Film Review: MOONRAKER (1979, Lewis Gilbert)

Stars: 4 of 5.
Running Time: 126 minutes.
Tag-line: "From the most exotic locations on Earth, MOONRAKER will take you out of this world!"
Notable Cast or Crew: Roger Moore (THE QUEST, LIVE AND LET DIE), Michael Lonsdale (MUNICH, THE NAME OF THE ROSE), Lois Chiles (THE WAY WE WERE, BROADCAST NEWS), Richard Kiel (EEGAH, THE SPY WHO LOVED ME), Corinne Clery (YOR, THE HUNTER FROM THE FUTURE, THE STORY OF O), Bernard Lee (DR. NO, THE THIRD MAN), Geoffrey Keen (THE LIVING DAYLIGHTS, FOR YOUR EYES ONLY), Desmond Llewelyn (THUNDERBALL, GOLDENEYE), and Lois Maxwell (LOLITA, GOLDFINGER).
Best One-liner:  "Take a giant step back for mankind."

 A few James Bond films (like, say, FROM RUSSIA WITH LOVE or SKYFALL) attempt a stern and serious atmosphere, a kind of no-nonsense-thriller vibe striving for a degree of class that's slightly more "John le Carré" than "Ian Fleming."  MOONRAKER is not one of these films.

It shares more in common with the delightfully insane DIAMONDS ARE FOREVER or the funhouse loopiness of THE MAN WITH THE GOLDEN GUN than your typical higher-tier Bond film.  And that is why I love it.
So, without further ado– my six favorite head-scratching, spit-take worthy moments in MOONRAKER: they're what make life worth living.

#6.  Bond hurls a henchman through a priceless clock-tower window, whereupon the unfortunate lackey plummets to his doom...

 and completely penetrates a grand piano

 
 in a live-action Looney Tunes tableau that achieves near-Joe Dante levels of comic grotesqueness.

 Go ahead, James.  Care to lay the cherry atop this sundae of slapstick savagery?  I know you've got something good up your sleeve.

There you go!  A-plus!


#5.  Spielberg ouroboros.
In addition to having a returning character named "Jaws," MOONRAKER uses the famous, five-note theme from CLOSE ENCOUNTERS OF THE THIRD KIND as the electronic combination to a door in a high-security area.  Little did the makers of MOONRAKER know that Spielberg would soon begin his own James Bond-ian series (INDIANA JONES) which would eventually include in its third installment a Venice speedboat chase sequence, just like in MOONRAKER!  The mind reels.


#4.  Lasers, Lasers, Lasers!
 
I mean, the movie is called MOONRAKER.  Obviously, you wouldn't rake the moon with anything less than a laser.  What else are you supposed to use... a rake?  

Now here are some pictures of an undercover MI6 agent dressed as a monk zapping the hell out of a goopy dummy, RAIDERS OF THE LOST ARK-melting-Nazis-style:

Carry on, then.

#3.  Roger Moore as Clint Eastwood.

Set to the raucous strains of Elmer Bernstein's MAGNIFICENT SEVEN soundtrack, Moore makes an entrance while dressed in a near-facsimile Man With No Name costume.  This feels like a gag better suited for THE PIRATE MOVIE or a NATIONAL LAMPOON'S flick, but I'm more than okay with it.


#2.  Jaws' Love Interest.

Fan-favorite, metal-mouthed behemoth Jaws (Richard Kiel) returns from THE SPY WHO LOVED ME with appropriate grandeur and succeeds in stealing a second James Bond movie away from James Bond himself.  In a mind-blowing setpiece scored by the love theme from Tchaikovsky's ROMEO AND JULIET, Jaws is swept up off his feet by the Heidi-esque "Dolly," a super-strong woman with pigtails.  I'm going to stop you right there, tell you to lower your arched eyebrow, and ask you to just go with it.

This culminates in a crowd-pleasing plot-line of Jaws becoming something of a good guy, which leads to Jaws tossin' Mr. Bond a hearty outer space thumbs-up

and celebrating his new life choices by gnawing the cork off of a bottle of champagne and enjoying it with his lady friend.

Clearly, I wish that Jaws could be in every James Bond movie.  Alas.

#1.  I have to give the number one spot to the moment that inspired an actual, non-theoretical spit-take:

James Bond blasts his motorized gondola out of the Venetian canals and onto a main thoroughfare, rapidly inflating a bottom panel that transforms the vessel into a hovercraft.

He then gallivants about the streets of Venice, wearing a "I say, what are you looking at, good sir?" expression upon his smug face.

 
 This prompts a pigeon to do a show-stopping double-take, achieved through a forward-reverse-forward motion effect.
 
This is one of the ballsiest, most wonderfully inane gags to appear in any movie, James Bond or otherwise.  Its sheer lameness is such that it goes through the rabbit hole and back again, trampling your logic centers until you have no choice but to admit its brilliance. 

Four stars.

–Sean Gill

Read More

Music Review: GOBLIN LIVE IN CONCERT (2013, U.S.)

As a part of their first-ever North American tour (after a long and on-again-off-again history dating back to 1972), I was lucky enough to see Goblin perform live last night at the Music Hall of Williamsburg in Brooklyn, NY.  

They played crowd-pleasing selections from the album ROLLER and from their soundtracks to ZOMBI (DAWN OF THE DEAD), PROFONDO ROSSO (DEEP RED), NON HO SONNO (SLEEPLESS), TENEBRE, and PHENOMENA, among others, often accompanied by gory mondo projections, including clips from DAWN OF THE DEAD and the Goblin-Argento oeuvre.

It was a pleasure to see three of the original members:  the legendary Claudio Simonetti (wearing a DANGER: DIABOLIK t-shirt),

Simonetti tinkles the ivories.  Photo by Greg Cristman, from the writeup at Brooklyn Vegan.

veteran Maurizio Guarini jammin' on the second keyboard, and virtuoso Massimo Morante (prog) rocking out (on his birthday, no less!) in tight leather pants, sunglasses, and a bandana that could hardly tame his frizzy, Italo-rocker 70s hair.

Massimo plays it loud. Photo by Greg Cristman, from the writeup at Brooklyn Vegan.

This was, obviously, outstanding.  (They were also joined by newer members, drummer Titta Tani and bassist Bruno Previtali.)

A near front-row view afforded me a glimpse of their tightly-knit, non-verbal shorthand, from which I get a sort of furtive satisfaction when I have the privilege of seeing it live from a band I love.  Their Italian-accented banter with the audience was endearing and fantastic ("Hello Brew-kleen!"), Claudio did the vox effects from TENEBRE live, and he dared the audience to do their best witchy whispering along with him on SUSPIRIA– in short, I had a big dopey grin on my face the entire time.

Also, I never thought I would see Claudio Simonetti and Massimo Morante sing "Happy Birthday to Me" and mock-drink from a giant cardboard cut-out of a bottle of Jim Beam while a crowd of Brooklynites roared in approval.  And, my Lord– they may be getting a bit long in the tooth, but as my ringing ears can attest, they played it loud.  What a show– and a fine start to my Halloween season!

Read More

Only now does it occur to me... THE SPY WHO LOVED ME

Only now does it occur to me...  that the James Bond series had the balls to basically insert a Hammer horror villain into not only one, but two of their films, (and three if we count Christopher Lee in THE MAN WITH THE GOLDEN GUN).

Now I'd seen chunks of this film on TV as a kid, and was already well-aware of the pop-culture phenomenon that is Richard Kiel's "Jaws" (a hulking brute with steel-capped teeth) but I don't think I'd ever seen THE SPY WHO LOVED ME in its entirety till this week.

For God's sake– the first time we meet him, he's biting someone in the throat in an Egyptian tomb while bathed in Hammer/Bava-style green light.


 
And then there's the whole "Jaws vs. Jaws" entanglement, which ends poetically with Jaws biting Jaws to death.



It is without a doubt the most artistic "man biting shark to death" scene ever committed to celluloid.  Apparently (Kiel's) Jaws was saved from a watery grave by test screenings that affirmed his inherent likability as a shark-man-and-steel-cable-biting madman.  In my mind, he's second in "metallically modified gimmicky villains of the 1970s" only to Chuck Connors' "Claw Zuckerman" in 99 AND 44/100% DEAD.

Anyway, they should have gone all the way and just replaced the "James Bond will return in..." credit at the end with "Jaws will return in MOONRAKER."  And he did.

Read More

Only now does it occur to me... THE MAN WITH THE GOLDEN GUN

Only now does it occur to me...  that if William Castle had ever directed a James Bond film, it definitely should have been THE MAN WITH THE GOLDEN GUN.

What would the gimmick have been?  Flying skeletons?  A full-on working fun house in the lobby?  13 GHOSTS-style Scare-o-manga-vision?   A free novelty rubber nipple with admission? (Christopher Lee's character Scaramanga has a notable extra nipple.) Something to do with a gang midgets at the theater?

Of course, with the latter, I'm alluding to the irrepressible Hervé Villechaize (FANTASY ISLAND, FORBIDDEN ZONE), whose measured performance as "Nick Nack" reaches levels of subtlety previously reached in a Bond movie only by Bruce Glover in DIAMONDS ARE FOREVER.  I'm going to choose to believe that the incongruous beauty of a little person in a Bond flick is what sparked the imagination of the makers of FOR Y'UR HEIGHT ONLY, the first of many glorious Weng Weng Agent 00 movies from the 1980s.

As far as Bond flicks from the Moore era go, this is one of– if not the– best.  I have some fond memories from childhood of seeing this on TV, and though that may color my opinion, it's got a taut storyline, a great villain in Christopher Lee's titular assassin,

those great "Dark Carnival" sets on Lee's private island, a solid 70s Bond girl in Britt Ekland (best known for THE WICKER MAN and being Peter Sellers' wife)

and it even has Bond doing an embarrassing  loop-de-loop bridge jump like something out of a DUKES OF HAZZARD episode or a Burt Reynolds movie, complete with a slide whistle sound effect.  Whew!

[Also, despite the fine opening song collaboration between John Barry and Lulu, I can't help but think Alice Cooper's unused title track would have been a nicer (and more rockin') fit.  That is all.]

Read More

Only now does it occur to me... THE MACKINTOSH MAN

Only now does it occur to me...  that wonderfully pompous acting genius James Mason has admitted said pomposity, on camera.

It occurs during the final five minutes of John Huston's mostly-phoned-in, Paul-Newman-starring spy thriller THE MACKINTOSH MAN (with a screenplay adapted by Walter Hill!?), and I have to admit that the lines would work just as well, if not better, if he had said them immediately upon wrapping the shoot for his infamous Thunderbird commercial. 

Read More

Film Review: BUNNY O'HARE (1971, Gerd Oswald)

Stars: 1.5 of 5.

Running Time: 102 minutes.

Notable Cast or Crew: Bette Davis (DARK VICTORY, ALL ABOUT EVE), Ernest Borgnine (FROM HERE TO ETERNITY, ESCAPE FROM NEW YORK), John Astin (THE ADDAMS FAMILY, EERIE INDIANA), Jack Cassidy (THE EIGER SANCTION, MR. MAGOO'S CHRISTMAS CAROL), Joan Delaney (THE PRESIDENT'S ANALYST, DON'T DRINK THE WATER), and Jay Robinson (SHAMPOO, Coppola's DRACULA).  Written by Stanley Z. Cherry (PETTICOAT JUNCTION, THE MANY LOVES OF DOBIE GILLIS) and Coslough Johnson (THE SONNY AND CHER COMEDY HOUR, SHE-RA, HE-MAN AND THE MASTERS OF THE UNIVERSE).  Produced by Samuel Z. Arkoff (ROLLING THUNDER, THE ABOMINABLE DR. PHIBES, DILLINGER '73, EARTH VS. THE SPIDER, THE TOWN THAT DREADED SUNDOWN).

Tag-line:  "ENJOY those Golden Years with the most profitable pension plan any sweet little mother ever devised!
Best one-liner:  "SCREW 'EM!"

"Heya, bud– you wanna see a terrible movie?"
–"Not particularly."
"How's about a terrible movie with Bette Davis?"
–"I already saw RETURN FROM WITCH MOUNTAIN."
"How's about a terrible movie with Bette Davis and Ernest Borgnine?"

–"Well..."
"Look at 'em smiling.  Come on."
–"Well..."
"How's about a terrible movie with Bette Davis and Ernest Borgnine where they play geriatric bank robbers... who dress up as hippies and tool around on a motorcycle so as not to get caught?"

–"Alright, you win– now there's no way I'm not watching that."
"I thought so, you sick bastard."
–"So wait... what is this again?"
"It's a Samuel Z. Arkoff American International shit-storm that's so cheap and desperate and awful that despite the presence of major Hollywood stars from the Golden Era, it doesn't even feel like a 'real movie,' ever."
–"Uh..."
"Also, there's an overwhelming, zany harmonica-laden soundtrack and some chase sequences worthy of Benny Hill."

–"Er...what?"
"Okay.  So imagine this:  Bette Davis plays an unappreciated older mother whose deadbeat kids are allowing the bank to foreclose on her home ("THIS IS MY HOUSE YOU CAN'T KNOCK IT DOWN!!!"),

only one of the dudes tearing her plumbing apart happens to be ex-bank robbing legend Ernest Borgnine, and so he and Ms. Bette strike up a December-December romance and vow revenge on the banks."

–"He's taking her toilet?"
"Yeah.  And did I mention that one of said deadbeat kids is played by the legendary John Astin, seen here wearing a wicked, rainbow-colored 70s smoking jacket?"

–"Okay...?"
"It's anti-bank message is certainly admirable, and it really tries for a late 60s counter-culture vibe, but it simply can't escape the blockheaded 'geriatric BONNIE AND CLYDE' gimmickry."

–"Why am I supposed to be watching this?"

"Well, of course it all leads up to the emotionally satisfying and semi-nude payoff of Ernest Borgnine digging a bullet out of Bette Davis' shoulder."

–"Can I leave now?"
"No.  If you've come this far, you should at least stay for the finale, whereupon Bette hangs up on both of her needy children and utters the sheer poetry of...

"SCREW 'EM!"

And from the look of her expression afterward, I think it's pretty evident that this sentiment is simultaneously aimed at the filmmakers!"

–"Oh.  Uh, why am I here again?"

"I don't know.  Because we have no standards?"

–"Well apparently, neither do Davis and Borgnine."

"We all gotta eat, brother..."

 –Sean Gill

Read More