAS), George Eastman (BLASTFIGHTER, THE NEW BARBARIANS). Music by Walter Rizzati (HOUSE BY THE CEMETARY, THUNDER 2). Cinematography by Sergio Salvati (CITY OF THE LIVING DEAD, GHOULIES II, CONTRABAND).
Best one-liner: "You fuck! It could be a pile of shit out of someone's asshole!"

Somebody lends Italy their copy of THE WARRIORS, and this is what happens.

Now 1990 was a rough time to be in the Bronx. There was this guy, Trash, who led the toughest gang.

Everybody knew they were the toughest because whenever they parked their motorcycles, they did it in a 'W' formation.

Trash looked like he'd be more at home Go-Go dancing in Chelsea, and his jeans were so tight you could see his asscrack through them, but he was still the toughest. Then "the richest girl in the world" wandered uptown, shacked up with Trash, and a major shitstorm broke loose. That's the main drive of this movie, but that's not why you're watching it. You're watching it for spit-take inducing lines like "Just keep talkin' fagface, and I'll tear your fockin' lid off!" or "The bird has flown the coop, and Little Red Riding Hood was caught by the big bad seven dwarves." Let those sink in for a minute. I love this movie. I love that a gang member plays a drum solo on the banks of the East River for ten minutes while every member of a 50 man brigade gets his own reaction shot.

I love that there's a CABARET inspired tap-dancing gang, complete with swords, metal derbies, and synchronized fight choreography.

I love that the SWAT van is clearly a re-painted Mr. Softee truck. I love that in the funeral scene, everyone throws a handful of ashes into the East River, which immediately blow back into their faces, and they didn't redo the shot. I love that all the views of Manhattan clearly reveal that this was filmed on Roosevelt Island. I love that funky soundtrack, full o' big bouncy basses and reverb-heavy high-hat action. I love all the odd references to gray matter, reflecting idioms that don't exist in English ("Would you mind asking Blade to put his gray matter in motion?", "You gotta be kiddin'- you got your gray matter in your butt!"). I love insults like "Pisshead!" and character names like 'Hot Dog' and 'Witch.' I love that there's a character named 'The Hammer' NOT played by Fred 'The Hammer' Williamson.

The Hammer is The Ogre.

This is about as good as it gets, ladies and gentlemen. To reveal too much more would be a sin. And be sure check out the sequel (with Henry Silva!), ESCAPE FROM THE BRONX. Five skull-glowin', roller-skatin', high-hattin' stars (in a 'W' formation).

-Sean Gill

Junta Juleil's Summer '10 Movie Series
1. HELL IN THE PACIFIC (1968, John Boorman)
2. KUFFS (1992, Bruce A. Evans)
3. THE OUTFIT (1973, John Flynn)

4. FOR Y'UR HEIGHT ONLY (1981, Eddie Nicart)

5. A*P*E (1976, Paul Leder)

6. BLIND FURY (1989, Philip Noyce)
7. HIS KIND OF WOMAN (1951, John Farrow)
8. HIGH SCHOOL U.S.A. (1983, Rod Amateau)
9. DR. JEKYLL AND MS. HYDE (1995, David Price)
10. MIDNIGHT IN THE GARDEN OF GOOD AND EVIL (1997, Clint Eastwood)
11. 1990: BRONX WARRIORS (1982, Enzo G. Castellari)
12. ...

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