JERBOX ENTERTAINMENT

EDITORIAL: Introducing JERBOX ENTERTAINMENT in 2018

2018-01-07T17:27:00.001-08:00

JER and STAN LEE

Happy New Year, everyone!

2018. Unbelievable to hear that another year has dropped off the calendar again so soon. Many changes are in store for all of us, as time marches on.

Reflecting on what is to come, personally, this is a milestone year as I turn 50 in July... now, before you go clapping and wishing me the best, it still is owed a time of reflection.

What exactly have I done with my life in the first half of my century's existence? What have I done to make this world a better place? Have I accomplished goals I have set for myself?

As resolutions are, especially as common as the beginning of a new year, I know that there are more things needing to be done before my final curtain- call...

Over the tail-end of 2017, I looked back at my blog page and noticed that I had seriously neglected my site... not a single entry throughout the entire year. I also came to realize that, due to me love for both film AND music, that it was high- time to extend the entry options to include my love for music as well.

So, as resolutions go, here it is:

More entries this year

Entries that will include music this year

Keeping it simple, but goal- driven.

I thank each and every one of you for continuing to motivate me to write and share and I ask that you read, enjoy and comment along the way!

Have a healthy, prosperous and happy 2018!

Please check back often for posts!

JER

MOVIE SUBJECTS OF THE PARANORMAL: THE CONJURING SERIES & THE WARRENS

2016-11-03T14:57:00.000-07:00

The subjects of the paranormal, demonic possession and that of evil unknown have always been intriguing plotlines for filmmakers to take on throughout the years. Maybe it has to do with the fact that these particular topics have a tendency to conjure an unsettling feeling amongst some, or maybe it is the subject in itself: any one of these topics are almost commonly been looked upon as evil itself, causing a sense of discomfort or uneasiness. Case in point, what is it about the almost unsettling feeling we seek when attending a film based on evil or its manifestations? Is there a trigger within us that makes us more consciously- aware if a story is ‘fact- based’ than fiction and does it affect our acceptance or rejection of what we are viewing? The point being... do paranormal films, based on true events, affect us more personally than those of the fictitious kind? Finally, is there really a difference between horror genres to make a point worthy?

It could be grossly misconstrued that all horror subjects/ films/ stories are all the same, as if lumped into one large generic category: If it causes a sense of fear and it relinquishes a reaction of terror or ‘scare’, than it falls under the category of a horror film. ‘Slasher’ films, terror, creature/ alien and paranormal, demonic possession and that of evil unknown all ride under the big banner with the word “horror” plastered on its moniker. Period. As what has been the perceptions made by the general consensus or moral- majority groups, it is unfair to conveniently mash all of the themes under one title for all, since each theme brings its own lore that differentiates itself from the other. On the other hand, there are those that understand the mechanics and reasons to what makes any particular subject of terror more effective than another.

My topic focuses on the source materials entitled ‘demonic possession/ paranormal and evil manifestations’ and, be it hinted or obvious, the filmmakers use of these controversial topics’ portrayals (and embellishments) by Hollywood. I will be placing specific attention to certain films that have been fact- based, with such recent entries like THE CONJURING franchise and how it has presented itself as the modern submission of mainstream horror films.

A BRIEF TRIP DOWN POSSESSION LANE IN FILM- 101:

The subjects of terror, demonic possession and evil manifestations have been a mainstay in the filming community for almost as long as the existence of moving pictures itself. Over the years, the presentations have changed and have taken new shape with almost every generation to keep up with the times, so to speak. Regardless, the very idea of the unknown and the simplistically stripped- down ghost stories always manage to find its audiences huddled in the dark, preparing themselves for the unexpected. While on the lines of the discussion, there are those who may argue on the subject due to a variety of purposes. Such degrees can range from the continuity of the story line, demonic or possession interpretation on a religious or non-standpoint, the representation of fact versus fiction and so on and so forth…This is where I begin. Allow, then, a snapshot look at the earlier “fact- based” films that focused on the topic of manifestations and representations of evil.

In the period of one decade that was the 1970’s, Hollywood had unleashed two very profound ‘fact- based’ horror films: 1973’s THE EXORCIST and 1979’s THE AMITY VILLE HORROR. Not based on fact, but placing similar attention on the topic and subject, 1976’s fictitious telling of THE OMEN was also released. There is no doubt that the three films mentioned were a definitive leap forward into the world of terrorized film making, making a profound impact on society for its time, but coincidentally enough, all dealt with the same subject matter: demonic manifestation. These films alone ushered a more cerebral and psychological effect on the impact made than just merely seeing puppeteered monsters or aliens taking over the world, as were the general story line of the B- movie rave of the 1950’s and early 60’s.

Although a strong decade for horror films, the 1980’s advancements in special effects and experimental techniques in cinematography may have ‘crutched’ the more realistic approach that its predecessors took. That, nonetheless, still didn’t stop film makers from presenting a new wave of subject- related entries. The eerie performance of Jack Nicholson’s portrayal of Jack Torrance, a man who (one might say) became the ‘host’ of an evil manifestation from existing residuals within an old Hotel resort makes 1980’s THE SHINING a stand-out and unforgettable presentation of equal parts unknown and evil manifestation- based behaviors.

Possibly considered an unexpected occurrence, when bringing up the serious subject of related evil, possession and darkness; are the pop cultural acceptances that unsuspectedly rose out of the ashes of the fearsome films they came from. Examples would begin with the seemingly lifeless portrayal of the evil- driven Michael Myers in John Carpenter’s 1978 classic HALLOWEEN. The film, along with the character’s portrayal, might be considered the building- blocks to the human embodiment of evil and the set- up for ‘slasher’ genre. That being said, the genre of ‘slasher’ is defined as such, but also borrows from the genre of ‘possession/ evil manifestation because of the somewhat supernatural and indestructible force embodied. Another such example is the 80’s manifestation of Jason Voorhees, the relentless slasher from the FRIDAY THE 13^th franchise.

Other examples definitely include the depiction by Robert Englund as the vile and evil Freddy Kruger in Wes Craven’s 1984 film A NIGHTMARE ON ELM STREET and Doug Bradley’s dark and sinister cenobite known as “Pinhead” in 1987’s HELLRAISER directed by Clive Barker. Both would arguably fall under the category of examples of manifestations created by evil and its representation in its purist form; existing to serve evil and torture its captives. These two characters come from the same back story of Michael Myers and Jason Voorhees as being evil- driven and an obvious embodiment of an evil manifestation. Even in its original text of being taken seriously, all might be used as examples of, ironically enough, finding an audience that not only accepts the wrong doings and the servitude of evil, but have embraced it, thus becoming pop icons in today’s society.

Examples can go on and on; however, the point has been duly made: the history of evil representation in film have been established and existed for decades. It is understood that these films or characters cannot be ignored as well. These films have become mainstays that everyone is familiar with, whether you are the avid horror fan or not. The basis of such films and the characters created within, cannot escape the lore of interacting and interweaving into the fabric of society and pop culture, thus our lives, no matter what your ideals, beliefs or interests are. In point- blank realty, the topics and films have become a part of the American and foreign institutional walk of life, per say.

POSSESSION AS A FILM TOPIC: FACT VERSUS EMBELISHMENT:
Let me make one thing perfectly clear before we continue: no one film has ever stayed true to complete factual- based storytelling in the history of filmmaking, unless it falls into the format of a documentary. Based on that statement, it can be agreed upon that even the most factually- based film couldn’t be told without some degree of Hollywood embellishment served along for good measure. With that established, the topic of evil manifestation, based on true events, can be further discussed.

Let’s begin with director William Friedkin’s THE EXORCIST, for example. The film was based off of the book of the same name by author William Peter Blatty released in 1971. Blatty took inspiration for his best-selling novel when he came across the fact- based story that occurred in Cottage City, Maryland involving a 13 year old boy in 1949.

The true occounts, as it was: “Roland Doe”, the name given to protect his personal identity after said events, had reportedly been toying around with a Oujia board, in hopes to communicate with his recently deceased aunt. The two were very close and Roland’s aunt had been known to use a Oujia board of her own to communicate with spirits as well. In earlier documented events, it would seem as if his family was becoming increasingly aware of strange occurrences around the house. Disturbances such as noises, thumps, sounds of scratches on the walls and under the floor boards were, at first, ignored by the family and considered the probable cause of rodents. Things quickly escalated to more profound occurrences such as the sounds of marching feet and the mother’s reported discovery of walking into her Roland’s room and finding the bed and boy shaking violently. A conclusion came to light that these events were not the repercussions created by attempting to communication with the deceased aunt, but rather the works of another entity with evil intentions. Furniture; such as chandeliers, dressers and tables, began to move by themselves as well as the documented occurrence of ‘Roe’s’ father witnessing his son being violently ejected from a chair and hurled several feet away from where he had been sitting.

Additionally, changes in Roland’s behavior was becoming more increasingly disturbing as night fell. Marks, scratches and bruises would mysteriously appear on his body without any indication of either self- inflicted or inflicted injuries by another person.

Fr. Walter Halloran

After a couple of failed attempts to rid the evil entity embodying Roland, a cousin finally stepped up and contacted one of his professors from the St. Louis University, Raymond Bishop, who then spoke with an associate at the College Church, William Bowdern, for assistance. Both men were priests who traveled to Roland’s home only to personally witness flying objects, the shaking bed and Roland speaking in deep and raspy voices. After reporting his findings and submitting a request, Bowdern was given permission by an archbishop to perform an exorcism. Before the procedure could begin, two more priests were also called to assist, Walter Halloran and a Jesuit priest by the name of William Van Roo. Halloran mentioned that Roland displayed words, like “evil”, inscribed onto his body along with various other markings.

After an unknown period of time spent performing the exorcism, the priests felt that they had succeeded in ridding the evil that had possessed Roland. Because his true name and identity are considered unknown, the boy, only known by his alias, has been led to believe to be living a normal life to this day. He has never come out and spoken about any of his torments in public.

Actress Linda Blair: THE EXORCIST

Reviewing the synopsis of Roland Doe’s plight, one can see the similarities and differences between the true story and the one developed for the novel and the film. One extreme change befell that the sex of the possessed was changed from Roland being male to female actress Linda Blair’s portrayal of Regan MacNeil for the film version. Locations and time frames were also changed from late 1940’s-early 50’s Maryland and St. Louis to the film’s events occurring in 1973 Georgetown, Washington. Other details included name changes and more specifically, the details that led to and the actual performance of the exorcism itself. All in all, however, Blatty’s novel served as the basis for a very realistically- paced build up from Regan’s innocent introduction to the transition and evil manifestation her character presented within the film’s development to conclusion. The film succeeded in drawing its audience into a world of unexpected probabilities and developing a feeling of helplessness when over-powered by evil.

A more accurate telling is perhaps the novel- to- film adaptation of 1979’s THE AMITYVILLE HORROR. The story focused on the 28 days in December of 1975 that the Lutz’ lived in the foreboding home located in Long Island, New York. Previous events reported that the house had been “possessed” or inhabited by evil spirits, accounting for the incidents that occurred with previous homeowners, the De Feo’s. The now famous home served as the location of the 1974 murders committed by oldest son, Ronald De Feo, who used a rifle to murder his parents, two younger brothers and sister before the events that haunted the Lutz’.

As did THE EXORCIST before it, Hollywood took some liberties with what had been documented in THE AMITYVILLE HORROR novel written by Jay Anson, based on the stories told by George and Kathy Lutz. Published in September of 1977, the novel accounted the alleged events that occurred from the Lutz’ point of view, after the ill- fated move into the home. Due to the well- known status and popularity of both the novel and the 1979 film, my compared fact- based- versus- film embellishments will be kept brief. By my opinion, more reality- based background of the true incidents from THE EXORCIST needed more coverage.

Mug-shot of Ronald De Feo

Facts mentioned: Ronald De Feo did murder his family on November 13, 1974, claiming voices from within the house told him to commit the crimes. Almost a year later on December 18, 1975, newlyweds George and Kathy Lutz arrived with Kathy’s three children from a previous marriage, two boys and a girl, to live at the same home the De Feo murders occurred in, without their awareness. Incidents reported by the Lutz’ while inhabiting the house included unexplained cold spots from within the home, disconnected sounds including those of feet marching, an incident of a priest in the process of blessing the house was interrupted by a deep voice told him to “get out” and Missy Lutz, youngest of the three children speeking to an imaginary pig- like friend named “Jodie” which was believed to be an evil entity that had materialized itself in Missy’s presence several times.

George & Kathy Lutz

When reviewing the Amityville events portrayed in comparisons to the book and film, it would seem as if the true story and events that occurred to both the DeFeo and Lutz’ families, respectfully, are a little more widely known than the actual incidents that THE EXORCIST was based on.

An important tie- in and a great way to introduce the next chapter of the topic in hand is the connection of the aftermath of the Amityville incident and the paranormal investigating couple, Ed and Lorraine Warren.

February 1976. Nearly two months after the Lutz’ evacuated their home, leaving all their personal belongings behind from the hasty departure caused by the paranormal activities experienced from their ill- fated 28 day stay at the Amityville home, the Warrens were invited to join a small team of reporters and investigators… the Lutz’ were also invited and refused to re-enter the house.

Ed & Lorraine Warren

Ed Warren was a religious demonologist and Lorraine Warren, a trance medium. From the moment the Warrens walked into the abandoned Amityville house, it was understood that there was a presence that made both investigators very uncomfortable, reportedly feeling that something had attached itself and followed them home. Ed experienced more physical contact including feeling a powerful, inhumane presence. Lorraine, on the other hand, couldn’t shake images of the slain DeFeo family. Edward Warren passed away on August 23, 2006… Lorraine will be 90 years old on January 31, 2017 and has retired from the physical paranormal investigation business and now focuses her attentions as an occasional public speaker and making limited public appearances. On numerous interviews, Lorraine has stated that she would never return to the Amityville house ever again.

Thanks to numerous cable networks, the early 2000's rolled- out more public awareness of the world of ghost hauntings and paranormal investigating, bringing the Warren cases to light and expressing a huge interest to those followers. Hollywood still continues keeping up with the latest of trends, having made several films based on paranormal, ghost hauntings and evil manifestation- themed stories right into the new century. One true investigation that became an interesting story to make its way onto the big screen was titled as “The Perron Case,” also known as director James Wan’s 2013 film, THE CONJURING.

THE CONJURING: THE TRUE STORY OF THE PERRON FAMILY:

Roger and Carolyn Perron purchased a farmhouse in Harrisville, Rhode Island in the winter of 1970. The Perrons’ felt the 200 acre land was the perfect location to raise their five daughters: Andrea, April, Christine, Cynthia and Nancy. They lived in that farmhouse for approximately ten years before moving out in June of 1980.

The Arnold Estate

The Arnold Estate, as it was known, had eight generations live and die on the estate’s property including the death of Mrs. John Arnold. At the age of 93, Mrs. Arnold had decided to hang herself from the rafters of the barn. More stories of suicides, caused by hangings or poisoning, also surfaced during research conducted of the property and its previous owners. The Perron family almost instantaneously became aware that there were additional ‘occupants’ from within the estate. It would seem as if actual sightings and spiritual interactions almost became commonplace with the Perrons. It was reported that some were considered friendly spirits; almost interacting with the family and becoming a part of their every day life, however, not all the spirits were nice.

Darker spirits on the estate caused number of unexplained physical disturbances including yanking the children’s’ legs and hair. Loud banging on the front door would occur as well other doors slamming on their own. One particular disembodied spirit would keep the family awake by continually crying out throughout the night, “Mama! Maaama!”

Bathsheba Sherman

Despite the interactions experienced by the Perron family, there was one particular spirit, so evil, that no one will disclose what it did to them to this day. The spirit is believed to be that of Bathsheba Sherman, a woman who lived on the property in the early 19^th century. Rumors from within town began to spread that Bathsheba might had been a practicing witch, experimenting with dark forces…there was never any hard evidence to confirm those allegations, however.

According to reports, it was after about four years of experiencing paranormal activities in the farm house, that the Perrons were urged to contact Ed and Lorraine Warren to intervene with an investigation. Instead of clearing the house, it seemed as if the Warrens might have actually made matters worse, only provoking to make things even more unbearable for the Perron family. One such incident that occurred was a séance conducted to try to ward off the evil entities. While this occurred, Carolyn was believed to had been temporarily possessed, beginning to speak in another language and using a voice never heard before. The forces of evil were far too strong that the Warrens left the Perrons, stating that this was the most significant and worst they had ever encountered. in their 50 years of paranormal investigating.

Due to financial restraints and not having the opportunity to sell the farm house and move elsewhere, the Perron family endured an additional six years before finally moving out. It is said that other families that have moved into the old Arnold Estate have also experienced unusual activities and ghostly hauntings as well.

(l) Lorraine Warren & (r) Director James Wan

THE CONJURING was made into a major motion picture and released on July 19, 2013 with a budget of an estimated $20 million dollars. The film was very well received and went on to gross an approximate $138 million during its theatrical run. Due to the overwhelming success of the film and the interest in Ed and Lorraine Warren’s paranormal investigations, it wouldn't be long before the creative team would come together to illustrate another chapter in the true stories of the investigative couple.

THE CONJURING 2: THE TRUE STORY OF THE ENFIELD POLTERGEIST:

(l) Janet, Billy (c) Peggy, Johnny (r) Margaret

Ed and Lorraine Warren have been paranormal investigators throughout their lives together and had experienced every kind of supernatural occurrence imaginable. Many investigations also means that there were many stories to be told with an audience eagerly awaiting for the next story to unfold. The couple would find their next investigation, now taking them to England to what would be known as The Enfield Haunting or The Enfield Poltergeist.

The date is exact, beginning on the evening of August 30, 1977 in the small town of Enfield, a borough located in Northern London. The Hodgson family consisted of Peggy, a single mother caring for her four children; Margaret 12, Janet 11, Johnny 10 and Billy 7, separated from their father. Trying to keep the children disciplined, Peggy always made sure that everyone was in bed within a particular hour when she heard Janet complaining from their room upstairs that her and her brothers’ beds were shaking. Just as Peggy was yelling instructions to Janet to settle in, she heard a crash come from one of the bedrooms. Finally entering Janet’s bedroom, Peggy witnessed the chest of drawers move by themselves. She tried pushing them back but they were moving towards the direction of the door, overpowering her.

Vic Nottingham

After appealing with one of her neighbors, Vic Nottingham went to the house to investigate the activities for himself. He was reported to have heard knocking noises coming from the walls, on the ceiling and in the bedroom. Since the Nottinghams could do nothing, Peggy’s next step was to call the police for assistance. Officer Carolyn Heeps arrived to the scene and witnessed a chair move across the floor on its own. This account occurred in plain view in front of the Hodgson family. The officer inspected the chair for wires but couldn’t find a logical explanation for what had been witnessed by all.

Unclear of exact details, the Warrens were amongst many investigators who did in fact visit the Hodgson’s North London home in the summer of 1978. The events or involvements are sketchy, as many stories seem to have conflicts with how much the Warrens had to do with the clearing of the home in the end. Other investigators claim the Warrens were only at Enfield for one day before leaving back to the States.

Most of the accounts documented came from recording sessions conducted with Janet in the room. The audio tapes recorded Janet speaking in a deep, almost trance- like state. The raspy voice was believed to have been that of Bill Wilkins, a man who actually died in the living room of the house some years back. It was confirmed that Wilkins died in an armchair in the living room after suffering a brain hemorrhage.

After interviews had been conducted, it was concluded that the paranormal events began shortly after Janet and her sister Margaret played with a Ouija board.

THE CONJURING 2: THE FILM

When the original THE TEXAS CHAINSAW MASSCRE was released in 1972, it touted the inscription "based on a true story" that had filmgoers believing that the film documented events that occurred somewhere in the state of Texas, re-enacted by actors! As time passed, director Tobe Hooper admitted that the film was loosely based on the actual cases of Ed Gein, a notorious murderer and grave robber from the 1950's who would later be the inspiration to the creation of the Norman Bates character for PSYCHO. Gein lived in Wisconsin and no where near Texas. The example hopefully clarifies certain liberties that can be taken by Hollywood to help create a certain illusion.. in this case, the "based on a true story" being actual documented accounts of events that occurred and those involved.

(l) Patrick Wilson (r) Vera Farmiga as the Warrens

Having explored the example and reviewing the true incidents that occurred in Enfield, we can definitely understand the 'loosely' based theory that makes- up THE CONJURING 2. The story's premise and certain events are true, however, the film carries the inscription "the next true story from the case files of Ed and Lorraine Warren." Having done the research, it is understood that the reality of the Warrens' involvement with the Hodgson family may had only had been for the reported one day and not the extensive timeline presented in the film. This proves the theory that the inscription could carry some truth and gives Hollywood the advantage to embellish the storyline to excite the audience for another great adventure.

THE CONJURING 2 opened in theaters on July 10, 2016 with an estimated budget of $40 million dollars. It would gross an estimated $315 million worldwide.

FINAL THOUGHTS:

ANNABELLE: (l) movie & (r) real versions

There are stories to be told. Whether it is fashioned into a novel or a film, the fact is that the telling of a true story may not always be the truth. It may be considered human nature to embellish the truth to make it more exciting. Touching on the topics discussed, involving the paranormal, demonic possession and that of evil unknown, only makes the skeptic raise a doubting eyebrow even more when it is learned that the stories are blurred from reality. So, to some extent, do these phenomenons truly exist? The topics are debatable… but stories are out there nonetheless. Maybe it’s the human psyche that wants to believe in strange occurrences or disembodied hauntings and activities. Maybe we need to believe in spirits to help validate our own human existence. Maybe it is a realm that is frantically trying to communicate with the living… spirits that are desperately trying to make a connection to the living world they once coexisted in.

The individual perception will believe its own truth… you either believe or you do not. You can be skeptical, maybe requiring an act of proof. One thing that cannot be denied, however, is the fact that there are unexplained situations that happen every day. A silhouette caught from the corner of one’s eye, a sudden shiver of coldness in the room, a feeling of not being alone when the room is deathly quiet. Moments like these are sudden and quick… sometimes passed- off as a figment of the imagination. Keep a weathered eye open and a camera ready… because you never know if the sense of fiction maybe a sudden reality!

THANK YOU FOR CHECKING OUT MY BLOGSPOT... MORE COMING IN 2017 !!!

HEAVEN'S GATE: 35 OBSESSIVE YEARS LATER

2015-11-27T23:41:00.001-08:00

November 19^th, 1980. Anticipation mounted for what would be the latest film from director Michael Cimino, who had only two years prior released the highly successful and Academy Award- winning THE DEER HUNTER. Funded and released through the already- then financially- crippled United Artists, the studio took a risky gamble and ponied- up an unheard $44 million dollars… far more than any major company would pay for a feature film’s production during that time. The stakes were high but UA believed in Cimino and his vision… surely it would be a great pay off, wouldn’t it? Within a matter of days from its release, UA pulled the film embarrassingly quickly from poor reviews and even poorer box office receipts. The failure of the film would go on to become a Hollywood urban legend of overly- negative proportions including the film becoming solely responsible for the destruction and bankruptcy of United Artists and the black- balling of Cimino as a director in Hollywood.

The legend of the harrowing experiences is never spoken of out loud… as though it might conjure some kind of hex or curse amongst Hollywood productions. It is the film that was never to have been mentioned again… but what did exactly happen? Over the years since, rumors had boiled- over to becoming accepting truths but actuality differs greatly from fabrication! What is fact and what is fiction? What went on behind- the- scenes? With a crucifix in one hand and a Criterion blu- ray copy in the other, I explore the myth and reality of the good, the bad and the ugly of Michael Cimino’s HEAVEN’S GATE on the verge of celebrating its 35 anniversary this year.

1978- 1979

Universal Studios surprised audiences and critics alike with a powerhouse film starring A-list actors Robert DeNiro, Meryl Streep and Christopher Walken in a Vietnam- laced drama saga entitled THE DEER HUNTER. The film drew immense critical praise which bridged- over to gaining an impressive nine Academy Award nominations: Best Cinematography, Best Screenplay, Best Editing, Best Sound, Best Supporting Actor (Christopher Walken), Best Actress (Meryl Streep), Best Actor (Robert DeNiro), Best Director (Michael Cimino) and Best Picture.

On Academy Awards’ night of April 1979, THE DEER HUNTER went on to win five Oscars including Best Director and Best Picture! Cimino became an over- night sensation with every studio clamoring to make his next feature film with him. Channeling the new star power bestowed upon, Cimino resurrected a script he had worked on back in his struggling days in 1971 entitled “The Johnson County War” and convinced United Artists to fund and release his latest venture. Needing a hit film fast, UA all too eagerly said yes, a re-write and a title change later and the project became HEAVEN’S GATE.

ORGINS

Invaders in custody from Johnson County, spring 1892

HEAVEN’S GATE is loosely based on the horrifically true incidents that occurred in Wyoming 1892 that became known as the Johnson County War. The events circled around a band of privately hired gunmen who were brought in by a group of powerful cattlemen to ‘eradicate’ a number of poor immigrants who had worked for these businessmen. The implicated “range pirates” were accused of stealing cattle to feed themselves and their families. The massacre would become a notorious piece of American history.

(l)Bridges,(r)Eastwood: THUNDERBOLT & LIGHTFOOT

Cimino became interested in the project when his focuses were that of a struggling screenwriter in the early 1970s’. He worked on and submitted a finalized script to studios, causing little if no interest due to the lack of A- list actors passing on the project and the script would eventually find itself shelved.

Having two directorial hits back- to- back with THUNDERBOLT AND LIGHTFOOT starring Clint Eastwood and Jeff Bridges in 1974 and 1979’s THE DEER HUNTER, Hollywood was ready to pay closer attention to Cimino.

(l)Griffin,(cnt)Pickford),(sit)Chaplin &(r)Fairbanks

From the beginning, United Artists was a unique film studio originally formed by a number of Hollywood’s classic performers including D.W. Griffin, Charlie Chaplin, Mary Pickford and Douglas Fairbanks for the purpose of allowing its filmmakers complete artistic freedom. UA would become the ideal studio to which Cimino could create the bleak Western drama backdrop he envisioned.

PRODUCTION AND THE OBSESSIVE VISION

United Artists agreed to offer a generous 11.6 million dollar budget with written expectations for a projected release date before Christmas of 1979 to meet eligibility for Academy Award consideration.

Director Michael Cimino

In the midst of exchanging hands and contract finalizations, Cimino managed to create a complex list of agreements that would free him of potential problems. In the final documentations, the director stated that he would make every effort imaginable to complete production for the projected winter release, in exchange, UA would pay for any overages incurred to bring the production in on time and those costs would not be regarded as going over budget. Furthermore, Cimino would not be held responsible if the film didn’t meet the hopeful release date. In addition, the director required full artistic and financial control of the project. Before anyone knew what exactly transpired, the contracts were signed and the film was green- lit for a go.

The infamous skating sequence

As pre- production slowly got on its way, stories were coming into fruition regarding the perfectionistic eye of Cimino’s, which included a number of unusual practices and requests. Before a single frame of HEAVEN’S GATE was shot, the entire cast had to undergo a number of rather extensive training courses to keep the characters as authentic to the period. Some of these, as Jeff Bridges jokingly referred to as “Camp Cimino”, included horseback riding, the use of firearms and the practice of Yugoslavian accent coaching. One particular sequence required a number of cast members, including Kris Kristofferson, Jeff Bridges, Brad Douriff and Isabelle Huppert to dance on skates. It was estimated that most of the actors needed up to six weeks to perfect the abilities for the scene.

(l) Cimino and (r) Kristofferson on set

Full production began on April 1979. Cimino’s directorial approach and obsessive vision would quickly become all too familiar around the set for both cast and crew. One such behavioral result from the director would be his requisition for a minimum of 32 takes of certain shots. His eye for detail had all the actors deliver their lines in different emotional plights to best capture the acceptable scene. Some actors recognized the minimal take request placed by the director, which once led to a whopping 57 takes for one scene. One entire day was spent shooting just a particular scene with Kris Kristofferson, which involved him cracking a whip in a hotel room while intoxicated… it reportedly required over 50 takes alone.

The frightening reports coming back to United Artists were not good- in its first week of shooting; only one and a half minutes of film had been inventoried… the cost was an estimated $900,000. The film was not only racking up spending dollars, but had already begun to fall behind schedule- within its first six days of filming, the production was already five days behind its targeted date.

One of many 'extra'- heavy scenes

Stories would continue to come forth about the perfectionist attention placed upon during production. Cimino would spend many hours planning and creating every single shot. He went as far as to personally hand- select extras to fill the background of certain sequences. These choices were based off of looks, costuming, size, weight or other distinctive traits he felt suited the scene. Even more time was spent than the average within the production- due to its scale. Cimino would spend hours selecting up to 50 extras for one scene alone. He was the painter and the extras were his paints to place on his cinematic canvas.

A crew member on the film recalled beginning work at 4 in the morning with a dawn shot. Filming would abruptly cease when clouds rolled into a scene and caused overcast while blocking out the sun. Cimino would halt shooting until the clouds would roll out of the scene. Hours would go by and the entire production was in a freeze… because of the clouds. The standard time for lunch would come and go as well. Cimino was allegedly quoted as replying, “Lunch? This is bigger than lunch” when a crew member finally asked when they could have their meal break.

July 1979. HEAVEN’S GATE had now gone over 200 percent from its estimated budget and the bosses at United Artists were losing their patience. Knowing what kind of repercussions the production would face if the studio fired Cimino, another option was clear in order to deliver a message- UA decided to fire producer Joann Corelli instead. The studio placed itself in the field of producer to regain a sense of control. The word went out to Cimino: stick to the budget and schedule for the remainder of the production or lose the right to final cut.

Journalist Les Gapay

Bad publicity during production is no stranger to Hollywood films and can, by its own reputation and fault, be the cause for a film to fail before it even opens in theaters. Anything ranging from an actor’s tantrum rant to a difficult director to production woes can be the downfall and become the right kind of feeding ground for the press. As one can only guess, Cimino demanded a closed set- meaning that the press was definitely shunned from a welcome or coverage to his very private production. That, however, didn’t stop a freelance journalist named Les Gapay from getting on the set as an extra in the film for two months. Gapay experienced the disaster and turmoil occurring on a daily basis from within. One reported story focused on the chaotic shooting of the final battle scene, where he mentioned that extras had been subjected to perform actions only professional stuntmen should do with an accounted 16 injuries that resulted from the aftermath.

Article that appeared in the L.A. Times

Gapsay wrote: “because of the mad rush, there are several injuries as the scene filmed over and over for several days. Some of the immigrants, mostly extras, are brushed by horses and knocked into the mud. One minor actor has both feet stepped on by horses. Several persons tumble out of lurching wagons.”

This was one of many stories Gapay wrote and sold to publications. HEAVEN’S GATE production suffered dearly from the leaked stories that soon, thereafter, became news. If rumors hadn’t been bad enough, actual published news reports would definitely do substantial damage. Before production was completed, the film would have to fight for its reputation and defeat pre- judged opinions.

The injury- induced battle finale

The production continued to be plagued by the difficulties overseen by Cimino. The finale’s battle sequence, mentioned by Gapsay, was one of the largest set pieces that required dozens of horses, specially made wooden wagons, extras and explosions. A field chosen by Cimino was located nearly three hours from his base production camp. Cast and crew would load- up into vans at 3:30 in the morning, some actors even still clutching pillows to try to catch some more sleep. Once arriving to the set, the director would demand long hours of planning and filming of sequences while surrounded by dust, horses and gunfire.

United Artists’ execs David Field and Steven Bach took it upon themselves to visit the production- they arrived to the climactic battle sequence. Red flags went off once again… not only was it costing a fortune to rent the field from a local tribe of Native Americans, but it was also costing a fortune to irrigate.

The Cimino- created green grass battlefield

Cimino visualized his battlefield covered in lush, green grass. The land had to be cleared for rocks and an irrigation system was installed to grow the needed landscape… costing the production more money.

Bach was quoted as saying, “He’s talking about hundreds of people and horses and wagons and explosives. Who the hell is going to see grass?”

Cimino continually defended his choice by saying it was “part of the poetry of America.” In defense of Cimino’s postponement of lunches, for example, assistant editor Penelope Shaw summed up his creative eye by saying, “He thinks, there’s this beautiful cloud. That’ll be there for an eternity if I get it on film. Nobody will care about lunch 20 years from now, but they’ll be able to see that visual I created forever.”

1980: POST- PRODUCTION BEGINS:

(l) Director of Cinematography: Vilmos Zsigmond

Now a year behind its original schedule, cameras finally stopped rolling on production in 1980 as principal photography came to a close. Filming was supposed to have been over by June 1979 with a final cut submitted by September that year. Not only had Cimino gone greatly over budget and production time, but now his need for perfection would carry over to the editing room as he had to go through an unbelievable 1.3 million feet of film.

(l) Christopher Walken, (r) Cimino

The problem was now in hand- Cimino and his editing team would now have to review a staggering 220 hours of film in order to piece an appropriate cut to present United Artists with. As stated in his contract, Cimino had to present a cut of no more than three hours in length, preferably shorter.
A visually tired Cimino was quoted as saying, “it’s a little long” when he finally brought a work print to UA’s executives clocking in at an unbelievable five hours and 25 minutes! He then said,” I can lose maybe 15 minutes…”

Having viewed the incredibly lengthy cut, United Artists wanted to remain very clear about two things: one, they wanted a version short enough to be commercially visible, and two, they wanted the film ready for a Christmas 1980 release.

Editing of HEAVEN'S GATE

Cimino was equally eager about delivering the final cut he envisioned, so he would spend 18 hours days held up in the editing room. He went to great measures to ensure that his precious film would not fall into the premature viewing of the executives.
Assistant editor Penelope Shaw recalled that Cimino had bars put on the cutting room windows and had the locks changed so that no one could come in. One report even mentioned that Cimino had hired an armed guard to block the entrance.

By the fall of 1980, a cut of HEAVEN’S GATE emerged now clocking in at three hours 39 minutes in length. Although it was slimmer than its five hour predecessor, it still wasn’t the cut UA had anticipated. An executive decision was made… no more time could be spent with toying in the editing room and so UA went with the lengthier version they hadn’t anticipated. Time couldn’t afford not making its Christmas deadline to hopefully make Oscar consideration.

THE AFTERMATH OF THE RELEASE:

HEAVEN’S GATE was finally released on November 19, 1980 only to face the rather icy critics and their reviews.

N.Y. Times critic Vincent Canby

New York Times critic Vincent Canby’s review fatally wrote the phrase “unqualified disaster” which soon became the coined term used by other critics and television anchors in their summed up analysis of the film.

Canby’s review went on to further state that HEAVEN’S GATE “fails so completely that you might suspect that Mr. Cimino sold his soul to obtain the success of THE DEER HUNTER and the Devil has just come around to collect.”

As quickly as Michael Cimino became the overnight success story, so too quickly did his success became stripped away from him. His perfectionism was regarded as arrogance by reviewers. The allowance of artistic freedom also angered fellow filmmakers.

United Artists was faced with one last option: HEAVEN’S GATE was pulled from theaters after only one week from its release date and cancelled its wider release.

As a final attempt to grasp some sort of recovery, Cimino openly wrote a letter that was published in trade papers promising a re- edit of the film with a new release of a tighter form. The newly- edited two hours and 29 minute cut was released in April 1981 with no change in audience interest.

Shortly thereafter, United Artists saw its investment corporation Transamerica sell UA to MGM with the results left echoing in the hallways as the singular example of poor management in Hollywood. No studio in its right mind would think about collaborating any future projects with Cimino.

It would take five years before Cimino would make his directorial comeback with 1985’s YEAR OF THE DRAGON with Mickey Rourke.

Cimino would now dive into the underground world of the Chinese mafia in New York Chinatown.

Mickey Rourke plays the decorated officer, Stanley White, who has been assigned to bring order to the Chinese community while keeping a watchful eye on Joey Tai (John Lone) who recently became the Chinese mafia leader of New York.

The film opened to mixed reviews and only grossed about $18.7 million from a budgeted $25 million. YEAR OF THE DRAGON was considered a box office failure.

(l) the restored version for Blu-ray (r) the sepia-tinted DVD release

Fast- forward to present date and HEAVEN’S GATE would, in time, finally find an appreciative audience. The film would even get a coveted restoration make- over by the Criterion Corporation, a video distribution company that specializes in “important classics and contemporary films.” The newly restored edition featured Cimino’s original 217 minute cut of the film using the original 35mm YCM color separation masters and scanning each separate element with a 2K resolution, digitally recombining them to reproduce the color of the original negative. The Criterion edition was released to the public in November 2012 in both DVD and blu-ray editions.

(l) Cimino 1980- (r) Cimino 2014

Director Michael Cimino, being the obsessive perfectionist he is, personally supervised the transfer. As a filmmaker obsessed with the personal project of his film, had now come full circle within 32 years to finally see his vision offered in a pristine and visually breath-taking edition he personally held himself solely responsible for and could be extremely proud of.

FINAL THOUGHTS

At- a- glance, it is abundantly obvious to now take the time to appreciate the broad spectrum of production time and funds spent on HEAVEN’S GATE. Every shot is gorgeous and well- executed. Every landscape painted perfectly and every scene teeming with beauty and detail. The film itself is not flawless by any means, but as someone who appreciates the art stemming from the visual artist, one can forgive the weaker moments for the overall splendor of the presentation.

Imagine what film makers could do with an unlimited resource of financial availabilities. What would most films look like if the creative team had the time they felt was necessary to truly create a masterpiece? What if budgets were not a consistent worry, but rather a generous financial gift to the director to fund the dream project in the imaginary’s eye?

Film making, for better or for worse, is a business; an industry that relies on putting out a product and expecting the invested product to create money on its returns. A shiny object that can be dangled, though briefly, in front of the audience to overt the attention span and shell- out the money to make it successful.

For everything that allegedly occurred on the set, the point is clear. No one can see through the eyes of the beholder, in this case the director. Cimino envisioned the great American movie… but couldn’t the same be said of other films that were also infamous for wild spending on production costs and extended film scheduling? Films like Elizabeth Taylor’s CLEOPATRA, director Francis Ford Coppola’s APOCALYPSE NOW, Martin Scorsese’s NEW YORK, NEW YORK or even Steven Spielberg’s 1941 are guilty of putting the visual before the studio as well. HEAVEN’S GATE may have marked the end of an era of producer- driven films.

It makes no excuse for the over- blotted budgets containing fabricated, computer- generated backdrops and characters we have been seeing in access since the new century kicked- in. Humanistic stories are a thing of the past or considered the needed material for independent films these days. The human spirit doesn’t even take a backseat anymore, as much as it now rides in the trunk of the compact, storytelling vehicle.

Film is long- lasting and marks eras, trends and lifestyles of the timeline it captures. HEAVEN’S GATE, for better or worse, lives on and has risen from the ashes of its failed original release. Enjoy cinema for it is and support films… and watch movies. There is a difference!

A lot can and has been said about HEAVEN'S GATE but film- watching is a personal and some-what private experience.

What are your personal thoughts about films like HEAVEN'S GATE?

Do you recommend or denounce HEAVEN'S GATE?

Please feel free to post your thoughts here! All are welcomed!

Thank you for visiting...more to come soon!

LET'S VACATION IN JURASSIC WORLD! (Before It Went To Hell!)

2015-06-29T21:36:00.000-07:00

Ah, how the imagination can just expand its wings and take flight! No encouragement necessary… it leaves all sense of reality behind and it can take you anyplace you want to go… be anyone you want to be! It doesn’t cost a thing, you can stay for as long as you would like and you can use your annual passport for unlimited fun and exploration!

Summer 2015 is in full effect… pounding us with massive waves of heat! Heat is not the only thing the general public is being pummeled with as we are also receiving a relentless weekly dose of sweltering summer films! The scorching releases are definitely upon us and the biggest and fastest trail- blazer this early in the game is not THE AVENGERS: AGE OF ULTRON… but JURASSIC WORLD!

Actual ad from MARVEL's congrats to UNIVERSAL

Wait a minute… JURASSIC WORLD?!? It could have arguably been said that the film would churn a nice bit o’ cash… it has the name brand and a box office reputation to live by, so why not? A film, to which some might say, is a ‘tired’ franchise that might have worn out its welcome (and possible fresh ideas) having followed in the T-Rex- sized footsteps of the colossal 1993 blockbuster JURASSIC PARK directed by Steven Spielberg.

The recent numbers, however, are staggeringly real! Let’s visit those for a moment… JURASSIC WORLD was released on June 12^th, 2015. Domestically (within the United States), the film pulled an unbelievable total of $204.6 million dollars and another $307.2 million Internationally. That combined figure, for an opening weekend, brings in the tallies at $511.8 million globally! It also sets a record for the largest worldwide opening weekend. As of June 28, 2013,the film becomes the fastest-grossing film to date... now totaling in aw hopping $1.3 billion worldwide!

It would seem as if every living human soul is out to see this film with their own intentions in place… curiosity, skepticism, intrigue or simply the love of the franchise or even just to see big CGI (computer- graphic illustrated) dinosaurs wreak havoc on the lesser! You know that ‘imagination’ thing I was talking about in that first paragraph? I was sitting in the theater, 3D glasses on, watching and admiring the film for everything it was… when it hit me… what if JURASSIC WORLD was a real place? Who would go? How much would it cost to get in? How much money would I need to plan my trip? So I propose the fantasy role- play option... let’s pull out our paycheck stubs, our wallets and a bit of that ol’ imagination and LET’S VACATION AT JURASSIC WORLD (before it went to Hell, of course!)

JURASSIC WORLD: THE SYNOPSIS

Sir Attenborough as Hammond

Billionaire visionary John Hammond (Sir. Richard Attenborough) laid out the blueprints for his dino- themed JURASSIC PARK in 1993, only to have been met with catastrophic results. Now, twenty- two years later, on the remote island of Isla Nublar off the coast of Costa Rica, the park is now open to the public! Re-named as JURASSIC WORLD, the dino- themed family vacation spot has now been open for a decade and visitors want bigger and badder dinosaurs! To help boost attendance, the Jurassic scientists heard the pleas and concocted a mixed- bag of dino DNA to create the largest, smartest and most menacing creature to roam the grounds: the Indominus Rex

With her two nephews, Gray (Ty Simkins) and Zach (Nick Robinson) coming to the park for the first time, Operations Manager Claire Dearing (Dallas Bryce Howard, daughter of Ron Howard) has her hands full running the park with no time for social interacting. As their Aunt, she gives the boys VIP passes for all- access throughout the resort to keep occupied with.

Irrfan Khan as Simon Masrani

At Hammond’s passing, the responsibilities to continue the vision of the park were willed onto fellow billionaire and friend, Simon Masrani (Irrfan Khan), who happily makes the dream a reality! Flying in by helicopter, Masrani arrives to personally evaluate the Indominus Rex and her habitat before preparing her first public appearance soon. After some scrutiny and uncertainty, he requests that Claire contact the park’s Velociraptor trainer, Owen Grady (Chris Pratt), who seems to have a knack about dino- behavior.

(l) Pratt as Owen and (r) Howard as Claire

Owen arrives to the Indominus Rex’s compound and realizes that its surroundings and lack of interaction has geared her nurturing in the wrong direction! She is getting too smart for her containment and successfully escapes her quarters. Questions flair as to how to best contain her before she makes it to the main center where visitors are enjoying their day! Being the first genetically- created dinosaur of its kind causes many open- ended inquiries to what she is capable of doing! It is up to Claire and Owen to think faster than its prey before the day’s visitors become the hunted!

THE HISTORY OF “JURASSIC”:

Before we begin our Imagin-o-trip, let’s begin twenty- two years ago to establish events leading to the present. It is the year 1993 and we are the midst of one of the worst decades for music! (That can be argued, but anything past the 80’s went to crap, in my book!) Analog phones are all the rage, it is a world of no texting, I-phones or tablets, no X-Box, no Facebook or Twitter… remember simpler times? Yeah, those were the days. Suddenly, news breaks and begins to circulate of a disturbance occurring in North America somewhere… did they say Costa Rica? A Walt Disney- like entrepreneur named John Hammond has created a theme park after investing some large sums of cash into an experimentation of sorts that went wrong… the news is fuzzy and not specific. Maybe someone is investing large sums of cash to keep things on the hush… but why? What could they have possibly cooked up over there to cause such a ruckus?

The alternate timeline would have us, the reader; live in the world inhabited by those in the films JURASSIC PARK, THE LOST WORLD, JURASSIC PARK III and JURASSIC WORLD. This is a fantasy role- play exercise, so don’t get all technical with details… this is for funnsies! Now, where were we…

T-Rex in San Diego from THE LOST WORLD

Fast- forward to 1997 and we, the reader, know of events that occurred in THE LOST WORLD, what with a T-Rex terrorizing San Diego, CA for crying out loud! Then there are the lesser- known events that occurred in JURASSIC PARK III. Obviously, the general public has learned to forgive and forget (?) actual casualties and damages that have ensued between the stretch of films and are impatiently ready to see and experience the newly- named dino- themed JURASSIC WORLD! What gluttons for punishment! I mean, we know what we know because of news leaks and the fact that both Dr. Alan Grant (Sam Neill) and Dr. Ian Malcolm (Jeff Goldblum) wrote books about their personal encounters within JURASSIC PARK… (Again, suspending reality…suspending reality…)

ESTABLISHING TIME-LINE:

Brothers (l) Zach and (r) Grey

According to the film, WORLD had been opened for about a decade… putting its potential Grand Opening somewhere in 2004. The film opens in a wintery scene where brothers Gray and Zach are preparing to leave for the airport to visit Aunt Claire. So let’s say the time of year is winter of 2014… agreed? Why don’t we plan (planned, since we are talking past-tensed winter of 2014) our trip for what would have been September- October of 2014… right before disaster hits! Follow along with me here. I know this past- tensed talk can be a little confusing but we want to go to JURASSIC WORLD before the Indominus Rex disaster erupted! If you can’t follow along, feel free at any time to hop into a DeLeorean and go back to make the time line match!… moving along.

SETTING UP TRAVEL:

So, unbeknownst to us, the traveler, we are looking to scrounge our pennies for this once- in-a-lifetime opportunity! One can go onto the Internet and see clips of the shows and exhibits on YouTube, read reviews on Trip Advisor and plan your entire vacation around Expedia! Let’s face it; I plan on milking this trip for everything I can, since this vacation is not as economically friendly like maybe visiting one of the many theme parks in and around Los Angeles! Even at best, I cringe at the idea of having to pay upwards of $95 dollars for admission… this trip is gonna break me!

I am only about two hours away from Los Angeles, CA and I can fly out of LAX, so I will depart there. Investigating flight costs and airports in and around the Costa Rica terrain, I realize that planes do not land there because it is an island. In WORLD, visitors are ferried from the airport docks to their location on its ocean. The capital of Costa Rica is San Jose and flights arrive and depart from that airport, so looking at a decent airline, a round- trip ticket would cost approximately $1,081 with stops or First Cabin starting at $2,100. Air travel can be expensive, so this comes as no surprise. Reservation is confirmed and I am set to depart on Friday in September with a scheduled returned flight for Monday. Why September? I will take every degree of coolness I can take, but we are traveling to North America. In JURASSIC WORLD, we see tourists dressed in the coolest of casual attires, fanning themselves and buying frosty beverages… it will be hot, regardless! Sigh!

FOOD AND LODGING

Basing the daily costs on what one can easily spend on food alone at a typical theme park is a small fortune in itself! I try not to eat the little tempting morsels that beg for your consumption! Those items can add up to astronomical totals and I would much rather concentrate my dollars on a sit- down meal at an establishment instead of gnawing at a $10 turkey leg! I also wonder what kind of snacks JURASSIC WORLD would offer and the goofy, dino- related names they would brand them with? Instead of turkey legs to feast on, would it be in poor taste if they called them pterodactyl legs? A T-Rex- sized meal replaces the average super- sized request? I am probably looking at about $35- $50 for a decent meal and drink at a one- shot deal. Multiply that by your optional breakfast and dinner selections as well… wait a minute, are those raptor eggs being served alongside my sausage patties?

The combination of Costa Rica and its newly- found tourist attraction of JURASSIC WORLD definitely has a hold on the food industry and the same would be said for lodging options! The island is isolated and not necessarily open for typical tourist exploration. Name brand hotels have set up a comfortable place to stay… thank you for being so considerate, fellas! Having recently been employed through the Hospitality industry, it is a known fact that prices can be based on location, location, location! You had a five- star resort overlooking the grand JURASSIC WORLD, then it would be safe to say that you are looking to pay anywhere between $250- $300 for a basic King room… don’t expect a view! If available, possible upgraded options would now run you anything between $500- $700. This would also depend on what side of the hotel you would want to be facing… something facing the Resort, maybe? Let’s not ever talk numbers during their high season!

ADMISSION AND THE PRICE OF FUN:

Director's tribute to the late, great STAN WINSTON

What would it cost to go into a place like JURASSIC WORLD? The park looks to be extremely well equipped with exhibits, rides, attractions and a City Walk filled with shops and a food court (note: a steakhouse appears in the film aptly named WINSTON’S in tribute to the departed Special Effects Make- Up artist Stan Winston (TERMINATOR, PREDATOR) who created the dinosaur effects in the original JURASSIC PARK). The day- to-day operation would have to be compared to running a larger- sized Disney Resort. JURASSIC WORLD’s annual operational cost would have to be in the billions! One must consider the construction and containments needing to meet very specific requirements and safety regulations. You also need to keep account of pay rolling security, workers, scientists, lab operators, researchers, trainers… $ $ $ is all I can see before my eyes! So, the bottom line… what would it cost? Hammond’s vision was that he wanted to keep it affordable so that everyone can come and enjoy the PARK for what it had to offer. Would park’s current owner, Simon Masrani respect the wishes passed on to him? I believe the answer is yes. Masrani, throughout the film, clearly states that he is not worried about numbers but rather asking if the guests are having a good time.

JURASSIC WORLD’s admission price would definitely not be the now- standardized $95 for an adult to enter a theme park… no, no, no. I think we are probably looking at about a $1,000 ticket… wouldn’t you think? This is a very unique opportunity and the price needs to fit the product offered! But that figure can also be argued… families were going to WORLD and affordability has to be considered for a typical traveling family. So then, could it possibly be a lower more affordable amount then? $750, $500… even $250 a person? I think this will be a clouded subject and cannot be nailed to a specific number. All speculation and for fun. We are now in… “Welcome to JURASSIC WORLD!” (The musical theme swells at this point)

WHAT ‘WORLD’ HAS TO OFFER:

Believe it or not, you can actually log onto their web-site: www.jurassicworld.com for a variety of different items to look for. There is an actual list of exhibits and attractions to ‘see’ at JURASSIC WORLD… where do you wanna go first? The various options are as follows: T. REX KINGDOM, TRICERATOPS TERRITORY, MOSASAURUS FEEDING SHOW, GALLIMIMUS VALLEY, CRETACEOUS CRUISE, PACHY ARENA, AVIARY, EGG SPINNER, BAMBOO FOREST, GYROSPHERE and GENTLE GIANTS PETTING ZOO. The park also offers the Innovation Center, the Hammond Creation Lab, an Aquatic Park, a Botanical Gardens reserve, an Underwater Observatory and a Golf Course! From what we, the viewer, saw in JURASSIC WORLD, there is plenty to see and do and there are long lines for everything! What, no FastPass?

For my money, I would want to do as much as I can in a day! I am sure there are two and three- day passes available as well. The excitement of finally being there would generate the energy and enthusiasm to do as much as possible!

Seriously, if you knew you were in the safest of environments, with a history of protection and guest satisfaction spanning a decade… I would most definitely want to be around as many species as I could. Put your imagination to work… have you ever stood close to an elephant or a giraffe? Maybe just seeing one up-close at a zoo or animal reserve? Now, imagine having to multiply that by the actual size of a full size dinosaur! Look at the size of a tree… how tall is it? Look at a building… look at the dimensions and imagine teeth and it breathing down on you! Just imagine the awe that is watching an orca like Shamu, if you have ever gone to a Sea World park… that still wouldn’t equal a T- Rex or the shark- eating Mosasaurus!

The Gyrosphere is a must! Judging by the long lines, you know it has to be a park favorite. You are amongst the dinosaurs in the natural habitat… so close, that you could almost reach out and touch them if it isn’t for the glass ball you sit in and maneuver about in. I’ll stop at the Gentle Giants Petting Zoo to actually reach out (safely) and touch a dino in person!

The distant surrounding roar of dinosaurs makes one feel very small, as if we don’t belong here. It is overwhelming to think that only a few feet of metal, or the thickness of glass are the parameters set forth between what could be absolute safety or periless danger! What am I thinking? We are safe as kittens, right? They wouldn’t actually build something and invite the general public knowing the potential harm that could ensue. No, many man hours, research and development goes into the planning of such a colossal taking.

I mean… the park has been safe for over a decade; no fatalities or casualties made public or reported… what am I worrying about?

FINAL THOUGHT:

After having had a wonderful, adventurous and educational visit to this incredible place called JURASSIC WORLD, it is incredibly desponding and very unnerving to discover that a newly- created, forty- foot beast known as the Indominus Rex escaped from captivity and wreaked havoc amongst the park and its visitors! Amongst a number of casualties and even larger of injuries that occurred, included was the assault made by a pack of pterodactyls that attacked and attempted to carry a number of guests off the resort. The escaped pterodactyls’ release was traced back to both the Indominus Rex crashing through the aviary and a plummeted helicopter that crashed in from the top. It was later discovered that the T- Rex was also released from its habitat later that evening as well as four raptors. Fatalities are also being reported, but an actual number has not been determined nor confirmed!

Until further notice… the park is indefinitely closed. One can only assume that it may never see the likes of another tourist walking through its concreted sidewalks again, what with legalities erupting like a Fourth of July evening! To account for all of the major property damages that occurred within the interior and exterior of the park, the pain and suffering of the unfortunate visitors who elected the wrong day to partake in the day’s offerings. But what a visit it was for us, before it all went to hell, wasn’t it? An experience unlike anything that this planet had ever imagined! We went back in time, 65 million years to be precise, to walk amongst giants!

Yet, I cannot help but have one last aching thought… just one last observation that sticks out like a sore thumb… I can’t help but feel deeply sorry for those poor unfortunate souls who had planned their trip to JURASSIC WORLD the day after it all went to hell!!! (I would feel like the Griswolds arriving to WALLY WORLD only to find that the park is closed from NATIONAL LAMPOON’S VACATION!)

What are your thoughts of the JURASSIC franchise? Has it worn- out its stay or are you hungry for more dino- action? Moreover, would you plan a vacation to the magical place called JURASSIC WORLD?

I openly welcome your thoughts and comments, so please share them right here!

THANK YOU for stopping by and reading up on my posting... please browse my page for other interesting film-related topics to enjoy!

MORE TO COME SOON....

EXODUS: GODS AND KINGS and THE HOLLYWOOD EMBELLISHMENT OF BIBLICAL STORIES

2015-01-11T21:49:00.000-08:00

As an avid and devout fan of the cinema, there are many films I look forward to seeing throughout a new year. As we kiss- off the cinematically- mediocre year of 2014, cinephiles are already being treated and tempted to an array of celluloid treats for 2015 including JURRASIC WORLD, TERMINATOR: GENESYS and STAR WARS: THE FORCE AWAKENS. Last year, however, there was one film that I kept a pulse on, waiting to hear more from and finally seeing it reach its theatrical release date on December 12^th, 2014. That film was Ridley Scott’s EXODUS: GODS AND KINGS. Although much anticipated, my concerns fell upon just exactly how much of the centralized story would be kept intact and what kind of embellishments would I and audiences have to endure? Well, I saw the film on opening day, which inspired my new topic. This month’s article deals with the contrast between idealist and controversial viewpoints and the cinematic interpretations of religious/ biblical subjects in film for the purpose of storytelling… for better or for the worst.

The Bible: the oldest living collection of documented Judaism and Christian sacred texts and scriptures ever assembled. The human race has viewed this book with many interesting and widely diverse interpretations of its contents. To the believers, it is a book of proverbs, a gathering of true-life events, examples and lessons to which to live by and guide the faithful through a redeemed preparation into the afterlife. To others, it is merely a collection of mythical fables with interesting characters; all occurring in an era long since forgotten.

From a cinematic standpoint, Hollywood has oftentimes “borrowed” from the good book as a source of material. In some cases, the source pays off and other times it is considered a misfire in the box office. Studios have been taking, re-writing and interpreting their own versions of these biblical stories since film was invented. One such example was Cecil B. DeMille’s black and white silent classic THE TEN COMMANDMENTS. Released in 1923, the film was considered not only a work of cinematic achievement but an awe- inspiring testament to its biblical presentation and interpretation. Mind you, the general audience of 1923 did not have any other films to compare THE TEN COMMANDMENTS with during its time, since it was a unique and a one- of- a- kind release. The ticket buyer went by their own generalized perception of the story by a number of different ways: from what they had heard, having read about directly from the Bible itself or by what they had heard while attending Sunday school.

Even DeMille would try to top DeMille, as he would remake his own film and present 1956’s lavish THE TEN COMMANDMENTS starring Charlton Heston as Moses. Storytelling within film making in the earlier decades was considered an art form and embellishing on historical text was considered a natural occurrence… all in the name of Hollywood presentations and for the sake of good film-making. Meaning, it was okay to doctor- up a “as- written” story, if it would help create more dramatic, action, suspense or even romantic outcomes to draw the audience into the film. Hey, it helps fill the seats in the theaters so producers didn’t have a problem finagling the stories.

Charlton Heston as Moses

Alright, you get the picture now, I hope. Many controversial takes have been met in the cinematic crossroads, when it boils down to religious truth or elaborated fiction to help create a biblical motion picture. THE TEN COMMANDMENTS is a perfect example of a religious film becoming a victim of its own Hollywood creators within the marked time to which it was made in. DeMille, himself, went on record stating that his project’s researches took from the best and most detailed resources to help re-create the most accurate account of Moses and Ramses’ story. For that matter, all the talks with theologians, religious leaders and historians may be true; however, it is plainly evident that THE TEN COMMANDMENTS also presents itself, for the good or bad of it, as an exercise in good ol’ Hollywood cinematic work of interpreted art: blending melodramatic performances, a grandiose musical score and spectacular visual effects for its time. As a magician alters the real world to help create and demand its audience’s attention by creating a ‘mirrored’ reality, the cinematic showmen does the same by conjuring- up an embellished realism to the world of the biblical truth… to add flare and expand on the imagination of the audience.

Max Von Sydow as Christ in GREASTEST STORY...

The “Hollywood embellishment”, as I will call it, has been a part of many films over the years. It is evident, respectfully in both 1961’s KING OF KINGS and 1965’s THE GREATEST STORY EVER TOLD. Both films take on the subject of Jesus Christ’s life, death and resurrection. Both films fall into the comparative similarities of having been made in the early 1960s and also suffering from some of that “Hollywood embellishment” pixie dust as well. To help recognize the embellishment, one has to bring it forth by calling it out directly… here it is. Both films, respectfully, alters the common reality of the common by producing and presenting Christ with a number of now considered “cliché” points. Those points range from the Holy adolescent choir of angelic voices singing melodic scales every time Christ speaks or walks into a room to that overly- lit halo of light that hovers behind Christ like a new sunrise and the well- pressed linen of garments that remains perfectly clean despite Christ’s life in a desert are all part of the dramatic effect in presentation. This IS the Son of God and He will forever have a halo of light above Him, dressed to impress with the angelic chorus singing endlessly, as if set to ‘repeat’ on that Heavenly iPod.

Robert Powell is JESUS OF NAZARETH

Moving into the grittier years of the 1970s, director Franco Zeffirelli submitted the 1977 mini- series JESUS OF NAZARETH for approval. Although still suffering from a number of “embellishments”, it still didn’t seem to present itself with the kind of reflection or approach as the cinematic predecessors dealt with. The possible fact that the production consisted of Italian- British collaboration, may have fended some of that Hollywood overdo away from total ruin. NAZARETH would still present itself to be a little more accurate in a realistic viewpoint than its predecessors. Still, the definitive telling of Christ’s story was yet to come…

Compare any of these three entries with director Mel Gibson’s most accurate and realistic look at Christ’s last days in 2004’s THE PASSION OF THE CHRIST. Gibson, though a controversial individual and director, must be credited for his detailed presentation and for unveiling and focusing a large portion of the film on the truth behind the torturous scourging and abuse suffered by a man before being nailed to the Roman- created torture device known as the crucifix. In the spirit of keeping the realism intact, Gibson had all the actors learn their lines in the original combination of Aramaic, Latin and Hebrew dialects… not a single word is spoken in English. Much detailed was placed upon the authenticity of wardrobe, weapons and set design as well. Even at its best, even PASSION suffers from the slightest bit of embellishing, just for flavor. PASSION still forgives some minor detours from its original biblical telling to help ‘add- on’ some intense and emotion- provoking sequences to make its poignant message pierce through. Even at its best, Gibson was still blasted with controversy and even accused of being anti-Semitic.

Controversy of the highest degree can also plague a biblical film for not being biblical at all! Two fine examples include 1985’s HAIL MARY and director Martin Scorsese’s THE LAST TEMPTATION OF CHRIST.

Directed by Jean- Luc Goddard, HAIL MARY tells an updated tale of the Immaculate Conception, or the Virgin birth. In this contemporary telling, Mary is a typical student who plays on a girls’ basketball team and works for her father while Joseph, her boyfriend, is a dropout and drives a cab for a living. Mary, being a virgin, discovers that she is pregnant without having had intercourse and must come to terms and acceptance that she has been chosen as part of God’s plan. Believing that she had an affair, Joseph becomes furious with Mary, but comes in contact with a stranger named Gabriel who assists him in accepting Mary’s pregnancy. As one can only guess, HAIL MARY was riddled with much controversy for its modern take on the sacred telling of the Virgin Mary and the Immaculate Conception thesis believed by millions of faith- followers in the Christianity and other relatable communities. Being a foreign film opening in the States, the theatrical run was not big by any measure. Only playing in a minimal of houses, the film catered to the lover of foreign cinema, art-house followers and the curious. The film stirred a small amount of negativity and HAIL MARY quickly disappeared from its theatrical run before protesters could create any controversial strife. On the other hand, those naysayers would have their moment of picketing glory three years later with the highly- controversial THE LAST TEMPTATION OF CHRIST.

Picketers in New York for LAST TEMPTATION OF CHRIST

Released in 1988, THE LAST TEMPTATION OF CHRIST makes no secret that it was adapted off of the fictitious written works of author Nikos Kazantzakis. The novel was first published in 1953 and immediately caused a large stir of negativity towards its interpretation of showing very humanistic, oftentimes a ‘weaker’ version of Christ, complete with his internal struggles of hate, fear, confusion, doubt and depression towards the various temptations brought forth in his life. Director Martin Scorsese, being a huge fan of the novel, decided to take on the subject early on in his directorial career with no previous success. Although released some 16 years before THE PASSION OF THE CHRIST, it might serve as a pre-requisite to what Gibson was looking for in authenticity within the story. Let it be said that Scorsese was determined to tell his tale. Back in the 1970’s, before the studios closed production down due to its controversial depiction, the project once had actor Robert DeNiro attached as Christ. In 1988, Willem Dafoe was cast as the Judean carpenter. The story’s most talked about points reflect not only on Christ’s struggles to accept God’s calling but more importantly the direction the story takes shortly after the crucifixion. Still struggling to accept his fate, Christ is nailed to the cross.

He gazed upon the onlookers who are present for the event when he suddenly sees a young girl, angelic- looking, sitting at the foot of the cross. She informs Christ that his Father is pleased with him and that he does not need to die on the cross after all. Christ is told that he has passed his ‘test of faith’ and comes off the cross. Because of the non- sacrificial turn, Christ expresses his true feelings to Mary Madeline, a former prostitute and now follower of Christ’s teachings, to which they marry and have children.

We now see Christ maturing into an older man and finally laying on his death bed as an elder. Judas, a former Apostle (follower) of Christ, is much alive since the turn of events wipes the feeling of guilt from betrayal away, informs Christ that the world around him is burning. God is most definitely displeased with Christ choosing to take his personal actions into place and not follow his Father’s bidding. Christ then realizes that the ‘angel’ was actually the Devil, offering and succeeding in that final “temptation”. As if dreaming, Christ is startled back into reality and discovers that he is still on the cross after all. It is within that moment that Christ accepts his fate and informs his Father that “it is done” and dies for all man’s sins.

Author Nikos Kazantzakis

What Kazantzakis and Scorsese wanted to imply, whether by novel or film, is the complex struggle of man- that even the Son of God, although divine, was still a man of flesh and blood. He too, like the human race, would struggle with the acceptance of his Father and go through the everyday offerings of temptations and the choice to decide which path to follow. It should also be noted that director Scorsese and author Kazantzakis both grew- up in very strict religious upbringings, respectfully. At one time, Scorsese was ready to follow the priesthood. This then turns the topic onto an interesting ‘fork in the road’.

As humans, we are given a daily offering of which path to follow- good or bad, right or wrong. The Bible is, essentially, a collection of stories depicting a huge offering of human conflicts, paths chosen and, ultimately, the results from which the path was taken. When we take a closer look at the biblical telling’s, be it from the Good Book or from film, we can see where Hollywood’s interests are derived from. Film has merely become another chosen new format option to tell these stories as much as it would be man’s choice to pick up the Bible and read from it directly.

For example, the stories of Noah and Mary are not embellished in the fact that these two people were not born into or under the banner of supreme beings. They begin their lives as average human beings before God requires His will be done through them. Noah becomes a savior of God’s creations before drowning the world of sin and Mary is chosen to carry His only Son, Jesus Christ.

As previously mentioned, let’s talk about Noah. The story of Noah becomes one of the chapters told in director John Huston’s 1966 film THE BIBLE… IN THE BEGINNING. The film focuses on the first 22 chapters of the Bible’s Old Testament with John Huston, himself, portraying Noah. As 1966 goes, the film brims over with much embellishment… again, for the sake of grandiose storytelling. Biblical films had much to live up to, after director Cecil B. DeMille raised the bar fairly high with his entries of THE TEN COMMANDMENTS, 1932’s THE SIGN OF THE CROSS and1949’s SAMSON AND DELILIAH. Huston was not an excellent director, but directed a well- respected submission with this film.

Fast- forward to 2014 with director Darren Aronofsky’s NOAH with Russell Crowe in the title role. The film suffered much controversy for his personal take on the biblical story by fabricating a fictitious backdrop into Noah’s life including Aronofsky’s creation of names for Noah’s wife and three sons. An antagonist was also created to give Noah a more humane struggle… this is a major contrast to anything mentioned in any previous scripture writings as neither family names or confronting characters were ever mentioned. It should be said that the only struggle Noah faced, biblically speaking, was the inner- struggle of faith towards a faceless entity (God). NOAH was released with a mixed- bagged of critical outpours. On one hand, it was recognized for its visual and dramatic approaches taken to an ancient tale and bringing it to a 21st century audience. The other hand presented a more conservative preview of bloated storytelling and unnecessary additionals to a sacred story. At the end of it all, Aronofsky stated that the film shouldn’t be viewed as a biblical film (filled with obvious embellishments) but rather as an epic tale. The largest embellishment to be held liable for is taking a well-recognized story and writing a new “spin” to it altogether.

Now, with all that said, let’s go back to where we started… bringing us back to EXODUS: GODS AND KINGS. How does it live up to its predecessors on two different avenues: 1) Is it far to compare it to DeMille’s THE TENCOMMANDMENTS because of the obvious plot? 2) How does it stack- up to previous biblical films… embellishments and all? Let’s begin.

To start, let us question what we might already know from either the written word (the Bible) and/ or what we have seen on film: Could Moses turn the Nile red with blood by simply dipping his walking staff into it? Did the Red Sea part into a near- perfect division because God willed it? For that matter, did the fiery finger of God blast the words upon rock to write the sacred Ten Commandments? If you are a believer of faith, then you undoubtedly believe that the answer is “yes”. So, returning back to my earlier statement, as humans, are we not allowed to question and ponder so that we can better understand what we question or doubt? An interesting viewpoint for any individual to discover personally.

Director Scott (l) with Christian Bale in EXODUS

EXODUS: GODS AND KINGS is directed by Ridley Scott. Over the years, I have had my own personal dilemmas with the man and his choice of subjects and approach in his unique storytelling. Side one, a well-respected director with an overly impressive resume of titles: ALIEN, BLADE RUNNER and GLADIATOR… to name a few. Side two: a sometimes over- careless director who under- performs the obvious creative side we come to love about his works: MATCHSTICK MEN, KINGDOM OF HEAVEN, A GOOD YEAR, AMERICAN GANGSTER and ROBIN HOOD. Admittedly, I was slightly concerned as to the direction Sir Scott would take. As previously mentioned on this blog site, I rank DeMille’s THE TEN COMMANDMENTS as my all- time favorite film ever. I also grew up in a strong religious home and even danced around the idea of becoming a priest in my latter teenage years.

Much like devout novelists are passionate about how their precious written words are going to be translated and imprinted onto film, I request conscientiousness when interpreting valued material… the Bible and its contents being strong contenders to that treatment.

If you are not entirely aware of the storyline involved, the basic structure is as follows: Moses (Christian Bale- THE DARK KNIGHT) and Ramses II (Joel Edgerton- ZERO DARK THIRTY) are men who were raised together as brothers by Ramses’ father Seti (John Turturro- TRANSFORMERS). Believed to be born Egyptian, Moses lived his life in the shadows of Ramses, said to be the next king upon Seti’s passing through the bloodline. When it is discovered that Moses is actually son to be Hebrew slaves, he is immediately cast out of Egypt and left to die in the deserts outside the illustrious city. By God’s will, Moses is the said “chosen one” the slaves have waited years for to free them from Egyptian bondage and return to face Ramses, the newly appointed king after years have passed since Moses’ abolishment. Armed with a renewed faith, Moses demands that Ramses releases the Hebrews… the words come to no avail. A series of plaques befall the entire city of Egypt due to the ignoring actions of the slaves’ release. Unable to withstand anymore, Ramses reluctantly agrees to Moses’ terms and the Hebrews are let free. Although a treacherous journey to the “promised land”, it is along the way that Moses is given the Ten Commandments, ten moral rules to abide and live by, as by the words of God.

This now brings me to the overall take- EXODUS: GOD AND KINGS is a very strong film. The strength is pulled from various points: direction, storyline and photography are the high points that deserve recognition. The film takes several dramatic pauses in between some great battle sequences… as if to give the audience a chance to catch their breath. Those points, however, can take a little too much time to recover and continue with the storyline that should capture and draw the viewer in. It is gorgeous to sit and admire on the big screen. As is the case with the modern film, EXODUS suffers from a wee bit too much CGI (computer generated images) to help create the glorious Egypt and other exotic locales. The CGI is used very well between the second and third act of the film when the plaques befall Egypt. The use of trick photography, CGI and clever editing also help construct a breath- taking ‘parting of the Red Sea’ sequence that must be seen.

The obvious is that there is no real comparison between DeMille’s and Scott’s films, respectfully. They may be based on the same topic, but offer two very distinctive takes on the subject. THE TEN COMMANDMENTS is an epic film of the highest magnitude. It is a product of the days of Hollywood at its finest with top- tier actors, costume designers, photographers and production crew. DeMille was the captain of a well- manned vessel and knew that second best would not be accepted. It is this kind of direction that made studio heads happy, the birth of the classic films were coming forth: GONE WITH THE WIND, THE WIZARD OF OZ, CITIZEN KANE and DOCTOR ZHIVAGO were only a small group of titles that bore the right to be called a true Hollywood creation. THE TEN COMMANDMENTS took pride in its rich cinematic Technicolor appearance, the detailed costuming and the jaw- dropping set designs back dropped by exotic location shots.

EXODUS: GODS AND KINGS tries for the same, but takes on a milder, yet direct, approach to its storytelling. Conversations between characters are real, withdrawing from the biblical language such as ‘thou’ and ‘thy’, as they generously appear in DeMille’s version. It is because of the use of language that the film takes on a different, not better, path in the telling of Moses’ plight. The events are not punctuated as in THE TEN COMMANDMENTS. The comparisons would almost be like the difference to seeing a play performed live in a theatre as opposed to seeing it on your television. COMMANDMENTS is very theatrical, which I wouldn’t except any other way, however, EXODUS takes a strong course to allowing you to see the realist effects of actions, emotions and plaques that befall the characters in Scott’s film. The musical score doesn’t ring in your ears with heavy brass but accompanies the film with a more Egyptian- like score to add to the ambiance. Costumes and sets are lavish and Scott has always known how to photograph a scene properly.

Let’s just say that it should be accepted (and possibly welcomed, to an extent) that the “Hollywood embellishment” is here to stay, for better or for worst, and will be a part of the biblical storytelling. But, in all fairness, the ‘embellishment’ IS Hollywood, isn’t it? The classic story of “the one that got away” must have begun by the telling of how a trout slipped out of the hands of a fisherman. Every time the story was told, especially to others of his fellow seamen, the fish ‘grew’ in size until it became virtually impossible for one man to handle one gigantic whaler that obviously got away! Hollywood loves telling its own ‘whoppers’ as well, but it is in the business to do so. To imagine what we cannot think about, to show us what we might only dream about and to believe in the unbelievable. That is the power of the embellishment and the main ingredient in the Hollywood recipe.

Thank you once again for stopping by and a very HAPPY AND PROSPEROUS NEW YEAR TO ALL! I will try to stay active and continue submitting regular topics open for discussion! As always, please share your thoughts and feelings on the various subjects discussed! I look forward to your replies and comments. Keep it right here and check often for new submissions

JER'S POINT: THE ORIGINS OF ZOMBIES INCLUDING GEORGE A. ROMERO, TOM SAVINI & GREG NICOTERO

2014-10-01T00:29:00.001-07:00

Although this publication is technically a September entry, it is definitely meant and delivered with the intention of an October reading. Aside for the love of the macabre and things that go bump in the night, my Godchild “Jax” and I also share a common interest for the month of October and the celebration of All Hallows’ Eve. Beginning on that note, I began to construct the possible option of topics for our favorite month. In previous years, I had shared recommendations on a collection of creepy treats that may not be as popular as others. My thoughts this month were a mixed bag of incomplete notes and scribbles… what to write about to help ring in Halloween properly with some originality? My mind detoured into the off- ramp of that illuminating light bulb of an idea! Why not write about the origins of the most popular and continued frenzied fascination the world has repeatedly shown towards the undead and introduce an arsenal of those responsible including the Godfather of Zombies himself, Mr George A Romero, and how he redefined both the definition and rules of the walking dead universe and the artists that have worked with him and their contributions to the lore. Let’s begin from where it all started from…

ORIGINS

Actual Haitian voodou followers

zom· bie {noun} a corpse said to be revived by witchcraft, especially in certain African and Caribbean religions. synonyms: living dead, undead, walking dead, soulless corpse. The definition can still be looked upon with a certain kind of vagueness, although, pop culture and entertainment exposure has clearly taken away any doubt as to what becomes relatable to the understanding of the word: zombie. This century’s re-defined version is completely different from its original.

The original folklore of ‘zombie’ dates back to its first representation in 1819 in the writings of the history of Brazil appearing as “zombi.” As mentioned within the definition, the acts of “zombie-like” trances are infamous within the Haitian community and are referred to as spells performed by voodou sorcerers called a bokor. The word and folklore was said to have been brought to Haiti from slaves that were traded within that region. Later, the New World slavery market brought Haitian slaves to America, where the word and its religious beliefs found home in the Western culture.

Self Portrait of Bartolome Murillo

In time, the earliest reference to the word ‘zombi” – which was originally spelled without the ‘e’ for many years- first appeared in an American newspaper within a reprinted short story entitled “The Unknown Painter” in 1838. The story was about a young slave owned by a Spanish painter named Bartolome Esteban Murillo, who claimed the artist had a ‘zombi’ appear in the art studio at night to continue the works of Murillo’s apprentices. The American audiences must have enjoyed the fictional story of Murillo and the slave’s account, as various interpreted versions were published many times throughout the 1800s. By the mid-century, it had come to be known that ‘zombi’, for many, “came to be associated with a creature of African ‘origin’ that willingly performed services for whites.”

William Seabrook

The Murillo story would serve as a basis of inspiration to authors, in particular to travel writer William Seabrook, who published a book on Haiti and voodoo entitled “The Magic Island.” Seabrook wrote about his personal accounts of the voodoo cults in Haiti and introduced the word ‘zombi’ to its readers. Film experts claim that the book served as the basis for the 1932 horror film WHITE ZOMBIE.

ZOMBIES’ ORIGINS IN FILM

WHITE ZOMBIE, starring Bela Lugosi (DRACULA), referred to white, as opposed to African zombies, that inhabited a Haitian plantation. The film focused on a zombie potion rather than enlist a voodoo priest or other similar incantations. The embodiment of the victimized individual showed a zombie- like trance that included a slow- moving and uncoordinated pace and the wiliness to do its master’s biddings. The film was not very well received in its time but has now definitely taken on a huge cult following today that include fans like musician/ director Rob Zombie (HOUSE OF A THOUSAND CORPSES) and musician Kirk Hammett from Metallica.

Soon after, other ‘zombie- themed’ films were made that didn’t deal or take place in Haiti or the Haitian voodoo belief either. Fast- forwarding to the late 1960s, an independent film maker from Pittsburg, Pennsylvania would come out of obscurity and define the characteristics, operations and structure of the modern- day zombie and set the bar for all interpretations to follow. The film maker was George A. Romero.

THE GODFATHER OF ZOMBIES: GEORGE A. ROMERO

George A. Romero circa 1982

George Andrew Romero was born on February 4, 1940 in New York City. At a young age, as was the case with many who became film directors, Romero was introduced to film when given an 8 mm camera by his parents on one of his birthdays. The gift served as a basis to understand the mechanics of film making which led him to direct homemade movies exhibited for friends and family. After graduating Carnegie- Mellon University in Pittsburg, Romero found steady work shooting local commercials, industrial segments and sequences for the Mr. Rogers Neighborhood television series. He quickly was introduced to a small independent film company that would finally allow Romero the independent flexibility he needed to work on his first major full- length venture.

NIGHT OF THE LIVING DEAD (1968) would be a film project riddled with difficult circumstances and a very limited budget and resources. Determined, Romero chose to shoot the film in and around Pittsburg and involve a cast and crew of inexperienced individuals who performed multiple tasks both in front of and behind the camera.

THE CREATION OF “NIGHT OF THE LIVING DEAD”

Romero with camera filming NIGHT

Romero would step out of the box completely by basing his film away from Haitian trances or voodoo and place the unfortunate zombie ‘rise’ on unknown sources. According to later conversations with the filmmakers, it was theorized that radiation from a detonated satellite returning back from Venus was the cause for the zombies’ reanimation. That storyline, however, never is mentioned at any point in the final version of the film.

William Hinzman: the Cemetery Zombie

Actor Samuel William Hinzman appears as the first ‘zombie’ seen in the opening of the film. The scene involves his character chasing brother and sister duo Johnny (Russell Streiner) and Barbra (Judith O’Dea) within the cemetery and introduces us to the first ‘undead’ characterization presented by Romero. Hinzman created the zombie- like saunter that would become the trademark movements for zombies thereafter. Although he admitted he based the uncoordinated approach from a film with Boris Karloff, he couldn’t remember the film’s title. Research will likely point out the 1936 film, THE WALKING DEAD, in which Karloff is raised from the dead and walks with an ungainly saunter.

After all was said and done, NIGHT OF THE LIVING DEAD was shot in black and white with a budgeted $114,000. The storyline, consisting of a troubled and confused plaque of reanimated corpses attacking and eating its living victims, also found its place in delivering a very social and political view of Middle America sandwiching ideals of pre- Vietnam and racism. Ironically, the word “zombie” is never used at any point throughout the film. One of the original working titles was NIGHT OF THE ANUBIS. Anubis is the ancient Egyptian god of embalming and mummifying. Romero ultimately changed the titles when he discovered how little anyone understood the reference.

THE LIVING DEAD AFTERMATH

Ben (Duane Jones) decks Harry (Karl Hardman)

Upon its initial release, it was very hard to define how audiences would receive a film of this kind of magnitude. On one hand, many were appalled by the violence and visible scenes of cannibalism and peril. Often times, it was reported that many audience members would literally stand up from their theater seats and exit with discuss, while others were nauseated and vomiting at some point throughout the film. On the other hand, were zombies just merely a metaphor to help visualize the troubled state our country was facing? Could the representation of the character of Ben (Duane Jones), a black man, pitted against not only the dealings of the undead but also having to face- off with a middle- class bigoted family man named Harry (Karl Hardman) be a very prominent view of the tensions amounting in the late 60s? The ‘invasion’ or apposing threat of something we couldn’t control or contain was reflected on the mindless zombies destined with one main intended goal: destroy the living. The same could be said of what Americans thought about the enemy’s intent prior to the war. Many film historians, as well as fans of the film, have expressed both sides of this speculation whereas Romero will tell you that it is mere coincidence but may contain a bit of subconscious undertones.

Co-Producer and "Johnny": Russell Streiner

Russell Streiner, co- producer of the film, stated in an interview: "I think that, in setting out to make a general entertainment film, if some critics were entertained to the point that they began reading all these fantastic social implications into it, fine, if that's how they're entertained. But I can't say that there were any overriding social ramifications in the original design of the film. I mean, that is just not true." Fans of the film will also recognize Streiner for his brief role as Johnny, Barbara’s brother during the cemetery sequence in the beginning.

Aside from critiques being split down the middle, other groups were all too quick to jump on the morale train. Readers Digest stated a warning against their subscribers watching the film because it would inspire cannibalism. An amusing publicity stunt came from the film’s distribution company, the Walter Reade Organization, which placed a $50,000 insurance policy against anyone dying from a heart attack during the watching of the film.

NIGHT OF THE LIVING DEAD opened in theaters on October 1, 1968 at the Fulton Theatre in Pittsburgh. The film ended with a standing ovation. It is one of the first films to be added to the National Film Registry of the Library of Congress. It is considered one of the most successful independent films of its time.

SPECIAL EFFECTS MAKE-UP MAESTRO: TOM SAVINI

Romero (l) & Savini (r)

A key relationship between director and make- up artist was about to be forged right from the very beginning. A struggling actor/ stunt man/ make- up artist by the name of Tom Savini was originally hired by Romero to do the make- up effects for NIGHT. The two just happen to meet when Savini had auditioned for an acting role in an earlier Romero film that never got made. The director had remembered Savini was also a make- up artist and had brought his effects portfolio to show to Romero at the time of the audition. He thought about how impressed he was with his work and reached out to him. Savini, however, was unable to do the effects because he was called to duty to serve as a combat photographer in Vietnam by the U.S. Army. Romero would not soon forget Tom Savini…

The Master of Splatter: Tom Savini

Savini's Vietnam photo

Thomas “Tom” Vincent Savini is a pioneer of the special effects make- up, dating back to his early days within the 1970s and rising to recognition within the 80s. A native Pittsburg, like director George Romero, Savini became fascinated with make- up and the illusion of film when he saw the 1957 film THE MAN OF A THOUSAND FACES, a film based on the life of actor and make- up artist Lon Chaney. Like Chaney’s origins, he too took it upon himself to create his own effects using practical household products and his mother’s make- up. After arriving to Vietnam as a combat photographer, Savini was able to witness firsthand what actual corpses and severed limbs looked like… it was from reality that art would be created from. After returning back from his tour of duty, he began creating and applying his works on film.

Savini working on CREEPSHOW

His reputation was steadily climbing as he would work on such classic horror films like the vampire thriller, MARTIN (directed by George Romero in 1976), the original FRIDAY THE 13^th (1980), CREEPSHOW (also directed by Romero in 1982), THE TEXAS CHAINSAW MASSACRE 2 (1986) and the midnight cult classic original MANIAC (1980). To the fans of both zombies and the origins of the DEAD series created by George Romero, Savini has gone into the annals of horror history as the creator of the classic look of the flesh- eating living dead in both DAWN OF THE DEAD and DAY OF THE DEAD.

A SEQUAL RISES: DAWN OF THE DEAD

Released in 1979, almost 10 years after its originator, DAWN OF THE DEAD is the second chapter to Romero’s horror saga that continued the tale of the ever- growing, ever- spreading invasion of the living dead. Considered by some critics to be a “satirical film about consumerism”, Romero had a new band of survivors finding refuge in an abandoned American shopping mall, now that zombies had begun to overrun the country. Let us remember and highlight the time that this film was made and the date it takes place in. The frame is the late 70s and consumerism, within the American audience, is at an all- time high. Commercials and advertising have rotted the publics’ mind and inadvertently assisted in the selection and choice of which products were right for all to buy and use. Based on the times and the birth of the shopping mall, it would only be natural for Romero to elect this site in which every type of commercialism and consumerism could be housed under one roof as his general setting: the choice to film within a shopping center as the location in which 2/3 of the storyline would take place within helped expose the mall as the modern day ‘hangout’ for the basic family unit to spend its time in.

Moving out of the 60s and into the 1970s in a post- Vietnam era, the next wave of threats was also manmade and came in a canister, mouthwash or drive- thru meal: commercialism. Romero seems to have a knack of spotting and recognizing the plaques of modern society and disguising them in a thin veil behind the threating zombies in his horror films. Maybe that is why it took nine years to follow up NIGHT with. A decade would nearly have to come into full circle before a newly created setting could be the cause to serve as the backdrop for the perilous dangers surrounding our band of survivors to face.

Savini's cameo in DAWN OF THE DEAD

As pre- production was coming together for the highly- anticipated DAWN OF THE DEAD, Romero was finally able to bring Tom Savini into the fold with his special effects make- up. It would now befall upon the artist to create a more refined version of the zombie (or living dead) and not just merely re-create the effects used in NIGHT. Several challenges were faced by Savini: DAWN was to be shot in color, so details would be required and there would be a larger budget to help create numerous zombies, severed body parts and imagined zombie kills never before seen, which also meant that serious man- hours would need to be put in for the best results. A rag- tag team of teens and interns helped Savini create some very powerful and foreboding sequences that would remained burned in the heads of fans for generations to come.

Budgeted at a strong $650,000, the film opened on April 20, 1979 (though its original release date is slated as a 1978 film since it premiered in Italy that year) with a box office take of a whopping $900,000. The film would go on to gross over $55 million worldwide. Yes, zombies were literally taking over the globe thanks to the visionary eye and guiding hand of George A Romero.

ANOTHER CHAPTER RISES: DAY OF THE DEAD

With the ever- increasing awareness of zombies and the love for horror and splatter films, the genre could not have been embraced at a better time than in the 1980s! This was the decade of Freddy Kruger, Jason Voorhees, Pinhead, Leatherface and Michael Myers’ sequels…and it also served as the birthdate of the third chapter in Romero’s series: 1985’s DAY OF THE DEAD.

Now budged at an astounding $3.5 million, Romero would call upon Savini to yet again dive deeper into the realms of creativity and construct a new series of more realistic and better detailed array of walking dead corpses and elaborate demises for the unfortunate humans facing their untimely fates. Bringing in his team of talented, upcoming and young artists, one in particular would find himself receiving the brake he would need to not only become one of the industry’s great artists within his own right, but also have a creative hand in the growth of the continuing evolution of the zombie folklore. His name is Greg Nicotero.

Greg Nicotero's cameo in DAY OF THE DEAD

Yet another fellow native Pittsberg-ian, Gregory Nicotero grew up watching and admiring his all- time favorite film, Steven Spielberg’s JAWS. He would spend his curious days wondering how those effects were created. As he grew older, the realization of make- up and special effects as a career would definitely serve as his destiny. As a youngster, Nicotero created home movies involving his brother and friends in an assortment of stories that included practical stunts, fireworks for explosions and creating homemade special effects. Moving onto young adulthood, he chanced an opportunity to work with Savini on DAY and learned first- hand the quick and steady pace of the industry.

Kurtzman, Nicotero, Romero, Savini & Berger

It was while working on the film that he would meet fellow artists Howard Berger and Bob Kurtzman and collectively create a business relationship that would take the trio of young effects men to begin their make- up effects company: KNB- EFX Group. The team would work on numerous films from EVIL DEAD II, ARMY OF DARKNESS, DANCES WITH WOLVES, SCREAM, THE GREEN MILE and many others.

ONE MORE FOR TOM SAVINI

Savini as "Sex Machine: FROM DUSK TIL DAWN

Savini’s career would expand beyond more than just a make- up effects artist. His work as a stuntman was still steady but cult classic acting cameos in such films like CREEPSHOW and KNIGHTRIDERS (both directed by George Romero), FROM DUSK TIL DAWN, GRINDHOUSE and MACHETE brought forth another avenue for the talented man.

Savini's NIGHT OF THE LIVING DEAD (1990)

The greatest opportunity to pay back the genre he helped forged came about some time in the late 1980s when he was approached to direct the remake for NIGHT OF THE LIVING DEAD. The film would mark his directorial debut and he took on the project with full vigor. Savini’s original conceptual idea was to start the film in black and white (like the original 1968 version) then have it slowly adjust to color. Traditional to Romero’s films, the word ‘zombie’ is never used in dialog throughout the film. The filming took less than two months with an estimated budget of $4.2 million and was based on an earlier re-visioned screenplay by George Romero. It opened in theaters on October 19, 1990.

THE ZOMBIE EVOLUTION TAKES A NEW STEP: GREG NICOTERO AND THE WALKING DEAD

It seems as if the zombie baton would be passed on to a new generation of the undead enthusiasts as the demand for the living dead would steadily rise over the next few decades. Film writers and directors would take their various avenues in interpretation by trying to create their own twist on the genre.

Some of the more recognized editions have included comedic turns with the releases of RETURN OF THE LIVING DEAD (1985), ARMY OF DARKNESS (1992), SHAUN OF THE DEAD (2004) and ZOMBIELAND (2009). Others took a more serious approach and expanded the typical zombie scenario in films like PET SEMATARY (1989), RESIDENT EVIL (2002) and I AM LEGEND (2007).

Director Danny Boyle offered a critically- acclaimed take on the zombie lore with his film, 28 DAYS LATER (2002). The film storyline offered an incurable viral infection as the cause for the UK-based spread for the reanimated effect. Director Zac Snyder remade DAWN OF THE DEAD in 2004 and tried re-vamping the slow- paced saunter of the zombie by replacing the pace with a fast, almost sprint-like chase in his version. Many people opposed the idea…including Romero himself!

Nicotero (l) & Frank Darabount (r)

Through it all, Greg Nicotero was continually working hard and steady with his KNB- EFX Group when he began talking to director Frank Darabount (THE GREEN MILE, THE MIST) before working on THE SHAWSHANK REDEMPTION. In those conversations, a union was forged as both men shared their common respects for the classic zombies in NIGHT OF THE LIVING DEAD and for George Romero. At that point, talks about a zombie project occurred about when Darabount presented the idea of bringing the graphic novels of THE WALKING DEAD to life. (No pun intended!)

Once THE WALKING DEAD was green- lit with a ‘go’, Executive Producer Darabount brought Nicotero on as a special effects make- up artist and consultant. Nicotero had to then help create and design a new zombie feel that would differ than those he helped create for DAY OF THE DEAD. Nicotero began by closely examining the designs that appeared in the graphic novels themselves. The make- up should be both realistic and practical, to help articulate the real- life peril effect that the show embodies. After its premiere on the television cable channel AMC (American Movie Channel), THE WALKING DEAD had not only become an over- night success, but helped in creating a new direction for the folklore and also brought awareness of zombies to a whole new heightened level never before seen!

Nicotero (l) directs Andrew Lincoln (r): WALKING DEAD

Soon thereafter, Nicotero slowly moved up the ranks from make- up artist, to consultant, then onto Executive Producer and even as a Director for several episodes. THE WALKING DEAD has always had a “mini- movie” approach to it and has steered away from just an ordinary television series. THE WALKING DEAD will begin its fifth season on October 12, 2014.

THE AFTERMATH FROM THE ZOMBIE APOCALYPSE

Like every fad that comes and goes, the zombies have suffered a worse fate than getting a bullet or a stake through the brain! Images have appeared on everything from posters, shirts, mugs, party favors and practically anything else left to the imagination. Zombies have somewhat lost the lure of fear and are now looked upon with a level of affection in most cases. Two sides of the admiration coin has led some to say that they wish they could become zombies themselves while others feel they are prepared for the zombie apocalypse… should it ever present itself.

Novelists, like Max Brooks (son of comedian/ writer/ director Mel Brooks) who wrote WORLD WAR Z, saw his writings "flesh out" as a major motion picture starring Brad Pitt in 2013. Today, Brooks actually holds seminars on how to survive a zombie invasion, based on his other novel, THE ZOMBIE SURVIVAL GUIDE.

Present day George A. Romero

But what about George Romero? The Godfather of Zombies, what has become of him? Aside from unrelated zombie films that he directed like MONKEY SHINES (1988) and Stephen King’s THE DARK HALF (1993), Romero went ahead and continued adding more chapters into his DEAD series. 2005 brought forth LAND OF THE DEAD, where the numbers are turned and humans are now the minority in numbers as the population of zombies has basically consumed the existing country. Romero tried a different approach to his films with DIARY OF THE DEAD (2007) as he shot it in a “docu-style” fashion like THE BLAIRWITCH PROJECT and PARANORMAL ACTIVITY. Finally, the latest entry surfaced in 2009 with SURVIVAL OF THE DEAD, ringing with similarities to its island location, very reminiscent of the plantation from Lugosi’s WHITE ZOMBIE and the original story of “The Unknown Painter” from 1838.

What’s old is new again? Possibly. It doesn’t seem as if the zombie crazy has ‘died’ off just yet… one thing is for sure: Romero is taking a well- deserved hiatus from his DEAD films. Seeing that there are too many stories, comic and graphic novels and movies being made these days, he just doesn’t feel like being a part of the over- saturation presently taking place. He might just rise up, unexpectedly, as does his undead creations, with something new that will saunter into our nightmares again.

What are your thoughts on zombies? Are they here to stay or just another genre fad? Which is your favorite DEAD film or zombie- themed film?

Feel free to share your thoughts and comments and watch them get posted with a personal reply from me!

I hope you enjoyed this delectable morsel and that you will tune in for next month's entry scheduled for Thursday October 30th, 2014!

HAVE A SAFE AND HAPPY HALLOWEEN!!!

TRICK OR TREAT, JAX!!!

FILM RECOMMENDATION ON THE MONTH: AMADEUS TURNS 30

2014-08-27T23:00:00.000-07:00

Wolfgang Amadeus Mozart. The name is iconic and recognized both domestically and internationally throughout the centuries. Composer, show man, prodigy… drunk, womanizer, crass. Any and all words can be and have been used to describe one of the greatest classic composers the world has ever known. All words are also suited in describing the mad genius whose musical compositions came so effortlessly, as if taking dictation in class from his instructor. The untold story of Mozart was the subject of a major motion picture that garnered recognition from critics and audiences alike as well as winning eight Academy Awards including Best Picture in 1985. This little introduction leads me to my current topic: MY FILM RECOMMENDATION OF THE MONTH: AMADEUS.

FLASHBACK: THE EARLY 1980s

It is vastly inconceivable to remotely comprehend the notion that this motion picture is celebrating its 30^th anniversary from its original release on September 23, 1984! Ah, yes… good ol’ 1984. The once futuristic title of George Orwell’s novel was now a very realistic year bountiful with entertainment on the silver screen. The year 1984 gave us such memorable films like: GREMLINS, GHOSTBUSTERS, PURPLE RAIN, BEVERLY HILLS COP, A NIGHTMARE ON ELM STREET, THE KARATE KID, THE TERMINATOR, FOOTLOOSE, THE NEVERENDING STORY, ROMANCING THE STONE, INDIANA JONES AND THE TEMPLE OF DOOM, SIXTEEN CANDLES, REVENGE OF THE NERDS, RED DAWN and THIS IS SPINAL TAP… this was only the tip of the iceberg in title recognition and they all came out within one single year and all celebrating their respectable 30^th as well.

The real Mozart

Getting back to my subject, I had just turned a young and precocious 16 years old that summer and enjoying the fruits of the cinematic labor. My mother, being of the classic musical background, constantly played the compositions of the likes of Beethoven, Bach… and Mozart, my personal favorite, around the house. The music was familiar to me and was threading into the fabric of my life at a very early age. In my early high school years, it had come to my attention through a school- related publication, that a Broadway play of Mozart’s life had been adapted and was starring none- other than Mark ‘Luke Skywalker’ Hamill in the lead production simply entitled AMADEUS.

Mark Hamill as Mozart

I still remember the black and white photo that showed Hamill dressed in his best mid- 18^th century wardrobe sitting next to the harpsichord looking young and enthused. I immediately devoured the article about the play and came to find out that it was the telling of Mozart’s life through music and dramatic interpretation. Information was scarce back in the 80s with no internet to gather additional articles. I would have to wait and see if this production might come to my nearby Los Angeles' stages; again, using limited resources for updates. The show slipped through my fingers.

The light had not dimmed just yet, for here I was, as an anxious 16 year old gobbling up ghosts and gremlins that Summer, to surprisingly be treated to the early Fall’s submission of award- worthy quality films… the film adaption of the play I had read about just a few years ago: AMADEUS was now a major motion picture event!

STORY SYNOPSIS

The tale of Wolfgang Amadeus Mozart (Tom Hulce) is told through the confessional narration of Italian- born composer, Antonio Salieri (F. Murray Abraham) who weaves his tale to a visiting priest (Herman Meckler) while being confined within an institute after a failed suicide attempt. The subject of the talk was that Salieri pled forgiveness for killing Mozart.

F. Murray Abraham as older Salieri

Now an old man, Salieri began his story when Mozart was a child prodigy. Having been personally tutored and trained to read and play several classical musical instruments by his father, Leopold Mozart (Roy Dotrice), Wolfgang began writing music at the age of 6 and was composing symphonies and operas at the age of 12. Salieri, in the meantime, was just a few years older than Mozart and was still playing with his fellow street companions, regretted his father’s unsupportive attitude in Salieri’s musical interest. He emulated the idea that Mozart had become famous at such an early age and received mentorship by his father, touring throughout the country and having the honor of performing for royalty. After the death of Salieri’s father, he quickly moved to Vienna and began his musical education. Becoming a young adult, he constantly prayed to God to bless him with talent in His honor and requested success in the compositions he would write. Mozart, in the meantime, had already grown into his own popularity and conducted numerous public and requested performances that showcased his music.

Salieri meets...

Salieri was overjoyed to hear that Mozart was coming to Vienna, having been invited to perform at an exclusive event hosted by the Archbishop himself. At last, the eagerly awaited moment in which he might finally meet his composing inspiration, Wolfgang Amadeus Mozart, in person. Having never seen his image before, Salieri took it upon himself to look at the faces of the young men in attendance to see if he could pick out what Mozart might appear like. He would have to present himself with an ere of intelligence and brilliance… maturity and talent would essentially be etched in his features and mannerism. Having found himself in the private dining room, now filled with only the finest in the culinary selections, he heard a squeamish young woman’s shrills as she was chased by a young man in the most immature manner. Obviously two young fools who were playing a childish version of hide and seek, Salieri hid under one of the tables, only to witness the vulgar behaviors of this upstart of a boy as he teased and manhandled the young woman. Then, music began… it was a new composition of Mozart playing in the main hall.

... Mozart (Tom Hulce) for the first time

At that moment, the boorish young man rocked Salieri’s senses as he stated that HIS music had begun without his presence! THIS was Mozart! Salieri couldn’t believe his eyes as his perception of the talented composer was shattered by the reality of the imbecile before him.

It was shortly after this encounter that Salieri elected to renounce his belief in God. How could He waste such precious gifts on someone who didn’t deserve or appreciate them? It was at that moment that Salieri waged a bitter war against both God and Mozart… neither deserved the attention or respect from him. He would do everything within his power to befriend and ruin Mozart personally.

Emperor (Jeffery Jones)

Fate brought the two musicians together at last. By this time, Salieri was now the private tutor and court composer to Emperor Joseph II (Jeffery Jones), who had a love for classical compositions. Mozart was invited by the Emperor himself to not only visit him, but enlisted the talents of Mozart and requisitioned him to write an opera for the National Theatre. After the acceptance of such a prestigious request, Mozart elected to stay in the city of musical composers and accepted Salieri’s friendship in return.

A young Salieri (Abraham)

Salieri: a tormented soul, indeed. Never once had he allowed himself to relish in his own success as he spent time plotting on sabotaging Mozart’s music, ideas for operas and even his personal life. Every plot within his conspiracy was aimed to fuel the personal vendetta towards his own God, making it his mission to destroy His musical angel. His soul grew darker and bitter, yet, there was still the inner fixation and passion towards Mozart’s music that was undeniable. He could hate the man but not his compositions.

Constanze Mozart (Elizabeth Berridge)

Having ignored his father’s request to return back to his native Salzburg, Mozart stayed in Vienna and defiantly took on a wife, Constanze (Elizabeth Berridge), on August 4, 1782. He rode on the cusp of success and was looked upon as the toast of the town. He had nothing but a deep admiration for his father, although portrayed in a strict but cautiously caring manner, one could almost analyze that Mozart sought Leopold’s approval on the successes of his musical abilities. It could easily be thought through that he recognized the hard hours of mentoring could now be paid- off by his fame. Money was coming in and Mozart spent exasperating hours, even sleepless days and nights, dictating music that flowed in his head like a running brook onto paper. The music couldn’t be shut off; it drowned his senses as if listening to the music on full volume in an isolated chamber. Then, the drinking, the endless parties and the countless women and visitations to brothels soon followed. Constanze could only silently witness the downward spiral into his personal abyss as she turned a blind eye to the reckless behavior her husband portrayed.

Leopold (Roy Doltrice)

Mozart had taken on more musical commissions than he could handle, money was becoming scarce due to his frivolous spending and lack of proper financial savings. The drinking was constant and the late nights out were now a routine procedure as he would sneak out once all were asleep. The balancing act of his actions would finally crash upon the notification that his father, Leopold, had suddenly passed away! This was an extremely devastating blow to Mozart, having abruptly realized his childish behaviors and the obvious ignoring of returning back home.

The tormented spirit DON GIOVANNI

The year was now 1787… a very odd and almost too coincidental occurrence was revealed in Mozart’s timeline, as he would debut his darkest opera yet: “Don Giovanni.” The story surrounds a mixture of dramatic overtones mixed in with supernatural elements. A tormented soul within the opera was, by Salieri’s account, believed to be that of Leopold himself, returning from the grave to continue consuming Mozart’s soul with guilt.

The mysterious messenger

Almost immediately following the tragedy, Mozart received a very mysterious request to compose a requiem in honor of a dead man. The name was not revealed nor was the messenger who remained in a black cloak with an emotionless black facial mask. He was, within the same time, composing a light farce of a musical intended for the common people of Vienna… the compositions would become “The Magic Flute.” The complete contrast, mentally, to be able to write both a saddened and dark requiem and then to off- set the balance out by flipping mental channels on composing a whimsical and frilly humorous opera. How does one even begin to emotionally prepare for such polar opposites?

The Enchanted Queen from THE MAGIC FLUTE

“The Magic Flute”, now completed, premiered in 1791 to a roaring and well- entertained audience, feeling emotionally and physically ill, Mozart was in attendance. His demeanor was pasty; the pallet was pale and slightly yellowish. Also in attendance, sitting high in a balcony, Salieri watched both the composer and the composition. During his confessional talk with the priest in the institute, the elder Salieri admittedly revealed that it was he who had dressed as the dark- cloaked messenger and tormented Mozart like the spirit in “Don Giovanni”, almost copying the costume worn on stage. The requiem in question would serve a darker purpose with a plot not yet mentioned.

Having finished “The Magic Flute”, Mozart tried to concentrate on the requiem. The anonymous messenger had consistently added pressures to have the work completed, but he was too ill to continue on it alone. His conditions worsened as Mozart collapsed during a performance of “The Magic Flute”, to which he conducted and accompanied with instrument. Salieri, ever present and attended as many performances as possible, witnessed the incident and arranged and rode on transportation to return Mozart home. He made sure that he was placed on his bed and noticed that Constanze was not present. It came to pass that she had enough of Mozart’s ill- advised behaviors and retreated to a nearby resort for rest. This was the entrance Salieri needed to Mozart.

Salieri assists Mozart with the Requiem

Barely having the strength to continue penning his requiem composition, looked to Salieri for assistance. Here was the man who had made the request himself of Mozart and was now asked to help. The underlining intention was even worse than expected… a sly smirk curled over the lips of the elder Salieri as he continued his soul- baring confession to the priest. The internal plot would finally inform that the requiem was intended for Mozart’s very own death and that Salieri would take full credit for the composition as a homage to his dear and fellow musician! The plan was coming to a close.

The music comes faster than it can be written

The notes, movements and instruments spewed from Mozart’s breath as if he delivered a memorized monolog. Salieri barely kept up while he tried desperately to comprehend the ideas being shared. A large portion had finally been dictated when Mozart requested a brief rest to try to regain strength. Salieri greedily overlooked the musical sheets when he was suddenly interrupted by the unannounced arrival of Constanze. Inquiring why he was in their home, Salieri informed her of Mozart’s illness and how he had been assisting him with the compositions. She pulled the sheets out of his hands and forbid Mozart to write anymore, locking the composition in a glass case… blaming his fatigue on the harsh and constant work strain he had been under. The sheets were now away from the hands of the composer and the conspirator.

Mozart meets his fate

Constanze approached their bed in which Mozart laid quietly. She whispered his name as to not startle him from his sleep… but he was not asleep. His eyes, staring emotionlessly towards the ceiling, were glazed and without reaction. On December 5, 1791, Wolfgang Amadeus Mozart was dead at the age of 35. Two days later, Mozart was laid to rest in a common, unmarked grave, as was the typical customs of Vienna for the time. A very small collection of close family and friends were present. Salieri was present as well.

Salieri's last words to the priest

The sun rays had beamed through the barred window in Salieri’s small room, the elder composer sat with a satisfied look on his face as he gazed upon the reaction of his confessor. The priest, in tears, oversees Salieri… the thoughts of a monster and tormentor must have passed through his silent lips. A male nurse walked in on the two men and collected Salieri, as it was time for his bath and breakfast. Rolled out of his room in a wheelchair, Salieri delivered his final words to the priest… a tortured soul meant to suffer 32 years later after Mozart’s death. Where was God’s justice? Taking his angel and allowing his music to live forever and burden Salieri to live on with the guilt and suffering of becoming old and to personally witness the slow distinction of his own music. He considered himself the voice for all mediocrities in the world. He was their patriot saint… the slow downward decline of sanity could barely hold on as he was whisked away with his tortured soul fully intact. The never- ending music of Mozart still played within his mind, never to let the conspirator rest for his wrong doings until his own death would, maybe, set him free at last.

PRODUCTION ORGINS

Shortly after the preview of Peter Shaffer’s new play, AMADEUS, premiered at the National Theater in London on November 2, 1979, an audience member made a declaration about the work. That person was none other than Academy Award- winning director Milos Foreman (ONE FLEW OVER THE CUCKOO’S NEST) stating that he had the subject for his next motion picture and would dedicate the time necessary to properly present the story in its most classical and authentic interpretation possible.

It would take nearly two years later to have Shaffer finally agree upon the collaboration for the screenplay in 1982. The project became an obsession, as the two men locked themselves away from the public in a Connecticut farmhouse for 4 months, hatching out the plot, story and dialog. After the screenplay had been completed, Foreman contacted producer Saul Zaentz, who shared in the Academy Award victory for ONE FLEW OVER THE CUCKOO’S NEST. Zaentz was on board with the project and suggested that they enlist box office stars for the roles. Foreman was against it, envisioning how unacceptable it would be to have Mozart played by a recognizable face.

Almost a year later, after auditions from both Tim Curry and Mark Hamill as Mozart were held since they played Amadeus on stage in various productions, had the cast finally been rounded off and the production could begin filming in Prague, Czechoslovakia, the best location offering a re-created setting of 18^th- century Vienna.

Special Effects artist Dick Smith works on Salieri's make-up

Keeping production moving along was an arduous task for both Foreman and Zaentz. Tom Hulce perfected his keyboarding skills and practiced 4 hours a day and actually played every note himself as Mozart. F. Murray Abraham had to learn how to read and conduct music for his role as Salieri. Abraham had to endure an estimated 4 ½ hours of make- up by Special Effects master Dick Smith (THE EXORCIST) to create the elder Salieri. Smith would later win the Academy Award for Best Make- Up Effects for his work on AMADEUS.

Peter Schaffer

Play and screenwriter Peter Schaffer actually broke down and cried when he visited the Theatre of the Estates in Prague, knowing that Mozart had actually premiered “Don Giovanni” there almost two centuries ago. Aside from a few sections within the opera house, most of it still relies on wax candles for illumination. The production crew had to work from outside generators to operate the cameras and other pieces of electrical equipment when principal photography occurred within the theatre.

In 1985, during the 57^th annual Academy Awards presentation, AMADEUS had been nominated for eleven awards and won eight. The winning awards were Best Picture, Best Actor: F. Murray Abraham, Best Director: Milos Foreman, Best Screenplay: Peter Schaffer, Best Art Direction- Set Decorator, Best Costume Design, Best Sound and Best Make- Up. The other three nominations were for Best Actor: Tom Hulce, Best Choreography and Best Film Editing.

Director Milos Foreman and Producer Saul Zaentz on Award night

MY PERSONAL RECOMMENDATION

Other films had been made aside from AMADEUS, regarding the lives of other famous composers. My mother’s favorite is the 1945 adaptation of Frederick Chopin’s life entitled A SONG TO REMEMBER. Another that was released in 1994 was IMMORTAL BELOVED starring Gary Oldman as Ludwig Von Beethoven. Perhaps AMADEUS rings as a personal favorite for two reasons: one: as previously stated, being that Mozart has always been my favorite classic composer and two: its origins are rooted from theatre and retain a great deal of that particular showmanship throughout the film.

AMADEUS plays as a “greatest hits” collection of Mozart’s finest works as well. Selections from “The Marriage of Figaro”, “The Magic Flute”, “Don Giovanni” and even the dark “Requiem” are all present and interweaving throughout the film. The motion picture plays out like a musical, of sorts, since the entire film is routed with melodies, compositions, operatic singing and arias throughout the entire run: from the opening sequence to the bitter ending.

F. Murray Abraham directed by Milos Foreman

Is AMADEUS a boring and drawn- out biography? Not at all! The entertainment value of some humorous scenes, particularly the translated “laugh” that Tom Hulce uses as Mozart, are very amusing without going too deep or delivering too much and balances with the rich drama that supports the underlining story telling of this tragedy.

It would not be fair to say that the film is a somber production and would easily defuse those not interested in a tear- jerker. I have always seen the film as a celebration of the works and the man who composed such memorable and enchanting compositions. It is hardening to see such an intelligent and musical genius endure the likes of life’s poisons as alcohol and prostitution. Would it be fair to say that Mozart ranks as the 17^th century Jim Morrison or Janice Joplin or even Kurt Cobain, all of which displayed immense talents and were taken in by the abuses available to them. Another case in point to ponder, most talented individuals are met with a premature demise. Must the talented be met with the abuses of life to explore parallels yet to be explored within the mind or needs to help suppress the overflow that cannot be contained?

Tom Hulce (l) and F. Murray Abraham (r)

And what about the acting? Tom Hulce brings a magnificent and very humanistic approach to Mozart himself, but the real treat is presented in F. Murray Abraham’s performance of Salieri. Having previously been a stage actor, Abraham carries the film in a very one- man show- like delivery that draws you in and leaves you anticipating his next words. Being that Schaffer personally adapted the screenplay from his own play also adds to the theatrical flair within the delivery of the lines… particularly the protagonist. The rest of the ensemble highlights personal moments that only adds to the presentation of the film.

A very exciting aspect is the production value of AMADEUS. Not a single detail was spared in the recreation of authentic costuming, set design and the classic photography to essentially capture the period and the story without alluding to fancy or flashy photographic effects, which were becoming the new fad of 1980’s films.

In closing, AMADEUS may mark a round age of 30 years, but the detailed and timeless production holds very strongly without a wrinkle to show for it… even after all of these years.

So, what is your point? Is AMADEUS a film that is a must- see or own? Is it one that you have placed on your “to- watch” list and still haven’t gotten to it yet?

Voice your comments and post them right here… I will reply to all and I look forward to your thoughts and opinions! Stay tuned for next month’s blog entry scheduled for Thursday September 25^th, 2014! Thank you once again for visiting and supporting this site!

THE GREATEST EPIC EVER: THE MAKING OF 1963's CLEOPATRA

2014-07-31T21:24:00.002-07:00

On June 12, 2013, the epic classic film CLEOPATRA celebrated a grand 50^th anniversary. Because of this monumental landmark, 20^th Century Fox Home Entertainment released a special 50^th Anniversary Edition on a two- disc, 251 minute version onto blu- ray. Upon my personal purchase and recent viewing of the full- scale behemoth, it was revealed to me that there was far more to the tale than what had been captured onto film. Discovering this and enveloping myself with research, I felt compelled to write about the stories within the story that transpired regarding Elizabeth Taylor, Richard Burton and the dramatic behind- the- scenes production that made CLEOPATRA the talk of Hollywood in the early 1960’s. The story would wrap itself in its own Egyptian- like shroud of power, finances, poor decisions, lust and the near demise of the great powerhouse that is the 20^th Century Fox studios.

IN THE BEGINNING: THE CAST OF CHARACTERS THAT STARTED IT ALL

Timeline: the late 1950’s in Hollywood still presented itself as the dream factory that churned out cinematic gold for the audiences in the dark. An overall number of major film studios were still flourishing from the lucrative returns that their films were bringing back home, however, that wasn’t the case for one studio: 20^th Century Fox. Fox had been suffering from a string of costly productions and mediocre returns at the box office. This was bringing the studio’s finances down to an all- time low and made the top brass begin to question what or who was at fault for these appalling and fearful numbers. After the public availability of in- home entertainment, thanks to the introduction of the television set, America had become fixated with the little glowing box and soon became a major clinch in the lack of ticket sales at the box office, losing almost 40% of its previous patrons to TV. In the early years, film studios were actually in odds with television heads and were in constant bickering of dollars and bragging rights over the entertainment of the public. This form of action caused many film moguls to seriously consider their cinematic futures in deed.

Darryl F Zanuck

One such key player was co-founder and studio head of 20^th Century Fox, Darryl F Zanuck, who abruptly decided to step down from his position and leave Hollywood all together in 1956 to pursue a career in Europe as an independent film maker. This hasty decision left the board at Fox concerned for its future… Zanuck had a handsome resume of successful hits under his belt, so who could possibly fill such prestigious shoes?

Spyros Skouras

Enter Spyros Skouras, a Greek immigrant who had previously been largely successful in the exhibition side of films, quickly moved up the ranks and eventually took over as President of Fox. Although coming on board with no real previous film experience, his keen ability of presentation as well as his professional relationship with Zanuck was enough to secure his position right at the top. His first order of business: to ‘green light’ a series of low- cost films that would perform extraordinarily well at the box office and help recover previous financial losses for the company. A task considered easier said than done!

Walter Wanger

Fox Producer Walter Wanger, who had a modest track record of successful films, was looking to remake the story of Cleopatra. The concept had been done twice, once through Fox in the silent classic 1917 with Theda Bara and again in Cecil B DeMille’s 1937 version with Claudette Colbert. Skouras handed Wanger an existing 10 page copy of the 1917 script and instructed him to re-shoot the film as a B- picture to turn a nice profit. The script, however, had no dialog because of its silent origins and had to request a rewriting for a new audience. Wanger would take on the project personally with a new re-write and commence the search for the ideal Cleopatra immediately!

Joan Collins' screen test

One can only imagine the buzz that went through Hollywood as Fox auditioned for the role of the lifetime for any actress! Female lead roles then, as they are now, were scarce and brought out anyone who felt they could audition and take on the task. The studio originally went with its list of contracted actresses that included Sophia Loren, Gina Lollobrigida, Susan Hayward and Brigitte Bardot. Ideally,

Dorothy Dandridge

Dorothy Dandridge was aesthically the closest to the Queen of the Nile’s appearance due to her Nubian heritage, but Fox was looking for a star name for their production. A young Joan Collins even filmed several screen tests and eventually was cast as Cleopatra; however, she became unavailable after several production delays which inadvertently did not allow her to continue the shoot. Originally, Wagner considered Audrey Hepburn as a replacement; she was contracted with Paramount at the time, so he decided to pursue his original idea for the taking of the lead role by approaching a non- contracted actress instead: the person in question was Elizabeth Taylor.

Taylor signs CLEOPATRA contract

The year was 1959 and Taylor was wrapping up SUDDENLY, LAST SUMMER as her last contracted film with MGM. Wanger knew that she would be free to elect her next project without studio entanglements and offered her the role of a lifetime! Oddly enough, Taylor’s reaction was in the form of a laugh, believing that her portrayal of the Nile goddess was ludicrous. She, nonetheless, agreed to take the role… with an unheard of guaranteed salary of one million dollars! After signing the contract, Elizabeth Taylor became the very first actress to ever receive such an astronomical fee for a major motion picture. The studios had, as they would soon discover, signed on for more than they paid for with the likes of Ms. Taylor. Stipulations in the contract stated that a $50,000 a week amount would be paid if the production would go past the agreed 16 weeks as well as a 10% return of the box office’s grosses. Details of production and returns will be discussed in the latter part of the article, but Taylor’s final financial draw would tally up to the sum of $7 million dollars. This would configure to approximately $51 million by today’s standards.

Peter Finch as Caesar

Aside from finally getting the studio to agree to the first- ever one million dollar salary, Taylor would begin requesting script changes as well. Skouras and Wanger, however, had bigger fish to fry… and fast. Skouras was quickly realizing that the original concept of a modest $2 million production was not going to happen. The budget had now ballooned into a hefty $5 million. Now that their actress of choice had been secured, the search for casting Caesar and Antony would become the new line of business. Marlon Brando was considered for the role of Antony, but had been obligated to film MUTANY ON THE BOUNTY. Actors Peter Finch and Peter O’Toole were also considered for the role.

Stephen Boyd as Antony

Stephen Boyd, who was best known as Messala in the film BEN- HUR, was ultimately casted as Mark Antony. For the part of Julius Caesar, Skouras wanted Cary Grant… Taylor wanted Rex Harrison and the studio settled for Peter Finch instead, who had auditioned for Antony in the first place. As casting had commenced, so had the actual production of the film began as well. Art Directors, Costume designers and Set coordinators were already busy at work on the chosen location of the infamous Pinewood Studios in London. The largest of its kind in England, the studios would later be known as the 007 set for mostly every James Bond film made as well as director George Lucas’ use for his original STAR WARS trilogy. Next on the list would be the daunting task of selecting the appropriate Director for this high- profiled and costly production.

Director Rouben Mamoulian

Producer Walter Wanger’s original choice for director was none other than Alfred Hitchcock. Although an accomplished and respected director, the selection did appear odd and evidently was passed by “Hitch” to pursue his next project instead, THE BIRDS. It was Skouras and fellow Fox studio head Buddy Adler who secured Rouben Mamoulian as their choice. Mamoulian had an impressive directorial resume with films like DR. JEKYLL AND MR. HYDE (1931), Tyrone Powers’ THE MARK OF ZORRO (1940) and BLOOD AND SAND (1941). Although extensive, Mamoulian wasn’t necessarily brought in for his skills, since his track record only reflected modest films. No, the primary decision was based on his ability to work well with temperamental actresses and extract their best performances without rants and conflicts. Word had spread that Taylor had become such an actress and needed the strong hand of authority to direct and keep the budget in its rightful place. Another factor that Fox had to consider upon contract agreements was the harsh realizations that Taylor had a history of medical conditions. These issues had gotten to a point in her life that they were infamous for affecting previous productions in creating delays.

LIGHTS… CAMERA… DRAMA?

Art Director John DeCuir

Time marched onto the summer of 1960 and general photography was about to commence in London. A cast had been assembled along with a massive set construction project spearheaded by art director John DeCuir, who had won an Academy Award for his work on THE KING AND I (1956). One of the largest and impressive set pieces built was the ancient Egyptian port of Alexandria.

The final set included four 52- foot- high statues which covered 20 acres with a staggering cost of over $600 thousand. The project not only requested the use of every carpenter, painter and builder available… it also put a huge dent in supply and building products throughout the entire country.

Visible tracheotomy scar

It would seem as if things were looking to move forward in a steady pace, until Taylor’s lingering illness would worsen due to the damp weather conditions of London. Her health finally escalated to a case of double pneumonia and, on March 4^th 1961, led into slipping into a life- threatening coma. Doctors had to work swiftly and performed an emergency tracheotomy to keep her breathing. The visible scar from the incision at the base of her throat is visible throughout the finished film. Taylor was rushed back to the United States for immediate rest and recuperation; this period spanned the length of six months in which production was also shut down until photography could commence again. During the time, rumors had already flown across the pond that Elizabeth Taylor was dead! Those were exactly the stories the press needed to run with before even gathering factual information. The execs at Fox were probably more panicked than mournful with their financial investment being pronounced dead. Upon Taylor’s recovery, she happen to read her own obituaries and jokingly said, “they were the best reviews I’d ever gotten.”

Fox took careful assessment of its costly production with many changes occurring during Taylor’s hiatus. For one, director Rouben Mamoulian eventually resigned after his committed two years to the project, leaving Fox with a production that already ran up to $7 million. At the end of it all, Mamoulian’s direction presented Fox with only 10 minutes of usable footage. Taylor suggested her SUDDENLY, LAST SUMMER director to take the helm.

Directing Taylor (l) Joseph Mankiewicz (r)

Enter Joseph Mankiewicz. His flair for presenting classic historical epics was present in 1953’s JULIUS CAESAR and it was then decided that he would be hired on to direct CLEOPATRA. Upon his arrival, Mankiewicz read the Mamoulian script and felt it lacked of excitement and drama. Chewing off more than he bargained for, over- night re-writes of the script were occurring immediately. As for the rest of the cast, both Finch and Boyd also dropped out of the film due to prior commitments and extensive waiting periods for Taylor’s recuperation. Upon extensive meetings with Fox execs, producers and a suggestion or two from Ms. Taylor herself, the role of Julius Caesar would ultimately befall actor Rex Harrison.

Burton (l) and Harrison (r)

Harrison had primary been known, at the time, for his theatre work and was suggested to play Caesar by Taylor herself. The next major casting decision fell upon who would play Mark Antony. A choice made that had been originally rejected by Taylor herself, would be one that would linger into her personal and professional career and help cause one of the biggest scandals in Hollywood history. Enter Richard Burton. The final casting was still considered incomplete and the Fox board was now squeezing Skouras for a release date. Knowing that the previous production had been scrapped with no useable footage, the showman that was Skouras, promised that CLEOPATRA would be the greatest epic ever filmed. The execs bought it and re-shooting was ready to proceed… yet again.

PRODUCTION NIGHTMARES

The Alexandria set as it appeared at Pinewood Studios

One of the main reasons that none of the previous footage could be used was due to the gloomy, cloudy and misty conditions of jolly ol’ England that were captured on film. Most outdoor shots showed unavoidably murky backgrounds… hardly the backdrop required to recreate the desert landscape of Alexandria. In 21^st century sense of filmmaking, a director can now merely request that a large portion of an exotic or expensive set be designed by way of a computer. This was obviously not the case in 1960. So, poor weather and the consideration of Elizabeth Taylor’s health, forced the production to move to the warmer climate of Italy. Fox was also hoping to cut production costs with the Italian six- day work week as well.

Art director John DeCuir had to tear- down the costly and labor- intensive sets build at the Pinewood Studios before leaving London. The most disappointing outcome was that not one frame of production film was kept in the final cut. No, DeCuir would have to rebuild the entire and extensive sets again in Italy. Mankiewicz dubbed DeCuir “the city planner” with the second building of the Roman Forum, which was said to have had been three times larger than the real one. The original ruins lay but only a few miles away from the set. As were the results during the London production, Italy also quickly exhausted its building materials and laborers… so much so that both were requested by nearby countries to help complete construction.

Cleopatra arrival into Rome

As production moved on, one of the most elaborate and breathtaking sequences was the arrival of Cleopatra to Rome for the first time. The scene required a cavalcade of charioteers, archers, dancers, jugglers, elephants and various other entertaining sights that would precede Cleopatra returning to Caesar, having borne his son in Egypt, by riding through the Roman Arch of Titus. Art director DeCuir was told to spare no expense in recreating the grand entrance. Cleopatra and son would ride in atop a Sphinx, pulled by hundreds of Nubian slaves. The Sphinx was to have had the appearance of black marble, so it was constructed out of fiberglass and plaster and was attached to a wood and steel frame and measured 35 feet tall and 70 feet long. During the actual filming, nearly 6,000 extras were hired to cheer Cleopatra’s arrival… when cameras rolled, however, the exuberant crowd instead cheered, “Liz! Liz! Liz!”

The full- sized barge

Just as elaborate and expensive as was the arrival into Rome, another costly piece would be the construction of Cleopatra’s barge upon its arrival at Tarsus. The massive sailing vessel was built to actual size with a price tag of $277 thousand. At the end, an estimated 79 sets were constructed.

Cleopatra's "gold" costume

Sets were not the only expensive items necessary in the story telling. Costumes took an extensive bite out of the budget as well. The Costume Designing team of Irene Sharaff, Vittorio Nino Novarse and Rene created over 20,000 different costumes for the actors and extras. The armies of extras required 8,000 pairs of shoes. And then, there was Elizabeth Taylor who would have a staggering 65 costume changes, including a dress made of 24-carat gold cloth. Her wardrobe tallied up to $194,800 in costs.

The iconic Cleopatra image would create a huge impact of fashion and make-up trends of the early 1960’s. A 1962 Revlon commercial featured the Cleopatra look by introducing the “Sphinx Eyes” appearance. Other items like snake rings and arm cuffs and long maxi dresses would also be part of all the rage.

Although the production side was extensive, massive and expensive… we still haven’t touched on the real drama that could have single- handedly sunk the entire production. For now the introduction of Elizabeth Taylor and Richard Burton will be made and the real drama of this turbulent saga could begin!

THE STORY THAT WAS TAYLOR AND BURTON

In the summer of 1961, after production had moved to the warmer climates of Italy, Taylor had now returned to the set after her six- month medical absence. The time would come for Taylor to work opposite the newly hired actor who was replacing Stephen Boyd’s Mark Antony, that actor was Richard Burton.

Burton’s career, at the time, was primarily that of the stage. He had just won a Tony as King Arthur in CAMELOT. Fox actually bought out his contract in New York and contracted him with a salary of $300 thousand. This would be an ideal opportunity for Burton, being that this was the biggest film he had ever done and the chance to film on location in Rome. Despite being married for 12 years, he had a reputation of romancing his leading ladies. Burton didn’t care much for Taylor’s reputation and had shared his feelings about her well before he even stepped foot on the set. Taylor didn’t know much about him, other than his womanizing behavior and kept to her guard since she had just recently married singer Eddie Fisher… a scandal all its own since he had been married to actress Debbie Reynolds when they were dating. Burton also carried the reputation of drinking. The latter was discovered quickly as Burton arrived to work the day before filming was to begin: drunk. Hardly able to stand as he staggered around aimlessly, it was Taylor who took him and offered him coffee and a place to pull himself together. The first impression was hardly impressive, but her image of him prior to his arrival was that of arrogance and a bloated ego. Taylor soon found out for herself that he was quite charming. The first day of filming was now here and both actors took the scene. The results were ‘electrifying’, as told by on- lookers and crew. The chemistry was definitely present and both actors began living the roles of helpless lovers.

It was only a matter of weeks when the media ran with the rumored stories reporting everything from public affection, photographing the couple on private yacht excursions and anything else they could run with. As the relationship intensified, the affair became the kind of fodder that appeared everywhere from mainstream magazines to prime- time TV comedy sketches. The type of controversy created in its time was probably considered far worse than anything we might see or hear in present day. For one, actors and studios alike paid big money to publicists and photographers to help create a certain look and likable personality for the fans to relate to. The reputation of such “stars” were the fuelling basis to every fan base… they could make or break you. Taylor’s reputation was severely on the line when she was considered a ‘home wrecker’ in the marriage of Eddie Fisher and Debbie Reynolds, both considered major stars in their own rights. Her coma and near- death experience actually gained the fans’ sympathies and her dignity was restored. Reports of the affair affected Taylor on a personal level. She was actually denounced by the Vatican and on the floor of the United States congress, accused of just not being irresponsible, but immoral as well.

It seem as if the board and executives at Fox were deeply concerned that the Taylor- Burton rumors would destroy the heavily- invested project. The money would be lost with nothing to show for it. The Fox PR department thought very differently, however. The most heated topic could actually be used to draw attention to the film and make people come out to see what was translating onto the screen. The end of production and the release of the film would be the final proof as to whether or not the investment was worth it.

POST- PRODUCTION AND RELEASE

When the film finally wrapped, Fox had ended up spending over $30 million (the amount translates to approximately $300 million by today’s costs) and 96 hours’ worth of film shot spanning 400 days. Because of the extensive amount of film, director Joseph Mankiewicz considered two separate films in regards to the two acts: CAESAR AND CLEOPATRA and ANTONY AND CLEOPATRA. The studios quickly realized that they wouldn’t be able to capitalize on the hot publicity and that paying audiences would not be interested in the first film and would be left clawing to see the drama between Taylor and Burton, which wouldn’t be seen until the release of the second chapter. Fox asked Mankiewicz to condense both proposed films into one giant epic.

The first cut of CLEOPATRA was submitted at a running time of six hours long. After much editing, the film finally made its premiere. Opening in New York on June 11, 1963, the cut had slimmed down to 4 hours and 3 minutes, requiring 49 pages of reshoots to make sense of the cut. A week later, it was reduced to 3 hours and 42 minutes. The 50^th Anniversary blu- ray release clocks in at 4 hours and 11 minutes.

The critics’ were discouraging, but Fox’s PR team came through by peeking the general audiences’ interests. The film grossed over $26 million, making it one of the highest grossing films of 1963. Despite the numbers, it still wasn’t enough to recoup the money invested by Fox. Producer Walter Wanger blamed the executive board and the lack of a completed script and poor production planning for its failure. The film had reportedly finally broke even in 1973 to which Fox “closed the books” to keep any and all profits a secret thereafter.

Elizabeth Taylor and Richard Burton married on March 14, 1964 and would work together on 11 more films including WHO’S AFRAID OF VIRGINIA WOOLF? For which Taylor would win her second Academy Award. The love- hate relationship caused a divorce in 1974, only for the couple to remarry again in 1975 and redivorce in 1976. It was reported that their interchanges lasted until Burton’s death in 1984.

CLEOPATRA was recognized on Academy Award night in 1964. The film won in the categories of Best Cinematography, Best Costume Design, Best Visual Effects as well as Best Art Direction. Ten people, seven Art Directors and 3 Set Decorators, were awarded the Best Art Direction award. It remains the largest number of people sharing a single award in an annual category. The other nominations were: Best Picture, Best Actor (Rex Harrison), Best Editing, Best Score and Best Sound.

FINAL THOUGHTS

JER standing in front of Darryl Zanuck's house in Palm Springs

Considered a huge gamble, did CLEOPATRA live up to the expectations of those involved? Was it truly the Greatest Epic Of All Time? I guess it really does boil down to the individual who watches this film. Some can appreciate the complexity and the detail in the production as well as appreciate and admire both direction and acting. While there are those who will feel the film is lengthy, even bloated, a large spectacle of nothing with lots of money blown on a thin storyline and drawn out to incoherent viewing. Still, it must be scrutinized and looked upon with a certain kind of openness to really get the full feel of the project. I close this up with a final quote from director Joseph Mankiewicz as he referred CLEOPATRA as “the toughest three pictures I ever made.”

What are your thoughts, readers? A spectacular epic or a spectacular flop? Share your thoughts on the epic films of today and yesterday for viewing and share your feelings right here! All comments will be replied to. I thank you for visiting and I do hope you will join me next month as I post a new topic entry on Thursday August 28^th, 2014.

MEETING DAVID NAUGHTON & THE CREATION OF A FILM SERIES FOR DUMMIES!

2014-06-26T00:50:00.001-07:00

GREETINGS and welcome to a brand- new entry from JER’S POINT!!! It has been far too long…many things have come and gone since my last entry in 2013. Personal, professional and other hurdles have really tested just how well these legs can jump over. Well, I can report that all is good and my writing cap is back in place with a new year of topics and subjects to discuss.

So, the question lies…what exactly have you been doing with yourself? My response would reflect the immortal words of Don Adams’ Maxwell Smart in saying… would you believe hosting a film series and schmoosing with actor David Naughton?... I hope I have your attention because this blog entry is dedicated to the interesting, first- hand accounts that occurred between the months of July- September of 2013 in the preparation of an actual theatrical film series and involving David Naughton on a fundraiser quest with me.

the outer theater building

Living in a quasi-small town near the now famous Coachella, CA area (known for its annual music festival with the same name) has its advantages… you can, if you really want, have the opportunity to have your voice heard. Sometimes all it takes is getting the conversation started and hoping that someone will listen and help get things going for you. Through a six- degree- of connection, I began talking to the General Manager of a converted theater just a few blocks away from where I live. The more recent events occurring at the newly refurbished theater consisted of live theatrical shows or plays. The theater is made up of three ‘houses’, if you would. One restored house is dedicated to the live shows, another is under construction for cabaret and live music performances…and the final is a newly restored, to its original theatrical house, complete with stadium seating, surround sound and a movie screen. After about a year of conversations and phone calls, it looked like the deal to begin the planned project was ready to move ahead.

The ‘deal’ in question is to propose a film series, to be presented at the theater and have the films chosen by me, along with having the evenings’ presentations hosted by yours truly! Before the series could come into place, experimentations and quick planning had to come into immediate action. The first major hurdle: What format would the films be presented in?

the inner theater itself

The removal of the age- old 35mm projector was the first step, since one couldn’t really rely on the current state of classic 35mm film prints. It was time to step into the 21^st century and install a combined and tested blu- ray player and 5k projector… hours of tweaking both picture and sound was necessary to get the best presentation for a paying audience. Other hurdles came and went… advertising, rental agreements, keeping the audio/ video guy happy, financing and donation handling… but the most difficult task laid ahead… how does one begin the selection process for a film series and which films to choose? The daunting task began after an agreement of a consecutive twelve week run beginning in July and ending in September to play one film per week every Saturday night. Twelve weeks? No problem…now, to choose only twelve films to play! Oye!!!

I would imagine that, if you have elected to read JER’S POINT (and thank you so much for electing to do so…) that you, the reader, is either a fan of film or find film interesting to some sort of degree. Fine… with that level of interest and knowledge…imagine, if you would, that you were allowed twelve weeks to show twelve films of your choice. Only twelve… no double features, no all- day series runs… nothing more than one feature.. one day per week. The task may sound easy to some, but a wide range of optional emotions carry over and personal feelings had to be put aside, yet considered in selecting the chosen dozen!

"Mother, we didn't make the cut!"

My personal feelings did stand up to the forefront! There were films that I selfishly wanted to place on my roster because, well, damn it… I like them! PSYCHO, STAR WARS, TAXI DRIVER, THE GREAT RACE, RAIDERS OF THE LOST ARK and even my all- time favorite THE TEN COMMANDMENTS had to fall off my list. There were options to consider… could I meet my personal interests and the public's likes at the crossroads and appease all along the way?

Have you ever just sat and made out a list of your top favorite films? Just for fun? My good friend and former COUNTERPOINT critic Johnny Chazz and I used to sit and draw up such lists for fun. What began as a list to help pass the time with would metamorphically grow into a list of the “top 100 films” by our own accord! Now, take that list…observe and dissect each and every title…why did it end up on your list and where did it fall in rank between 1 through 100? Now, break your list down to only twelve and live with your decision with no regrets! Yeah, that’s kinda how it went!

NO MORE!!!

The series, from the beginning, was structured to represent who I am as a film fan and that it would be summed up in one word: eclectic. So, I wanted the series to reflect that right from the very beginning...to be able to see the entire series and see that variety was available to anyone who would want to plan on what film(s) to see throughout its run. The choices were going to be diverse and not something to be expected, yet familiar at the same time. I didn’t want to show films that have been exhausted on late night network or pay cable channels… I mean, do we have to show PITCH PERFECT and HARRY POTTER for yet a 25^th time within a 30 day month period? I wanted to focus my selection of films that a younger generation never got to experience in theaters. This generation feels it is perfectly fine to watch a full length theatrical film on their I-phone. Their I-phone? Are we serious here? This type of entertainment viewing is acceptable? My answer is a definitive NO and that would be the basic foundation for my reasons to create this series. Let’s begin building and weighing out the options. Let’s start at the beginning… the first film had to have some recognition, something that would bring attention to the entire series… be the loudest bang of the series to kick things off on the right foot.

A true lover of film recognizes certain qualities that may not transcend to the average viewer. Ever since I can remember, the presentation was crucial to the performance, based on the scope and ‘event’ of the film in my eyes. For example, several films garnered a special day trip to the Chinese Theater in Hollywood, CA to view such films like THE LIVING DAYLIGHTS, GREYSTOKE: THE LEGEND OF TARZAN, THE COLOR PURPLE and THE GODFATHER III… just to name a few.

No way to watch films!

I couldn’t even start to think about seeing films like AVATAR, STAR WARS, SUPERMAN, ALIENS or BEN- HUR on an I- phone or tablet or even a laptop, especially if it were for the first time. Even the biggest HD TV couldn’t duplicate the experience of a theater. You need the aroma of popcorn in the lobby, the selecting and positioning of a stadium or theater seat, the sensation that comes over one as the lights dim and the buzz of the audience is heard as the screen lights up with the images that will entertain its audience. As aforementioned, the choices of what films should make a return to the silver screen is crucial and many factors had to be taken into consideration.

A major factor to consider begins with the selection. Would a particular film appeal to a mass group of viewers over another film? Which films would bring people out of their prospective homes to come down to a theater and pay admission to see a film they can rent on Netflix and enjoy within the comforts of their own personal environment? What genes would have more appeal than others?

I began with the idea of trying to appease to everyone’s pallet, thus the eclectic concept. Both genre and decade of the film’s release were equally important in my decision making. I could easily lean on pure 1980’s films with its large catalog of films to choose from, but I wanted to reach every demographic as best as possible. Here’s how the final twelve came down.

Oddly enough, THE ROCKY HORROR PICTURE SHOW doesn’t get half the respect it should receive within the Palm Springs, CA neck of the woods as one would think it would. We don’t have the midnight theater circuit in my area and I don’t believe too many ‘locals’ have had the chance to see it in an actual theater but maybe more on a home theater version. I wanted to make ROCKY HORROR the film that would kick off the series with an ‘audience participation’ invite to the presentation as well. Come dressed up; bring the props, the rice, the water pistols and your “Time Warp!” On top of the freedom of participation within the theater, I decided I would show the U.K. version of the film. As opposed to the standard American version that has been shown in theaters since that fateful day back in the year 1975, the European version contains the omitted song “Super Heroes” that appears at the near end of the film. No need to try to convince me, the film is now on my final list… one down and eleven more to go.

I won’t bore you with the detailed rundown of each and every film, but using the blu- ray format allowed me to offer alternative versions of films that weren’t shown in theaters. For example, the Academy Award winning AMADEUS alternative version allowed me to screen the Special Edition Director’s Cut that included 20 minutes of new scenes incorporated into the cut. I was able to do the same thing with yet another Academy Award winner, GLADIATOR. These extended versions were never shown in theaters and it was an honor and a special treat to see sights and sounds inhibit the theater in a grandiose way… for the first time. This is especially appealing to fans that knew the theatrical version but weren’t aware or knew of the alternative extended options. Two more to add to the list.

THE ROCKY HORROR PICTURE SHOW, The Director’s Cut of both AMADEUS and GLADIATOR have already made the cut. So, now to fill the gaps with a nice bridge built over covering various genres and decades. I wanted to add an intriguing foreign film into my series. I live in a predominately Hispanic valley, so I thought a nice film in Spanish would do well. After much deliberation and a touch of my own personal feelings made me move the contemporary classic PAN’S LABYRINTH to slide into a slot on my list. The Benicio Del Toro film was internationally recognized and well received by both audiences and critics, it appeals to both the foreign- language film fan and covers dramatic and horror/ sci- fi/ fantasy genres that would surely appeal to a larger audience at the same token.

Family films are a great staple to bring everyone out without isolating anyone within the household. So many to choose from… such classic films like MARY POPPINS, BUGSY MALONE and BACK TO THE FUTURE were all considered at one time or another. No, I needed a film that pulled from my mid- teenage years: The 80’s! Again, so many to choose from E.T.: THE EXTRA- TERRESTRAL to THE SANDLOT could be opted as a possible quintessential representation of 80’s family fun… but there was a movie that just spelled out ‘fun’ for anyone who has seen it. Imagination, adventure and a bunch of misguided tikes can only equal out to the 1985 classic hit, THE GOONIES! Think of how glorious the scope, the art direction and the mayhem of this film would look on the big screen…moreover, a whole generation of young fans who would finally get to see this gem on the big screen! Done!

Classics, classics, classics! Who doesn’t like a great classic from the past? This generation may not generally appreciate a black and white film, but there is definitely an audience ready to enjoy an excellent blast from the past in the b/w sense or a fantastic throwback piece! How far back, in terms of decades, should one go? Should I select a great 1950’s film shot in Technicolor and shown in Vista- Vision like OKLAHOMA! or Hitchcock’s VERTIGO? Oddly enough, I have always found it amusing that some film studios (or directors) would decide to use a black and white format to make their films after the use of vibrant colors were made available and enjoyed by audiences. The 50’s truly peaked in the presentation of color motion pictures, yet almost a decade later, would still stray from the format with such early 1960’s films like PSYCHO (1960) and The Beatles’ A HARD DAYS NIGHT (1964). The format may have served many purposes, but 1962’s TO KILL A MOCKINGBIRD’s harsh and intense storyline proved to use the rigid black and white format as a possible metaphor in its story of segregation (whites against blacks) as well and draw major focus to a time forgotten and giving it a classic (maybe historic) visual appearance. To this day, Harper Lee’s novel is read and discussed in schools across the country. It still proves to be an important and educational tool about the society we live in, taking account of our shameful past and recognizing that it still exists in today’s 21^st century. My choice to elect TO KILL A MOCKINGBIRD is simple: it’s a damn good movie and it’s a damn important good movie!

One good classic film deserves another! I wanted to go deeper into the history of films and possibly choose a silent film. I knew I was stepping out of my comfort zone, since I had personally seen only a handful of soundless films and considered myself to be a novice on the subject. One film that had caught my eye and the attention of film fans from around the world was the film and history of Fritz Lang’s 1927 METROPOLIS. The German classic began unfolding itself in director Fritz Lang’s head after a trip to New York to promote an earlier film he had made in October 1924. While arriving to the Harbor by boat, Lang was stunned with the beauty of the larger than life skyscrapers that had created the man-made skyline before him. Never had he seen such metallic towers rise from the grounds and create a backdrop like he had seen. He became obsessed with the scene and immediately saw a future inhabitance filled with towering buildings and the minuscule of man below it, like army ants running to its mound. Production began in 1925, compiled by a cast of virtual unknowns and following a relentless schedule that went nonstop until its wrap- up one full year later on October 1926. Premiering at a staggering running time of 154 minutes, Having been filmed entirely in Fritz’ homeland of Germany, the film was funded and owned by the German production company of Universum Film AG or UFA. The studio thought the length and storyline was far too exhausting for the average patron and decided to edit a much shorter (and incoherent) version of the film for further distribution purposes, including the highly anticipated release in America. The film had been pared down to the approved 115 minutes.

Throughout the years, many have tried to piece the film together to its original Lang version, with the unfortunate destruction of negatives and original copies, it became impossible… it came close, but not fully completed. On July 2008, a damaged, but original negative version of the film, rose from Buenos Aries, Argentina when a copy of the original cut had been sent for distribution purposes in Argentina and subsequently landed in the hands of a private collector. The print was acquired, digitally copied and restored to its new 148 minute version… the most complete edition available since its original Berlin release on January 10, 1927. This particular edition was released by Kino International as a special edition on both DVD and Blu- Ray formats as: THE COMPLETE “METROPOLIS”. This was the edition I would show on the big screen in my film festival. This version had not been viewed by the general public and I felt a personal obligation to make it available to the film lovers who would come.

Although ROCKY HORROR is clearly defined as a ‘cult’ film, it is also categorized as a musical as well. There are two genres being covered, but that doesn’t mean that the lover of one would love the other. There might be people who like peanut butter and chocolate but won’t eat a Reese’s peanut butter cup! So, I needed to separate the peanut butter from the chocolate and enjoy both as they stand alone!

Let’s start with the cult film that doesn’t have to be a musical. There is a wide range of various interpretations to what defines a cult film. This genre is not black and white…(although there are some cult films that are black and white, but I’m trying to be humorous now!). REPO MAN, THE LOST BOYS, PLAN 9 FROM OUTER SPACE, SUPERFLY, ERASERHEAD and BLOODY MAMA are all examples of films that have been labeled as “cult” films. Some are dramas, actions, horror films, b- movies and other types that differ from the other but all slip nicely under the “cult” umbrella. One of my greatest memories of a definitive cult film occurred at the age of 13 when I snuck a copy of this film, on VHS, to a friend’s house for both of us to see for the first time… the film was A CLOCKWORK ORANGE and I wasn’t the same ever since! Call it what you want and turn it around and dissect it into fours, CLOCKWORK is all the trappings of a traditional cult film. It’s ‘ultra- violent’, sex- filled, rude and perverse. In other words: perfect! The combination of the classic soundtrack that includes the works of Beethoven and Strauss, along with the rich colors and cinematography that the film presents itself with makes this a great film to visually be stimulated with by watching it on the silver screen again.

Now, the musical. THE SOUND OF MUSIC, THE KING AND I, SOUTH PACIFIC…even PHANTOM OF THE PARADISE or JESUS CHRIST SUPERSTAR… any and all are worthy options and all appeared on my list at one point or another. I wanted to be somewhat contemporary, yet classic. My choice needed music but not put an audience to sleep. A film that is recognizable but maybe not seen or heard of as often as it should… be stimulating in both the visuals as well as by its musical soundtrack. A personal favorite of mine that would make the cut is THE WHO’S: TOMMY. A rock opera is perfect, there is no spoken dialog and filled with music from the opening scene right down to the end credits. An assortment of recognizable actors and musicians including Tina Turner, Eric Clapton, Ann Margaret, Jack Nicholson, Elton John and Roger Daltrey would play a huge part in my selection just for name recognition. Director Ken Russell definitely created a world around Pete Townsend’s music and lyrics and they are images that are inerasable once they are experienced. The scenes are burned into the back of your brain and your ears ring through the power of the music and the performances of the musicians and singers. TOMMY is clearly a movie that needs to unveil in the darkness of a theater and be seen and heard!

Now, I completely understand that TOMMY or THE ROCKY HORROR PICTURE show isn’t everyone’s cup of tea… they are of the acquired taste, putting it mildly! Now, as the Project Director, my initial rule was to try to please an eclectic audience, giving them a large buffet to which they opt whatever their palate requests. I grew up watching a lot of musicals on television and I know that those experiences heavily influenced two choices thus far. However, aside from THE GOONIES, I have inadvertently ignored the ‘family’ film to which mom, dad, brother and sister can come together as a unit and enjoy a film together. Another musical? Hell, why not? We just don’t see musical films in theaters like we used to. But you know what sounds even better than that? How about a ‘sing- along’? Oh man, I might be really pushing the envelope here but I saw how popular THE SOUND OF MUSIC sing- alongs are when they play at the Hollywood Bowl. The Hollywood Bowl, for crying out loud! This is where The Beatles and The Doors played! The frigging sing- alongs actually sell out! I didn’t want to infringe on the Bowl’s good thing so I had to devise my own alluring music- filled treat. Before I could go further with a possible selection, I had to research which musicals had sing- along editions available with lyrics that would appear on the screen for the novice as much as for the viewer who had sung along on its umpteenth time. MARY POPPINS came pretty close a number of times…very close. I had to think… would MARY POPPINS be a little too sweet? Now, once I discovered that this particular film I chose had a sing- along edition available, it just had to be my obvious choice. There are certain films that just become an overnight classic, no matter how you slice it. Let’s look at the ingredients involved: a soundtrack that has sold over 40 million copies, starred two of the hottest young talents of its decade, received a family- friendly PG rating and it’s all summed up with one single word… GREASE, is the word! Who wouldn’t want to sing along to the theme song performed by Frankie Valli? Ladies, you would be teary- eyed over a rendition of “Hopelessly Devoted To You’… guys, you’d love “Greased Lightin’” (c’mon, you know you would!) and many other great sign- along gems! Plus, you have an audience of familiar ‘greasers’ like yourselves doing their best Travolta or Newton- John singing! It’s on the books!

I am definitely touching on all subjects: Drama, Comedy, Family, Foreign/ Horror/ Sci- Fi (yeah, PAN’s LABYRINTH is a triple- header), Musical and Cult are covered. One specific genre not touched but rings true within my heart is the Western. My late father was an urban cowboy, of sorts. I wrote about him and dedicated my blog about Westerns to him, so I needed to put his favorite film back on the screen in his honor… the classic 1969 Sam Peckinpah western, THE WILD BUNCH. Controversial for its time and considered a very bloody and brutal film, WILD BUNCH grew in both reputation and popularity overnight! Spearheaded by a cast of talented actors including William Holden and Ernest Borgnine, the story of a band of aging outlaws heading from Texas to Mexico is a story that clutched the heart of men (and women) throughout its original run and ever since. Dad loved it, I love it… it’s on my list.

Well, there it is, the list is complete…the list is good! The final twelve are:

THE ROCKY HORROR PICTURE SHOW, AMADEUS (Director’s Cut), The Complete METROPOLIS, GREASE: the Sing- Along Edition, A CLOCKWORK ORANGE, PAN’S LABYRINTH (subtitled in English), THE GOONIES, GLADIATOR (Director’s Cut), TOMMY: The Movie, TO KILL A MOCKINGBIRD and THE WILD BUNCH.

Any good presenter always tries to outdo him or herself whenever possible. Histories of various athletes, performers, singers and actors have all tried to outdo and stretch the talents they are recognized for. Even The Great Houdini would try to top the last thrilling death- defying act with something more harrowing the next time! I see myself as a presenter… a performer, if you would. Afterall, I would be standing in front of my paying patrons and plan on doing a small introduction to each film. A mini- monolog describing the film’s unique characteristics that may include some trivia pieces, a look into the director or actor’s career and maybe a pivotal observation… anything to enhance the appreciation of the film and giving the viewers something they wouldn’t expect when they buy a ticket to a film. Would that be enough to outdo the general viewership? There is always room for more.

DAVID NAUGHTON and JER!

The Palm Springs area is notorious for the hob-knobbing of the Hollywood elite. Some come for its seclusion and others have come to simply retire. Others come to play, including partaking in one of the Valley’s most popular pastime: golf.. and is there a fair- share mount to choose from! A neighboring friend of mine works at such a resort and has met many celebrities throughout his career. In a passing conversation with him, the subject about films (surprise, surprise) came up and then the question was rung: “Hey Jer, do you know the movie AN AMERICAN WEREWOLF IN LONDON?” My thoughts went into a defensive mode… are you kidding me? The film alone still stands as a definitive landmark for its time in both the unique creation of mashing both comedy and horror genres as well as beingsolely responsible for introducing the Best Special Effects Academy Award category. My friend continues to go on about knowing actor David Naughton, who portrayed the doomed protagonist David Kesler, due to his occasional visits to the golf course. The casual invitation kind of slides in as he informs me that he could arrange for David to come by the course one of these afternoons, putt a round and have me meet him afterwards! I know that I would have so much to say since my discovery of the film at the age of 13 when in 1981 I actually had the chance to see the monster movie in its premiere theatrical showing. My interests in both film making and special effects were most heightened at that age and my impressionable state thought it to be the best film to come along (it still has held the test of time as is still widely respected, in my eyes). Yes, of course I agreed to the potential meeting, so within a matter of days the possible suggestion would become a reality as I was informed that Mr. Naughton would be thrilled and a day and time would be in order as to when I should stop by the golf resort for the meet and greet.

"Be A Pepper"

That day soon came. I was there and prepared to meet Mr. David Naughton. Coming off the fairway in casual golf attire was the (wolf)man himself. It was a nervous and exhilarating moment for me, to say the very least. We had a moment to sit down inside the clubhouse’s lounge area and chat about the film and his career. This man was a triple threat between singing, dancing and acting beginning as the Dr. Pepper man between the very late 1970’s and early 80’s! He later had a disco chart- topper with his hit “Makin’ It” and finally crossing over to film. I had an internet printed photo for David to sign, which he graciously did. He then opens up a magazine he had been carrying around with him and he showed me about five or six different stills he had brought from his own collection and asked if I wanted any of them signed. I greedily asked for three and he signed them with a smile! We took a couple of photos outside and almost went our separate ways with a handshake.

“Mr. Naughton, can I ask you a question?”, I proposed at the last minute. “I am putting together a film series and I would love to have you showcase AN AMERICAN WEREWOLF IN LONDON and maybe be available for either a Q&A, an opportunity to meet and greet with you or sign autographs.” David asked me to contact our mutual friend and he would see what he could do.

At that moment I thought that I was maybe being given the brush- off and I should be happy to have had the chance to meet him and leave it at that. I did contact my neighboring friend and he would communicate the details, as the liaison he would become. Surprisingly enough, less than a week later, I get the confirmation and David’s personal phone number so that we could work out the details at our own time…exit my neighbor, enter moi!

Jer (l) with David Naughton (r)

By Mr. Naughton’s request, he would move ahead with an appearance only if a fundraiser could be incorporated to assist an organization of some sort. We decided that the very theater I was going to conduct my film series from was ideal, since they are a non- profit operation and desperately in need of financial assistance. The date selected would be, oddly enough, September 13, 2013…Friday the 13^th! So, on one hand I had my film series list in order and on the other hand I was able to secure a legit celeb that would personally introduce his own film and meet and greet an audience. I felt I was sitting on top of the entertainment world.

To read the article printed in the "PALM SPRINGS LIFE" magazine, go to the following link: http://www.palmspringslife.com/Palm-Springs-Life/Desert-Guide/September-2013/Horror-Classics-Return-Features-Appearance-by-David-Naughton/

David greets my mom at the fundraiser

Fast- forward into the date of July 2013. The film series would be a large learning tool, but arguably, a success in many aspects. I had never conducted such a series and experience was now listed on my resume for future references. The audiences ranged in demographics and obviously noticed that both the showings of the GREASE Sing- Along and THE GOONIES were the most successful of the program. Note to self: more blockbuster family films! Each film pulled its own crowd of interested patrons and feedback was important. Hearing that such a series was much needed made me feel very happy and gave me a sense of accomplishment. The AN AMERICAN WEREWOLF IN LONDON fundraiser was a very personal experience to myself and to the addition of the program! To view how our guests were treated to hor d’oeuvres and beverages while being given a chance to schmooze with David Naughton was an accomplishment I was able to see happen from my own conception.. and the fact that it worked out how I wanted it to. He made everyone feel welcomed and his introduction before the film started was a well- rehearsed kick- off from a man who has obviously done this a number of times before.

The audience awaiting GREASE: the sing- along!

And so, my friends, this is how yours truly spent last summer…away from the blog world and exploring another uncharted world. One that can now be said has been visited and one that will be seen again soon… very soon.

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THE STAR WARS LORE: THE COMPROMISE OF THE ORIGINAL TRILOGY

2013-05-18T13:31:00.000-07:00

On a creative aspect, an artist may never feel completely satisfied with what eventually ends up on canvas or sculpted from marble. A writer may feel that characters need to be continually fleshed- out or developed entirely different from what ends up as the written form. It must be fair to say that a filmmaker has to feel the same way about what ends up on film as well. Why does the creative mind wrestle with the sense of uncompleted dissatisfaction? Maybe it’s the never- ending imagination that continually builds on the visual or the creator’s mind’s eye, the literal or the expressive side of the creator. Walt Disney said that Disneyland would never be finished… it is a place in which trees would continue to grow and flowers would blossom as well as attractions will be constructed and created to meet the needs of the guests’ demands. Borrowing a page from Disney’s philosophy, could the same be said of how director George Lucas originally saw STAR WARS when it was released on May 25, 1977? Is it a project that will not stop growing or changing?

Here is the first trailer seen in 1977 for STAR WARS

Director GEORGE LUCAS on the set of STAR WARS

Initially, STAR WARS was originally budgeted at $11 million with a very limited resource of visual and special effects that literally had to be created from the ground up because of the lack of existing departments or companies in Hollywood at the time. Without realization of what was going on at the time, George Lucas and his team were seeing the birth of his visual effects company, Industrial Light and Magic. Lucas expressed regret and that sense of dissatisfaction with its original release because the visual world created by Lucas’ mind’s eye didn’t translate as he’d hoped for at the time of production: mainly due to constraints in budget, technology and time. Over the years, Lucas has created a momentum of controversy with the ever- changing additions and removals of scenes, effects and sounds with the advancements in computer- animated software and special and visual effects and the continued growth and expansion of his company. Changes that have made the original hardcore fans huff in disagreement!

In the wake of celebrating its 36^th Anniversary on May 25^th this year and the ever- building news and the excitement of a new EPISODE VII installment to be directed by wunderkind J.J. Abrams with announced returns from original cast members Mark Hamil (Luke Skywalker), Carrie Fisher (Lea Organa) and Harrison Ford (Han Solo)… I felt the topic needed to be brought to light… did the lore of STAR WARS go a little too far?

Early news of ABRAMS directing STAR WARS VII

The original "Early Bird Package" from Kenner Toys in 1977

This might get me in trouble with some of the hardcore fans, so let me list my personal credentials as to why I feel engaged on the subject. I consider myself to be an OG (Original Goer or Geek) of the STAR WARS trilogy! I actually got to see the original theatrical release of STAR WARS back in 1977 right before turning nine years old. Old enough to remember the anticipation and the wonderment of seeing the original cut on a big screen. I was one of the very first to send off for the first four Kenner action figures with the special “Early Bird Certificate” package, making me the first on my block to own Luke, Lea, Chewbacca and R2-D2 before anyone else could. I tried to see the original trilogy as often as I could in theaters as often as possible and catch the ‘Returning Engagements’ as well. I am not trying to bash any of the current youths’ interest and love for the saga and the various storylines and structures, I am saying that the original trilogy of STAR WARS, THE EMPIRE STRIKES BACK and RETURN OF THE JEDI is all the series really needed and without needing to be retouched!

The ‘signs of things to come’ began in 1978 when science- fiction author Alan Dean Foster penned the novel “Splinter Of The Mind’s Eye.” Neither the story or plotline were officially brought upon or masterminded by creator George Lucas and the novel was considered the first story line to retroactively make it one of the earliest Expanded Universe works. The story’s timeline apparently takes place between what is STAR WARS and THE EMPIRE STRIKES BACK and none of the events of the novel are ever referred to or mentioned in any of the films. The book is one that I avoided because it was an imaginary work of science fiction that didn’t reference the worlds Lucas had created on film. The novel, respectfully, was merely a proposed possible “what- if” of events until a captive audience of film- goers awaited the release of the true STAR WARS sequel, THE EMPIRE STRIKES BACK.

If you have noticed, I must make note that to this date I still refer to the 1977 film as STAR WARS and not the recently- dubbed and long- winded title of STAR WARS IV: A NEW HOPE! Who is with me on this?

One of my major gripes were my wrestled feelings about the long- awaited prequel trilogy of Episodes I, II and III (THE PHANTOM MENACE, ATTACK OF THE CLONES and REVENGE OF THE SITH). Here’s my gripe… a new generation of blu- ray babies will watch the prequels first before, because they are going to follow numerical suit, to only be huffing and puffing over the poorly plotted and visually- disappointing IV, V and VI. I say this only from my personal observations: a new generation notices the difference in production value (or lack of) and don’t care for them, thinking they don’t stack- up to the overly- visual effects- heavy prequel trilogy. Another gripe involves the line of plots that were carefully placed in a particular order to grow awareness and suspense between IV, V and VI. Plot surprises will now be pre- maturely given away in the first three films that originally left audiences gasping with surprise within the original trilogy! Can we name a few? WARNING: Do not read- on if you have been living under a rock and not seen the STAR WARS six- pack!

A trailer for the Prequel STAR WARS Trilogy

Who can ever forget the theatrical showing of THE EMPIRE STRIKES BACK and witnessing the first time Darth Vader delivered the “I am your father” line as a reply to Luke Skywalker’s thoughts that Vader had murdered his father? I can still remember a sense of disbelief… wait a minute… maybe it’s Vader’s way of deceiving Luke to believe a lie to play with his emotions or pull him to The Dark Side? Could there really be such a connection from the apprentice Jedi and the soulless Sith Lord? The suspense and surprise is now ruined do to the fact that we are not only are introduced to Anakin Skywalker (with the last name giving things away) but we also see Anakin father the twins and become the evil Sith Lord Darth Vader within Episode III: REVENGE OF THE SITH. Speaking of the twins… how about the confirmation that Luke and Lea were siblings? We caught a bit of bait when, towards that heightened moment in Episode V: THE EMPIRE STRIKES BACK that we witness apprentice- in- training Luke prematurely leave the planet of Dagobah due to a premonitioned cry for help from Han and Lea. As Luke departs, the apparition- version of Obi- Wan Kenobi states, “That boy is our last hope” only to have Master Jedi Yoda reply, “No, there is another.” An audience was left bewildered with guesses… who are they referring to? Han? Lea? R2- D2??? Thus, we would find true confirmation within Episode VI: RETURN OF THE JEDI. Well, that moment has been trampled with the premature telling of the secret shrouded within, yet again being revealed within the finale of Episode III: REVENGE OF THE SITH as it reveals mother Padme birthing the twins and literally calling them by their names,” Luke….Lea” as they are being pulled out of her! Did she really have to do that? Or…did Lucas really have to do that? Couldn’t we had been left with an unseen birth and be left to our devices whether it was one child or twins or triplets and find out later on throughout the series what significance it might have?

A trailer for the Original STAR WARS Trilogy

Let’s talk about the Expanded Universes that have been created and embraced by the “STAR WARS fans.” This is where I have issues and problems, on a variety of different levels. To begin with, there are far too many Expanded Universes to keep track of with too many different characters and galaxies and plotlines to keep in order… there are too many novels to even mention here with the stretched- out worlds built from the original lore. To add more expansion, the world of computer technology has introduced a series of video and/ or computer games including THE FORCE UNLEASED and the recently released THE OLD REPUBLIC. Both games, respectfully, open gamers to even more newly- created worlds and characters than what some novelists have yet to touch. Some familiar characters or worlds still are very much present in the telling, for lore sake, but the stories are shaped differently with only the imagination left as a possible limitation.

One of the biggest and most recent creations brought forth within the Expanded Universe submissions is the very popular 3D computer- animated STAR WARS: THE CLONE WARS series. Like the novel, “Splinter Of The Mind’s Eye” that takes a narrative look at what might have occurred between STAR WARS and THE EMPIRE STRIKES BACK, STAR WARS: THE CLONE WARS is a series of stories that chronologically takes place between the prequel’s trilogy storylines of THE CLONE WARS and REVENGE OF THE SITH. It covers a three- year period of events never covered in the films. What makes the series ideally special is that it was produced in association with Lucasfilm Ltd. The animation is a characterization of familiar characters in itself. We are surrounded by the day- to- day threats and adventures of a young Obi- Wan Kenobi and his Padawan Jedi apprentice, Anakin Skywalker, as well other STAR WARS prequel trilogy characters like Jedi Master Mace Windu. Although never mentioned within the films’ lore, the animated series has Anakin himself taking on his won apprentice, Ahsoka Tano. The Emmy- award winning series went into five seasons before ending.

An exciting trailer for STAR WARS: THE CLONE WARS

It is perfectly acceptable and welcomed to have creative people come up with imaginative ideas and express them, but fans have literally accept anything into their own perspective of the STAR WARS lore without question! Moreover, it has also been intertwined within our pop culture as well. On a recent reality series that based itself on who was considered the biggest of all geeks called KING OF THE NERDS, a challenge had been brought forth to pit two of its geek contestants in a STAR WARS trivia contest. From the ten questions asked, I could honestly recall only two of them being film lore and the rest dealt with novelizations, video games or God knows what else! I call my ruling as unfair! What the hell was all that about? I consider myself an expert on the films and trivia in general, especially when it deals with the latter trilogy, but this was out of control! I felt like I been knocked- off my A- game and that doesn't sit right for me or my ego!

Director JJ ABRAMS: STAR WARS VII

At this time, a barrage of serious geeks are rejoicing with the recent announcements within the STAR WARS universe. Only a select few can genuinely know what and where the STAR WARS lore will go next. As mentioned before, the Walt Disney Company has bought the rights to the STAR WARS name and will be producing and presenting the heavily- guarded Episode VII into the world of geekdom! What we do know is that the announcement J.J. Abrams (STAR TREK, SUPER 8) has been named as Director with a script treatment being written by Lawrence Kasdan, who penned THE EMPIRE STRIKES BACK screenplay. Speculation can only predict that the new story will pick up some fifteen years after the events from which RETURN OF THE JEDI took place. One can only also guess that Han and Lea have married and possibly raising a family of some sort as well as focusing on the strengths of Luke’s Jedi abilities that have grown and matured within the years. Could we possibly see Lea embrace her Jedi heritage and learn the proper ways of the Force as well? What evil foes will our Rebel friends be presented to deal with this time? The possibilities are endless, but faith in the well- structured ensemble of a production team and studios’ blessings can only mean that we will have not only have our expectations met, but exceeded through to the finale.

What are your thoughts of the ever- growing STAR WARS lore? Are you a follower of all or a devoted fan of the films alone? What are your thoughts of another sequel and the direction the story and plots might go?

I look forward to your comments and will post and reply to all! Keep checking back for the next blog topic installment set to be posted on SATURDAY JUNE 1st, 2013. As always, thank you for your comments and for reading!

ALFRED HITCHCOCK: THE DARK SILHOUETTE OF THE MAN

2013-03-29T22:50:00.000-07:00

The name alone conjures up a variety of different images to different people. Genius. Visionary. Perfectionist. Mogul. Bully. Misogynist. His stature and physique is just as widely recognizable to who he is as his name is known by anyone. His silhouette alone would become his calling card and the introduction of every “ALFRED HITCHCOCK PRESENTS” episode that originally aired on NBC between 1955 through 1962. But there was more to the man who spoke slowly and selectively that some knew of but many kept a secret for a very long time…

ALFRED HITCHCOCK

Sir Alfred Joseph Hitchcock is deemed by many to be one of the greatest film directors that came out of the twentieth century. Others consider him to be the “Master of Suspense” and will always be recognized and synonymous with the works of such directorial classics as NORTH BY NORTHWEST, THE BIRDS and PSYCHO. A certain belief of the image that is Hitchcock has been fabricated… either by scrupulous Marketing execs within the film studios, self created or placed upon by on- lookers… is one that shows a quiet man of a few words and an atonement for getting what he wants, both on the screen or in his personal life.

INGRID BERGMAN

Latest discoveries and recent interviews and literature have collectively unveiled that many new layers have been peeled back to reveal a darker side of Hitchcock that were carefully hidden from the public’s eye for many, many years until now. The more notable ‘layer’ to show some true colors was a tell- all book written by author Donald Spoto entitled “Spellbound By Beauty: Alfred Hitchcock and His Leading Ladies” released in October of 2009. The book focuses its attention on three of Hitchcock’s most famous leading ladies: Ingrid Bergman (SPELLBOUND, NOTORIOUS), Grace Kelly (DIAL M FOR MURDER, REAR WINDOW, TO CATCH A THIEF) and ‘Tippi’ Hedren (THE BIRDS, MARNIE) to which some would describe as an obsessive behavior with his main actresses, respectfully, during production of each film.

GRACE KELLY

Ingrid Bergman was said to had ignored the advances by Mr. Hitchcock, however, the pair did develop a long- lasting friendship. Leaving Hollywood at the peak of her career, Grace Kelly left acting behind in order to marry Prince Rainier III of Monaco, leaving Hitchcock in need of finding a replacement. Enters newcomer Nathalie Kay ‘Tippi’ Hedren.

‘Tippi’ Hedren was discovered by Hitchcock when he saw her in a 1962 TV commercial as a cover girl. He immediately contacted her to star in his next project, THE BIRDS (1963), in which he placed her under personal contract. She was 33; he was 64 during the time of production. A made for cable film entitled THE GIRL was released in October 2012 starring Sienna Miller as Tippi and Toby Jones as Hitchcock. The film, based on Spoto’s book (he shares co-writing credit on the teleplay) illustrates the escalating and obsessive behavior Hitchcock blatantly thrusted upon the frail Hedren.

Toby Jones and Sienna Miller in THE GIRL

It is only now, after 50 years of silence, that Ms. Hedren is finally putting closure to her dark past by interviews, talks and the release of THE GIRL. As what had occurred in real life and passages from the “Spellbound By Beauty” book and the film it’s based from, she finally finds the voice to say that Hitchcock’s sexual harassment of her, both physical and verbal, is now being told. Hedren said that there were two sides to Hitchcock that is a contrast… one being the director, or ‘artist’, as she refers him as. This is was the side that she enjoyed working with as both her directorial director and as a ‘drama coach’ that presented itself with memorable moments. Hitchcock was well respected in Hollywood and would constantly have visitors on the set: various actors, directors and other Hollywood elite was an overwhelming sight for the newcomer! The other side of ‘Hitch’ was the darker side… as she referred to as being ‘evil’ because a sense of obsession was placed on her. Feeling locked into a seven year contract, Hedren couldn’t work with other studios or directors. He would remind her that she needed to abide by the drawn contract to help support her and her daughter, Melanie Griffith, who was six years old at the time THE BIRDS was being filmed.

HERE IS A LOOK AT THE CLASSIC 1963 FILM: "THE BIRDS"

"TIPPI" HEDREN

At one point during the filming of THE BIRDS, Tippi walked into Hitch’s office and asked for two days off to fly to New York to receive an award on television’s late- night talk show THE TONIGHT SHOW. Hitch called the request ‘outrageous’ and said that he would ruin her career if she decided to leave against his wishes. Her reply was, “do what you have to do” and she walked out the door. Hitchcock would make do of his promise to Tippi.

Upon arriving back from New York, a pivotal screen was being set up for filming and Tippi was asked to immediately report to wardrobe and make- up. Arriving onto the set, Hitchcock had devised a scene in which Tippi’s character was being attacked by various birds with different angles and shots included. The impression that Hitch made was that mechanical birds were going to be used… that was not the case. As Tippi crawled into a mesh- wired room that had a couple of hired bird wranglers, Hitch would cue the wranglers to throw live birds at her face for a realistic close- up effect. The scene was relentlessly shot in two extensive days with actual abrasions to Tippi’s face. Not to mention the emotional anguish and continual birds flying at her. A doctor had to be brought onto the set and production shut down for a couple of days while Tippi was placed on bed rest. Hitch would continue shooting other scenes without her as to not slow down principal photography.

HITCH and TIPPI at CANNES for THE BIRDS

Shortly after production had wrapped- up on THE BIRDS, Tippi had to play- off to photographers and the press. What was it like to work with the legendary director? What’s next for the newly- found leading lady? Are you signed- on to star in Hitchcock’s next project? Hedren was taught to smile and answer with carefully devised replies… everything the press loved to gobble- up! At a budget of an estimated $2,500,000.00, the film grossed over $11 million dollars… another success for Hitchcock. It was now time to plan his next film.

Now looking back at the next collaborative effort by director/ leading lady, there are some very noticeable elements of frustration on Hitchcock’s behalf that are evident in MARNIE (1964). The underlining rejections from Hedren of Hitchcock’s advances show his frustrated obsession and her cold anguish.

The key plot point presented in MARNIE is to keep a dark secret away from the eyes of the law. Tippi’s character is a kleptomaniac who relies on her looks to deceive and allure the unsuspected. Let’s stop right here for a moment and analyze that sentence… could Hitchcock feel a ‘victim’ of sorts to the alluring beauty that Hedren naturally was? Remember, Hitch discovered her when she was a cover girl modeling. What could have been going through his head and he hoped for a chance to become intimate with a model, especially a man of his age and repulsive physique? When he couldn’t be physical with her, because of the numerous rejections, Hitchcock found other means to torment and get a rise from her.

THE 1964 TRAILER FOR HITCHCOCK'S "MARNIE"

On the set of both THE BIRDS and MARNIE, Hitch was infamous for reciting dirty limericks and crude jokes. It was an act that Hedren found to be repulsive and sounds that she didn’t want echoing in her head as he continuously drew from the approvals and laughs from the crowds consisting of his production staff and actors alike.

ALMA HITCHCOCK

But wait…stop the presses! What about Alma, Hitchcock’s wife who was known to be around the sets periodically and his personal assistant, Peggy Robertson? Surely, they had to have witnessed many kinds of tries with his various leading ladies… if so, was there an acceptance (or fear) surrounding the possible approach and making the awareness evident?

Hedren would quote Alma as an ‘enigma’ claiming that no one knew exactly what kind of relationship came from their union. Tippi recalls a point in which Alma approached her and said, “Tippi, I’m so sorry you have to go through with this.” Hedren looked her in the eyes and replied, “But you could stop it”, Alma’s eyes glazed over and she merely walked away without a reply.

Another view point to account for is the time and place that these incidents occurred from. It’s Hollywood 1962- 1964. The age of sexual awareness is beginning to peak. The Playboy magazine celebrated its 10^th anniversary of publication and with sex goddesses the likes of Marylyn Monroe, Jane Russell, Mamie Van Doren and Bettie Page already gracing the tabloids or silver screen, men had become the gentleman’s gentleman. He was James Bond or Spencer Tracy when it came to putting a woman in her place and reminding her that she was there to his service! Sexual harassment 1963 is not anywhere as close to what it is today in 2013.

TIPPI HEDREN: 2013

Again, it took 50 years for the silence to seize. But was it even worth it now to talk about Hitchcock this way and not being able to defend himself since his death in 1980? What, if any, is Hedren’s ulterior motive in releasing damaging information that alters his reputation as a sex- obsessed monster and not the revered Hollywood director that has become such an icon?

It comes to the attention of this critic that things happen and that we are allowed many choices in life to decide the path that should be followed. Could Hedren find a voice to confront Hitchcock and walk away from an illustrious career? The answer is YES because she did do just that. She found the voice and stood up to the powerful giant and walked away from his advances and a promising career. However, others may not have the same gusto, ‘balls’ or cajones to do the same. Fear takes over and reputations, careers and lives play a key point in what chess move is made next. The power to appose such behaviors does exist in the 21^st century and laws are governed, based on the state or country you live in. Find the voice to speak, be it your own or a legal mouthpiece, use it wisely and swiftly. The more refusals and rejections brought forth will tear down the fabric of such behaviors and will make the wrong- doer stand down and cease with no remorse. Bravo to you, Ms. Hedren.

AN INTERVIEW WITH TIPPI ABOUT HITCHCOCK

MY PERSONAL VIEWPOINT: I am apposed by the behaviors of Mr. Hitchcock towards women. No one person should ever have to suffer such mental and emotional deconstruction. I consider myself a fan, however, of the man who is the ‘artist’, as Ms. Hedren stated. I would and could separate the man from the monster and admire the works of his directorial classics as well as any film fan should. Keep in mind that the man is mortal and with flaws… the ones that do not show its ugly blemishes when projected in abnormal sizes onto the silver screen. ‘Let those without sin cast the first stone’ was quoted by a Man who knew mortality and the sins of being human… for He too was of flesh and blood.
No one can truly explain why people do what they do... what sets someone out to ruin the life of another because of rejection? What causes obsession? Could wealth and power be the added keg- powder that may had pushed Hitchcock into the explosive reactor he was or were their deeper issues that we may never know about? We could ponder plenty but it is the revealed truth that we have to focus on instead.

I met Tippi Hedren during a Las Vegas Convention back in the early 1990's. She was very classy in both appearance and demeanor. She graciously signed an autograph and even drew little gulls floating around her name. Perhaps Ms. Hedren feels that 'the birds' will always circle her name and being for the rest of her life. Perhaps it symbolizes the over- night success that a model was given by the appearance and guidance of a Mogul who wanted the attention that couldn't be returned!

My autographed photo of TIPPI HEDREN

What are your thoughts about this week's blog topic? What are your feelings about Tippi's coming out with the truth and your viewpoints on Alfred Hitchcock? Does it change anything for either or does knowing the truth shift your ideals of either?

This is a topic that I would love to hear different opinions on and I welcome all remarks and comments.

I look forward to hearing from you and all remarks shared will be posted and replied with within a day. Thank you so much for visiting and please look forward to the next topic coming at you on FRIDAY MARCH 12th!

Have you visited the official CINEMA: COUNTERPOINT page on YOUTUBE? Check out classic and contemporary trailers, scenes and other great trips down memory lane! Just click the link and check out the "Favorites" on our site! Enjoy!

http://www.youtube.com/user/cinemacounterpoint?feature=mhee

OSCARS 2013: WINNERS, MUSIC AND BOOBS!

2013-03-02T22:40:00.000-08:00

Another year has come to pass and another Academy Awards ceremony has called it a ‘wrap!’ Having its worldwide broadcast on Sunday February 24^th, 2013, the telecast presented the best in film: from Art Direction and Set Design to Actors and Films alike. So, after the glitter has faded and the gowns have been sent to the dry cleaners… what were we left with and what will be the memories that will stay in our thoughts for weeks, months or even years to come?

My blog topic will be recapturing the possible highs (and lows) of what was and has been the 85^th Annual Academy Awards!

Presented from the newly- christened Dolby Theatre, (formally the Kodak Theatre, just steps away from the Chinese Theater in Hollywood, CA) the show’s host was first- timer Seth McFarlane. The evening's youthful presenter was able to nab a 19% increase in viewers from last year’s telecast and was considered the most watched ceremony since the 76^th Annual Academy Awards in 2004, with 42.40 million viewers.

HOST: SETH McFARLANE

THE HOST: Creator of the hit television series “Family Guy” and the writer and director of TED, Seth McFarlane created a riff of lovers and haters as this year’s host and the duties performed. The show’s producers actually took a huge gamble with McFarlane, who is infamous for unapologetic, truthful and vulgar humor, yet proved to be a breath of fresh air, to this critic’s opinion. He’s more than a triple threat…he is young and good looking, charming and crude at the same time, witty, a singer and dancer…God, I hate him! Is there nothing this talented twit cannot do? Nonetheless, he held the show together and presented a sense of liveliness viewers hasn’t seen since the glory years of Billy Crystal, Johnny Carson or Bob Hope.

McFarlane looks at the video image of Captain Kirk!

Taking a page from his signature sense of humor, McFarlane had help from some of Hollywood’s best to pull off some incredible humorous moments! He coaxed William Shatner to return to the Enterprise’s Captain’s chair to play James T. Kirk who visits McFarlane via video screen to inform the host of the catastrophic reviews that would await him the following morning based off of his own tasteless humor… including a proposed opening musical number entitled "We Saw Your Boobs" dedicated to “boobs” seen in cinema over the years and the actresses who have bared them! McFarlane also involved Best Actress nominated Sally Field in his own “Flying Nun” fetish- like skit and talking her into an evening of booze and sex…including a nice lip- locked smooch to seal the deal! Amongst other skits and jabs, actor Mark Wahlberg was reunited with his childhood buddy Ted in presenting the Awards for Best Sound Editing and Sound Mixing. Ted kept coaching Wahlberg along to play Jewish so that he could stay in good with Hollywood’s elite... and stay employed!

The DOLBY THEATRE in Hollywood, CA

THE TELECAST: The Dolby Theatre is a spectacle all its own, the interiors looks like they may have had a face-lift from its previous Kodak owners, showing off some very lavish décor. The theatre was literally built with the intensions of becoming the permanent home for future Academy Award presentations, so it definitely knows how to show off great stage space and design. Production of this year’s telecast presented a very refine and classic film look…using everything from state- of - the- art screens to vintage movie cameras and film reels to dress backdrops.

Dancing! (l) TATUM and (r) THERON

This year’s theme was all about movie musicals and there were plenty of numbers throughout the broadcast! Beginning with the lampoonish “We Saw Your Boobs” musical number, as crude as the homage was intended to be, it was presented with a certain through-back flare that reminded me of something along the lines of the “Inquisition” number from Mel Brooks’ HISTORY OF THE WORLD PART I! Things, thank God, got classier from that moment on… highlighting the wonderfully graceful dance number that included surprising performances from the coupling of Channing Tatum and Charlize Theron. She in a stunning white gown and he in the classic black and white tux with spats, the number was a mere reminder of the Golden Era when Fred Astaire danced with Ginger Rogers! Actors Joseph Gordon- Levitt and Daniel Radcliffe joined host McFarlane in a “Rat Pack”- type song and soft- shoe number that probably surprised many viewers but added “singing” to the extensive list of talents portrayed by McFarlane. You wanna talk about music and musicals? Here are some of the highlights in regards!

(l) Gordon- Levitt (c) McFarlane (r) Ratcliffe

MUSICAL HIGHLIGHTS: We can go classic and talk about the wonderfully choreographed number danced by Mr. Tatum and Ms. Theron to “The Way You Looked Tonight” or the “High Hopes” sing- along with Mr. Gordon- Levitt, Mr. Radcliffe and Mr. McFarlane…but that would just the very tip of the extraordinary iceberg that would come cascading down the slopes!

As previously mentioned on a blog topic here on CINEMA: JER’S POINT, this is the year of Bond celebrating its glorious 50 years of excitement! The Academy took serious note and put together a wonderful montage of classic clips highlighting memorable moments and the themes that have become a staple in Pop Culture as well. Notably, who can deny the sultry sounds of Dame Shirley Bassey’s popular theme to GOLDFINGER? The elegance of the 76 year old singer appearing on stage at the tale end of the homage only clued any fan that Ms. Bassey was about to treat everyone to a very ‘live’ rendition of the hit tune! Not missing a beat and still capable of sending chills with every jazzy note and ending on an extended high note only proves that great singer never disappear! Bravo, indeed!

Moving from a more classical to contemporary view, a trilogy of tributes was bestowed to three modern classics. First off, the lovely and very sexy Catherine Zeta- Jones rose from below the stage on top of a piano surrounded by jazz dancers to perform the hit song “All That Jazz” from the Academy Award winning film CHICAGO… razzamatazz and oh so taboo, Zeta- Jones was smoldering and just as sensual as she appeared in the film ten years ago! Up next, Academy Award winning Supporting Actress Jennifer Hudson performs the show- stopping “And I’m Telling You Now” from her film debut, DREAMGIRLS… every note found a chill to be caused with her powerhouse rendition!

THE CAST OF "LES MIS" AT OSCARS 2013

And finally… the ‘dream’ cast from LES MISERABLES: Hugh Jackman, Anne Hathaway, Russell Crowe, Amanda Seyfried, Eddie Redmayne, Samantha Barks, Aaron Tveit, Sacha Baron Cohen and Helena Bonham Carter all take to the stage in a medley of songs from the film. Beginning with Jackman’s appearance, the medley began with the Oscar nominated song “Suddenly”, Hathaway then comes in with “I Dream A Dream” with other members coming in to reunite with “One More Day” coming to a climatic finale.

Finally, Grammy Award winner Adele takes to the stage to perform the opening number from the James Bond hit SKYFALL. Her classic features and smoky voice brought a feel for one of those European Jazz clubs that Bond could walk into and order a Martini from. Sky- blue crystal beads draped as a backdrop along with looming darkness mixed with rich colors to create the setting with great visuals. Shortly thereafter the performance, we would learn that it would win Best Original Song! Congratulations!

ADELE SINGS THE OSCAR- WINNING THEME: "SKYFALL"

BARBRA STREISAND remembers MARVIN HAMLISCH

“In Memoriam” tributes are always difficult to see and deal with. It’s never easy to see images of talented individuals that have brought so much to our worlds through entertainment and being reminded of our own morality when we pay tribute to those dearly departed. This year presented a very special tribute as in the ending of the montage; we are reminded of the passing of American composer and conductor Marvin Hamlisch (June 2, 1944- August 6, 2012) as the music from one of his beloved compositions, “Memories”, is played at a low orchestrated presentation. The screen lifts and we are greeted by the silhouette of Barbra Streisand who pays a verbal tribute to the composer who wrote many hits for her and others over the years before singing out the song to a darkened close.

HIGHLIGHTS OF THE AWARD WINNERS: A rarity as uncommon as an original screenplay these days is having a tie announced anytime throughout the ceremony… and it was! Presented by Mark Wahlberg for Best Sound Editing, the ‘winners’ were Per Halberg and Karen Baker Landers for SKYFALL and Paul NJ Ottosson for ZERO DARK THIRTY! This is only the sixth time it has occurred in Oscar history.

This can only be a sign of many other surprises that that dabbled the night through… this is a list of the more prolific accounts of the evening:

BEST FOREIGN FILM: AMOUR

Widely touted but not necessarily a Best Picture favorite, it would seem as if the French- language drama AMOUR found a home on the Best Foreign Film category instead. The story of two retired music teachers in heir eighties find their lives turned upside down when Anne (Best Actress nominee Emmanuelle Riva) suffers a stroke one day and the testament of their love is put to the test with every trying moment of dealing with the issues in hand and the sudden visitation of their daughter and her views of what should happen to her mother.

BEST ANIIMATED FEATURE: BRAVE

The magic dream machine that is Pixar strikes Gold again this year with BRAVE solidifying another victorious win for the extended creative world of Disney. BRAVE becomes so many things: a feast of spectacles for the eyes, a rousing Celtic churn of melodies and sutle female swooners gave way to the ears and a well- balanced presentation of touching drama mixed in with over- the- top humor. BRAVE speaks of taking chances and loving the ones who care for us along the way.

BEST ADAPTED SCREENPLAY: ARGO

I don’t believe that was any real surprise here with writer Chris Terrio’s win in this category. ARGO is a great film…period and behind every great film is a great story line with great dialog to help in the telling. The screenplay found many opportunities to heighten very dramatic, pivotal moments and still be able to laugh at itself when it came down to the operative of making a fake movie as a means to free Americans on the wrong side of the Iranian border. Intense. Humorous. Bold.

BEST ORIGINAL SCREENPLAY: DJANGO UNCHAINED

There is a lot to be said about the characterizations that have been brought to life from the twisted mind of Quentin Tarantino! Along with these memorable embodiments, has also come an explosion of new catch- phrases that have been a part of modern pop culture for more than twenty years now. DJANGO UNCHAINED has quickly found itself in the arms of Americana cinema for the upright boldness of making a film with a black slave as the hero! Dialog so derogatory and controversial, that only Tarantino is found laughing and pulling his pants down at the face of censorship and high- brow goodie- goodies! He is cool and ethnic, in his own world of where he comes from and his grindhouse- like upbringing!

BEST SUPPORTING ACTOR: CHRISTOPH WALTZ= DJANGO UNCHAINED

Waltz’ stand- out performance as the German bounty hunter Dr. King Shultz was nothing less than an absolute treat to watch and a gift to contemporary cinematic characterization. Dating back a mere four years when his Nazi- infused portrayal of Col. Hans Landa in INGLOURIOUS BASTERDS (also directed by Quentin Tarantino) it was evident that Waltz was a force to be reckoned with. The ability to some how masterfully articulate a certain kind of sarcastic twist mixed in with the foreign accent is looked upon with child-like delight at the marvel of he performance enhanced by the colorful dialog provided by Tarantino’s script.

BEST SUPPORTING ACTRESS: ANNE HATHAWAY= LES MISERABLES

Anyone who was surprised by this win needs to check themselves at the theater lobby! From the moment that we were reeled into the early previews of LES MISERABLES almost a year ago, one defining moment was made clear and that was the sobbing and choking rendition of “I Dream A Dream” sung by Hathaway with an acapella- sense before crescendoing into an orchestrated fusion of sorrow and chills! The film’s performance only proved to be the deal- sealer to allow Hathaway her first Academy Award!

BEST DIRECTOR: ANG LEE= LIFE OF PI

A surprise in my book, but not to many who have been singing the praises of this extraordinary fantasy adventure intended to be enjoyed and watched in a panoramic 3D theater! A possible “shoe-in” (at least in this critic’s opinion) was Steven Spielberg for LINCOLN, which was one of the evening’s surprise upsets. There is no doubt that one thing sticks out clearly of Lee’s directing and that is that he is willing to take risks and does not fall under any specific genre or category when it comes to his roster. CROUCHING TIGER HIDDEN DRAGON, THE HULK and BROKEBACK MOUNTAIN are but a brief glimpse of rich history surrounding this very innovating and contemporary director.

BEST ACTRESS: JENNIFER LAWRENCE= SILVER LININGS PLAYBOOK

Many believed that this category was locked- in for Jessica Chastain for her performance in ZERO DARK THIRTY, the slight upset finally went to Ms Lawrence who has proven to be an Oscar winner since her stand- out performance in WINTER’S BONE, which garnered her Best Supporting Actress nomination back in 2010. If Hollywood plays its cards right, we will see a very talented actress continue to build her repertoire over the next few years and go grow into a world of one of Hollywood’s most respected and hard- working actresses. Continued success!

BEST ACTOR: DANIEL DAY- LEWIS= LINCOLN

Here is an actor who has followed along with the recipe for success that I just mapped out for Ms Lawrence… a man who had immediately began to build an impressive list of early appearances in films like GANDHI, 1984’s THE BOUNY and A ROOM WITH A VIEW, before finally stepping out of the shadows with the impressive portrayal of Christy Brown in his first Academy Award winning role in 1989’s MY LEFT FOOT. It would less than ten years later in which Day- Lewis would win his second Oscar in 2008’s THERE WILL BE BLOOD, which now brings us four years later to his third win for LINCOLN. A man of few words, it would seem as if the words that are worth saying are expressed throughout the fine acting that one has come to expect.

ARGO Producers: (l) GRANT HESLOV, (c) BEN AFFLECK and (r) GEORGE CLOONEY

BEST PICTURE: ARGO

I had the opportunity to see ARGO twice, once before my blog topic discussing my choices for Oscar and once more after my topic had been posted. I felt that I may have placed all my chips on the wrong number when I elected LES MISERABLES as my pick for Best Picture and the Academy took my winnings! Granted, I may have lost that bet, but there was no loss aimed at a well- constructed film that is ARGO by any means. I believe that director Ben Affleck was literally robbed of a nomination (and a win) and I feel that justice was served that fateful Sunday evening as he stood along side his fellow producers: Grant Heslov (who has acted in films like TRUE LIES, CONGO and GOOD NIGHT AND GOOD LUCK) and George Clooney (OCEAN’S 11, THE IDES OF MARCH) to receive their appointed Oscars for ARGO! The film spoke of an era and a time almost forgotten; it should educate a generation that our government is not all about greed and corruption. As long as the public is aware of agents willing to stick their necks out for the safety of our country and people, then we will continue to sing the praises that rightfully need to be heard.

THE TRAILER FOR BEST PICTURE: "ARGO"

First Lady: MICHELLE OBAMA

SO… IN CONCLUSION…

A political thriller winning BEST PICTURE could only fittingly be announced by First Lady Michelle Obama. Receiving the envelope at The White House, Mrs. Obama read off the winner live!

This year’s presentation of the Academy Awards saw a spike from previous ceremonies for quite some time. That can’t be bad for business, right? Host Seth McFarlane might very well have been what the doctor had ordered…even though a small audience was not willing to take the medication as prescribed! Will we see the likes of Mr. McFarlane returning back for future ceremonies? If not, can we keep Tina Fey’s and Amy Poehler’s cell numbers on speed dial? Only time will prevail the fate of hosts to come and the audiences it will attract. For now, this show has been laid to rest and a new year will bring a crop of new hopefuls for February 2014!

To you, the reader: what were your thoughts on this year’s telecast? Was it a disgrace or was it the best you have seen in years? What were the highlights or downfalls of the ceremony? I continually welcome all of your thoughts and comments and will post all replies within a short period of time! I look forward to your views!

Don’t forget to mark your calendars for my next posted scheduled for FRIDAY MARCH 22^nd! Until then, support Independent Filmmakers and Great Cinema!

VALENTINE'S DAY: FRACTURED LOVE STORIES

2013-02-10T21:21:00.000-08:00

Ah, love…cannot live without it and it makes us not think straight when we have it! If it were as simple as the movies would have it, then we’d fall in love with that man that owns his family business and can jet- set the live long day away or she would be the pretty maid or struggling working girl that wants to make a name for herself while coincidentally finding love along the way. They meet, they kiss, the music swells and they live happily ever after.

The VALENTINE'S DAY option for 2013???

Did the rock group “The J. Geils’ Band” have it right when they simply stated on one of their hit songs that “Love Stinks?” Oh, come on…we are drawing near Valentine’s Day and love should be in the air. What do the studios have lined- up for the lovers out there? Nothing! I haven’t seen any trailers for anything that spells- out L O V E! Well, now, I take that back…there is one called SAFE HAVEN starring Josh Duhamel (TRANSFORMERS) and former “Dancing With The Stars” darling Julianne Hough (FOOTLOOSE) about a woman with a secret past that ends up in a small town to start anew, while her troubled male past comes back to reclaim what he feels is his… can we say SLEEPING WITH THE ENEMY rip- off??? That’s OK; no one under 25 will know the difference! Aside from that little bon- bon of a treat, we are also treated to the romantic A GOOD DAY TO DIE HARD (aka DIE HARD 6, if you’re counting), the swooning BEAUTIFUL CREATURES about witches and black magic and the animated love letter ESCAPE FROM PLANET EARTH…ah, yes, love is definitely wafting in the atmosphere!

Let’s face it, love stories have taken- up its own rules to follow and they have all pretty much looked the same since. The typical lead male is either Channing Tatum, Matthew Mcconaughey or even Gerard Butler and the lonely ladies are Jennifer Lopez, Sandra Bullock or Kate Hudson. Well, I decided to put a spin on the talk and bring up the love stories that DO NOT follow the rulebook as such. As I researched and talked it over with my “expert” on such topics, I started to see that some movies…you’ll pardon the pun…don’t receive the “love” they deserve. Here, now, are a few fractured love stories to put a twist on the upcoming Valentine’s Day or any day you need to feel the “love” (OK, that’s enough of that!)

SOMETHING WILD (1986) - This warped little love tale, directed by Jonathan Demme (THE SILENCE OF THE LAMBS) stars Melanie Griffith (BODY DOUBLE) as the free- spirited “Lulu” who runs into the conservative and boring businessman Charlie Driggs (Jeff Daniels) and turns his world upside down when a ride back to the office turns into a “kidnapping” out of town for an adventure to change old Charlie’s ways. Along the way, the couple runs into Lulu’s ex- husband, the recently paroled and violent Ray (Ray Liotta)… and that’s when the adventure really takes place!

Demme has always presented a certain style that veers to the “off- side” when it comes to character development and story telling. The pairing of Lulu and Charlie creates a fun and intriguing tryst as we find that opposites do attract with conflicting personalities. A second ‘fractured’ love line brings Lulu’s ex into the picture who will stop at nothing to get her back.

ENJOY THE ORIGINAL TRAILER FOR "SOMETHING WILD"

WILD THINGS (1998) – Accusations fly high as a South Florida high school councilor (Matt Dillon) is brought up on charges of rape from a snobby rich girl (Denise Richards) and her trashy classmate (Neve Campbell). A detective (Kevin Bacon) suspects a conspiracy is in the works and goes on the case to unravel the real story.

Wrapping itself within the swampy marshes of South Florida and creating a steamy setting, the film definitely knows how to turn up the heat and turn it up as often as possible. The audience is led to believe that some kind of attraction (or lust) is helping keep this game fully amped. The story oozes with passion, greed and betrayal as the main characters find themselves in the oddest of couplings. The film carries a classic noir setting that reminds us of those glossy, yet campy, movies that informs the audience of the cliche roles they play throughout the story telling.

EARTH GIRLS ARE EASY (1988) – Another bright and shiny sexy comedy romp produced in the 80’s. Somewhere, on the other end of the Hollywood sign, a trio of furry aliens accidentally crash- lands into a young woman’s (Geena Davis) pool. The alien leader (Jeff Goldblum) immediately finds an attraction to the Earth woman and desperately tries to help her see the error of her ways by dumping her egotistical boyfriend and hooking- up with him instead! Can Valerie see past the alien and actually find love beyond the stars?

The cult flick is lovingly directed by former music video director Julien Temple (has worked with Michael and Janet Jackson, Madonna and David Bowie) and Temple’s eye for slick video- making is evident throughout the film’s production. Davis and Goldblum were only dating at the time of the production but followed it with a marriage (and quickly followed that with a divorce), but the romance factor is cute and cuddly and never gets overly sappy! Aside from the fact that some great up- and- coming comic actors also made their debut (Julie Brown, Damon Wayans and Jim Carrey) and great bouncy musical numbers are sprinkled along to add- on to the entertainment!

THE VERY COOL TRAILER TO "EARTH GIRLS ARE EASY!"

WHAT’S UP, DOC?(1972) – Director Peter Bogdanovich’s (PAPER MOON, NASHVILLE) comedy- romantic romp through the streets of San Francisco is a stand- out treat in any sense of the word. The confusion amongst four identical plaid overnight bags brings the union of the overly- smart Howard Bannister (Ryan O’Neil) and a care-free young woman named Judy (Barbra Streisand). Judy finds Howard interesting and toys with his smarts and finds a slightly- off romantic connection that is irresistible. With the mix- up of the bags come stolen jewels and shady characters who just want the right bags returned to their rightful owners. Screwball, zany and a little sexy love make this a highly entertaining film.

O’Neil and Streisand are a perfect match as Howard is more the deadpan, easily distracted character while Judy is the upfront extrovert that wants to help Howard see how exciting life is… all by a chance meeting! Bogdanovich shines as both director and co- writer of this wacky film and presents a wonderful supporting cast that included Madeline Kahn (BLAZING SADDLES) and Kenneth Mars (YOUNG FRANKENSTEIN).

A BEHIND- THE- SCENES LOOK AT "WHAT'S UP, DOC?"

THE CRUSH (1993) – OK, so we’ve seen the story told before (ummm, LOLITA, anyone?) but there is a twist! Instead of the older man crushing on the innocent young teen… the tables are turned as the teen becomes the temptress on the unsuspected older man! Who couldn’t help but fall for the doe- eyed debut of Alicia Silverstone as the 14- year old Adrienne presenting a mad- crush on an unsuspecting 28- year old Nick Eliot (Cary Elwes- THE PRINCESS BRIDE) who was just looking to move into her family’s guest house? After Nick’s refusal to accept Adrienne’s sexual advances, he finds himself in a world of sabotage and danger with no safety to be found around the family’s property or even outside of his home.

Love will make you do crazy things at times, but obsessive and compulsive behavior becomes a toxic mix as this teenage drama presents a sexy villain in Alicia Silverstone! The film represents a dangerous kind of love: one- sided and near obsessive and played with a nice mixture of both suspense and believability by Elwes and Silverstone.

THE SUSPENSEFUL TRAILER TO "THE CRUSH"

THE NIGHTMARE BEFORE CHRISTMAS (1993) - In the more saddening of love- torn stories, the couple does not happen and the audience is left pining and wishing for a happier ending. However, what can be said about a skeletal dead being and a mad scientist’s creation finding love in a world of Halloween? The stop- motion animation film uses the storyline of love as a secondary plot with the focus remaining on how the Jack Skellington, the Pumpkin King of Halloweentown, becomes bored with the annual celebration of Halloween and curiously discovering Christmas as the new diversion he’d been after! Sally, the sewn and stuffed creation of Dr. Fenklestein, understands that there is a whole other world to be discovered other than the one she is kept in within the confines of her laboratories home. Jack and Sally quickly discover their similarities for another life than the one handed to them and find a love between them through their journeys of rediscovery.

Produced by Tim Burton, NIGHTMARE is a contemporary cult classic in every sense of the word. The film and its characters have exploded in popularity over the years with a strong marketing push on anything displaying the now iconic resemblances! Aside from the undead characters, the film’s major achievement is the memorable music and lyrics by composer Danny Elfman (who also voices all of Jack’s singing), which helps add another layer of grim and darkness to the underworld setting of the plot.

LITTLE SHOP OF HORRORS (1986) – The popular musical pays tribute to the sci- fi B- films of the 1950’s as the story is spot- on with the era’s definitions of nerds, babes and the power of the doo- wop sound! Nerdy florist Seymour Krelborn (Rick Moranis) works within the lower side of town at the Skid Row Florist Shop. Blond bouffant cutie Audrey (Ellen Greene) reports to work with visible bruises from her abusive Dentist boyfriend (Steve Martin) and Seymour secretly wishes to take her away to a better life. A mysterious flower pod is discovered and suddenly Seymour begins to grow an unusual Venus flytrap- like plant that becomes the talk of skid row turning the little flower shop into a bustling overnight success! But, with fame comes a price as Seymour finds that the plant not only grows and survives from its victim’s blood, but the fact that it must be human! Do Audrey and Seymour have enough baddies in their lives that deserve to be served as the next meal to the floral sensation they dub as “Audrey II?”

Directed by ‘muppeteer’ Frank Oz (DIRTY ROTTEN SCOUNDRELS), a marvelous cast including Vincent Gardenia (MOONSTRUCK), James Belushi (K-9), John Candy (UNCLE BUCK) and Bill Murray (GHOSTBUSTERS) flesh- out the characters originally presented as an off- Broadway show composed and written by Howard Ashman and Alan Menken, before the duo collaborated for such Disney classics as THE LITTLE MERMAID, BEAUTY AND THE BEAST and ALADDIN. It literally is a film that presents the love- triangle of man- loves- woman, woman- loves- man and plant- loves- man!

DANGEROUS LIAISONS (1988) – A tasty and very twisted storyline that plays with a variety of different emotions including desire, lust and even love. The question proposed is: can a person be subjected into a drawn- in and carefully calculated act of love just for the fun of it? Aristocrats Marquise Isabelle de Merteuil (Glenn Close) and the Viconte Sebastien de Valmont (John Malkovich) sit around their posh surroundings in 1760 France and plot and propose challenges to the other as to whom they should seduce… just for the sport of it. However, can the act of playing turn into real love as a true challenge presented in the innocent Madame de Tourvel (Michelle Pfeiffer) that creates a real ponder for Valmont.

Based on the successful Broadway play written by Christopher Hampton and directed by Stephen Frears (THE QUEEN), this Academy Award nominated picture presents a marvelous amount of talent including cast, production design, set design and costumes. The original plot was based on actual corresponding letters that details accounts of such deceit played out for simple pleasures!

THE DECEIVING TRAILER FROM "DANGEROUS LIAISONS"

U TURN (1997) – A story of forbidden passion and the lengths that a man goes through to attempt to have what he cannot have. A drifter’s (Sean Penn) car breaks down somewhere in the desert and discovers a small town inhabited by unusual characters including a beautiful femme fatale (Jennifer Lopez) that temps the drifter into a world of deception as he discovers that her husband (Nick Nolte) decides to hire him to kill his wife…at the same time that she hires the drifter to kill her husband as well! Wait til you see what happens at the very end!!!

Not one of the more commonly recognized films by director Oliver Stone (JFK, PLATOON) but the film literally follows on the heals of the highly- experimental (and controversial) NATURAL BORN KILLERS... which explains the off- setting of the story and the similarity of strange characters and plot twists. Yet, those twisted ingredients still makes this film an enjoyable and intriguing love/ lust yarn!

THE STEAMY TRAILER FOR "U- TURN"

REVENGE (1990) – A fractured love fable in every sense of the word. Unsure exactly where his life is going now, Michael Cochran (Kevin Costner) has retired from a twelve year run with the Navy. With the intentions of taking a well- deserved holiday, he decides to go south of the Border to visit an old friend, Tiburon Mendez (Anthony Quinn) a very shrewd and powerful businessman… who might be a little corrupted as well. Upon arriving at Mendez’ compound, he discovers that “Tibey” has taken on a ‘trophy wife’ by marrying a much younger and very attractive woman, Miryea (Madeline Stowe). Playing with some serious fire, Cochran cannot help but see Miryea’s desires as she looks upon him… passion ensues and they are instantly discovered and brought forth to “Tibey.” Leaving them both for dead and taking his whore wife away to hidden away, Cochan finds that he barely survives the beatings left on him only to come back to find Miryea and give “Tibey” the rightful payback for his actions!

A real scorcher of a tale, indeed… directed with heated flair by famed director Tony Scott (TOP GUN), the film captures both the heat of the Mexican desert and the passion of the forbidden affairs of our main characters. A definite must- see!

A VERY SEXY MUSIC VIDEO FOR "REVENGE"

As some lessons to be learned, not all love stories have to be storybook- based and not all love stories end with that “happily ever after” wish. Fractured as they may be, their individual and original tales still leave an audience understanding that love comes in many shapes and sizes and that beauty can sometimes be ugly as well!

What fractured love story do you enjoy? What have others have to say about it? Does it really matter? The invitation to forward your comments and suggestions always await your pick- up with a sense of friendly greetings and welcoming arms extended out!

I hope that you thoroughly enjoyed this blog entry and that you keep coming back on a bi- weekly basis for more cinematic fun! Join me as we skip to FRIDAY MARCH 1^st for the rundown of the Highlights from the Academy Awards! Thank you and take care!

THE HIGH (AND LOW) ROAD TO THE ACADEMY AWARDS 2013

2013-01-19T00:44:00.001-08:00

JER: HAPPY 2013 TO EVERYONE! I would like to take this opportunity to thank all of our readers: whether you are just passing by or ones that look forward to our regular submissions, as we celebrate our THIRD ANNIVERSARY this month! As you have noticed, there are a few changes, the biggest being that my “COUNTERPART” partner, JOHNNY CHAZZ, has decided to hang- up his critic’s hat. His views will be greatly missed. I, on the other hand, am looking forward to a brand new year of topics and discussions with the hopes to appease you, the reader!

Presenters (l) Emma Stone and (r) Seth McFarlane

CINEMA: COUNTERPOINT’S very first topic was the Academy Awards then and now CINEMA: JER’S POINT begins 2013 with a brand new topic talking about a new year’s worth of nominations and snubs that caused quite a stir during that early morning as the list was officially announced from the Samuel Goldwyn Theater in Beverly Hills, California on Thursday January 10^th, 2013. The finals read- off with a surprising lift of new life as Nominations for the 85^th Annual Academy Awards were announced by actress Emma Stone (GANGSTER SQUAD) and Seth McFarlane, who will host this year’s telecast. The two paired off nicely as jokes kept the early- risers wide awake with expected anticipation.

Ben Affleck wins Best Director (ARGO)

The 70^th Annual Golden Globes ceremony was held in the Beverly Hills Hotel on Sunday January 13^th, 2013. Many people would like to assume that the wins will be reflected on the Oscar wins as well. This has always been a misunderstood and distant concept to accept. The Hollywood Foreign Press Association (HFPA) are the common voters of the Golden Globes and have a variety of different reasons for their nominations, tallies and wins. They are made up of Press representatives that represent the foreign film markets in various countries around the world, whereas, the Academy Awards are voted upon by their peers. However, most people like their odds based on those Golden Globe wins so let me quickly announce those winners and the categories they represent.

BEST PICTURE- DRAMA= ARGO

BEST MOTION PICTURE- COMEDY/ MUSICAL= LES MISERABLES

BEST ACTRESS- DRAMA= Jessica Chastain – ZERO DARK THIRTY

BEST ACTOR- DRAMA= Daniel Day- Lewis – LINCOLN

BEST ACTRESS- COMEDY/ MUSICAL= Jennifer Lawrence- SILVER LININGS PLAYBOOK

BEST ACTOR- COMEDY/ MUSICAL= Hugh Jackman – LES MISERABLES

BEST ANIMATED FEATURE= BRAVE

BEST DIRECTOR= Ben Affleck – ARGO

The following are just some of the categories nominated for Academy Awards. I have provided the nominations and my winning predictions as well. And so, without further delay, here are some of the highlights!

BEST SUPPORTING ACTRESS:

Amy Adams- THE MASTER

Sally Field- LINCOLN

Anne Hathaway- LES MISERABLES

Helen Hunt- THE SESSONS

Jacki Weaver- SILVER LININGS PLAYBOOK

Anne Hathaway

The buzz that is circulating is the “mature” vote going to Sally Field. Not only for her broad repertoire of respected work, but for playing the real- life Mary Todd Lincoln (aka Mrs. Lincoln) to which Academy members seem to usually cast the vote towards. This time round, however, it must be said that Anne Hathaway’s portrayal of the hardened- lived Fantine in LES MISERABLES is a role that cannot be easily erased once seen. So, my prediction will lean towards ANNE HATHAWAY= LES MISERABLES.

BEST SUPPORTING ACTOR:

Alan Arkin- ARGO

Robert DeNiro- SILVER LININGS PLAYBOOK

Philip Seymour Hoffman- THE MASTER

Tommy Lee Jones- LINCOLN

Christoph Waltz- DJANGO UNCHAINED

An interesting group of talented men that have all won Academy Awards at least once before throughout their respected careers. As much as I enjoyed ARGO as a film, I didn’t think that Mr. Arkin’s performance was necessarily deserving of a nomination…with all due respect to his fine acting abilities. Can we be surprised to see Christoph Waltz win yet another Award for a Quentin Tarantino- created role? (He had previously won Best Supporting Actor in Tarantino’s 2009 INGLOURIOUS BASTERDS.) I would like to point out that it is refreshing to see Robert DeNiro receive recognition for his role in SILVER LININGS PLAYBOOK. It is the opinion of this critic to recall the disappointments felt by the recent poor choices of roles played by this talented actor in the past. (Anything with the word “FOCKER” in it!) The choice here, I will predict CHRISTOPH WALTZ= DJANGO UNCHAINED.

A look into Christoph Waltz in DJANGO UNCHAINED

BEST ANIMATED FEATURE:

BRAVE

FRANKENWEENIE

PARANORMAN

THE PIRATES! BAND OF MISFITS

WRECK- IT RALPH

God bless Tim Burton and his numerous tries in trying to present something entertaining to his audience of minions! I recently rented FRANKENWEENIE with the intentions of watching this film with a goal of being entertained and viewing it with an open mind. That path was quickly changed somewhere after the first half hour and made a speeding detour into a brick wall! The storyline couldn’t exceed from its original short live action film in 1984. Thank God for Disney! With two divisions, respectfully, being represented in this category (DISNEY and PIXAR STUDIOS,) I believe that doubles the chances with either the well- received BRAVE and WRECK- IT RALPH taking away the win. My choice? BRAVE has a strong female lead with enough drama and humor to enthrall children of all ages with a storyline promoting self- empowerment and the ability to represent individuality.

BEST ORIGINAL SCREENPLAY:

AMOUR- Michael Haneke

DJANGO UNCHAINED- Quentin Tarantino

FLIGHT- John Gatins

MOONRISE KINGDOM- Wes Anderson & Roman Coppola

ZERO DARK THIRTY- Mark Boal

Quentin Tarantino in DJANGO UNCHAINED

I would buy an E- ticket (remember those, old- schoolers?) to ride the attraction within the mind of one Quentin Tarantino. I imagine him standing in front of a three- way mirror just babbling out loud to himself… as if he enjoyed the sounds coming out of his own mouth! He has a mini- tape player eagerly recording every catch phrase and sound escaping his lungs and then writing it all down with much enthusiasm as he repeatedly says, “This is going to be fucking amazing!” Joke as I do about it all, I love the guy and project rays of envy and jealously towards the man’s success! The vote must go to the “original” QUENTIN TARANTINO!

BEST ADAPTED SCREENPLAY:

ARGO- Chris Terrio

BEASTS OF THE SOUTHERN WILD- Lucy Alibar & Benh Zeitlin

LIFE OF PI- David Magee

LINCOLN- Tony Kushner

SILVER LININGS PLAYBOOK- David O. Russell

This is not an easy pick… Is it an injustice to say that LINCOLN could lose to ARGO? And what about the deviant words of David O. Russell’s SILVER LININGS PLAYBOOK? Regardless of the argument, only one will win and only one can be selected. I am going to make a bold move and trust my gut instinct with my original choice: ARGO for the win!

The thrilling trailer to Ben Affleck's ARGO

BEST DIRECTOR:

Michael Haneke- AMOUR

Behn Zeitlin- BEASTS OF THE SOUTHERN WILD

Ang Lee- LIFE OF PI

Steven Spielberg- LINCOLN

David O. Russell- SILVER LININGS NOTEBOOK

Steven Spielberg: BEST DIRECTOR

A very disappointing category this year! Not necessarily for the Directors who were nominated, but for those that were snubbed! Ben Affleck for ARGO- snubbed! Quentin Tarantino for DJANGO UNCHAINED- snubbed! Tom Hooper for LES MISERABLES- are you kidding me with the snub on this one? And finally Kathryn Bigelow for ZERO DARK THIRTY- snubbed! As respected as I feel Ang Lee’s nomination is and deserving, I don’t feel that a candle can be held upon the lush and meaningful direction of Steven Spielberg for LINCOLN. (That’s my choice, by the way.)

BEST ACTRESS:

Jessica Chastain- ZERO DARK THIRTY

Jennifer Lawrence- SILVER LININGS PLAYBOOK

Emmanuelle Riva- AMOUR

Quvenzhane Wallis- BEASTS OF THE SOUTHERN WILD

Naomi Watts- THE IMPOSSIBLE

The category that made Oscar history this year: At 85 years old, Emmanuelle Riva (AMOUR) is the oldest living Actress nominee to date as Quevenzhane Watts (BEASTS OF THE SOUTHERN WILD) is the youngest at 9 years old. With all due respect to the various ages and talents involved, it is clear to see that Jessica Chastain has always been an exceptional actress with many great roles under her belt already (TAKING SHELTER, THE HELP) so it would be a justifiable win to see her receive an Academy Award for her portrayal of true- life CIA Agent ‘Maya’ in ZERO DARK THIRTY!

Behind- the-scenes look at ZERO DARK THIRTY

BEST ACTOR:

Bradley Cooper- SILVER LININGS PLAYBOOK

Hugh Jackman- LES MISERABLES

Daniel Day- Lewis- LINCOLN

Joaquin Phoenix- THE MASTER

Denzel Washington- FLIGHT

Hugh Jackman

Not as easy as it may seem! We might be looking at two front- runners here. The general flip of the coin is going to be Hugh Jackman (LES MISERABLES) on one side; the other would be Daniel Day- Lewis (LINCOLN). So, who gets to call ‘heads’ or ‘tails’ on this one? My vote would have Hugh Jackman for LES MISERABLES land on the winning side.

BEST PICTURE:

AMOUR

ARGO

BEASTS OF THE SOUTHERN WILD

DJANGO UNCHAINED

LES MISERABLES

LIFE OF PI

LINCOLN

SILVER LININGS PLAYBOOK

ZERO DARK THIRTY

The controversial of all nominees as of late. Could we easily have dealt with five nominations as we had in the past? If so, which ones of these nine would stay and which would go? Could we shave off the access weight and say that the “fair five” would have been ARGO, LES MISERABLES, LINCOLN and ZERO DARK THIRTY and maybe either DJANGO UNCHAINED or LIFE OF PI? Is this an agreement between the Academy and Studio to allow their “pick of the week” to garner one last chance at making some bank before they are whisked away into the world of Redbox or your local Costco for sale or rent? This category has not had one definitive film lead the race… some may call the true life telling of LINCOLN the front- runner, yet others will say that the biographical accounts of the hunt for Osama Bin Laden in ZERO DARK THIRTY might be winner. Tough category, indeed! I will take a huge leap of faith and cast my vote for… drum- roll, please…BEST PICTURE= LES MISERABLES!

A great behind- the- scenes look at LES MISERABLES

A BEST PICTURE should be just as the title state, an overall satisfying and well- presented motion picture. All departments play a vital role in the assistance of any film winning Best Picture, in my book. One has to consider everything from the acting to the screenplay, the Art Direction to the Cinematography, costumes to the musical score: every integrate piece of the puzzle creates the overall picture. If a piece is missing, the puzzle is not complete and the overall image is left incomplete. This year’s LES MISERABLES had fine drama, tears, a touch of laughter, intensity, perversion and even music! Tom Hooper’s direction MUST be recognized for a wonderful transition into a dark historical part of France’s history and for a near- flawless adaption of a classic and beloved Broadway hit! Bravo!

And so, the race begins! The nominations have been casted and the votes from the individual categories are being drawn. Then there are those of us who will await the final announcements on Sunday February the 24th to see what has been selected and watch host Seth McFarlane do and say whatever it'll take to bring down the walls at the newly- christened Dolby Theatre (formally The Kodak Theatre) in Hollywood, CA.

I now turn the written opportunity to you, the reader. Do you agree with some of my predictions or who do you feel should deserve the win and why? I welcome everyone's opinion and plan to post and reply to all comments. Please feel that you are a part of this blog- site and I look forward to your words!

Make sure that you visit back for my next entry post on FRIDAY FEBRUARY 1st, 2013 as I re-visit the wins and the loses from the 85th Annual Academy Awards! See you back here soon and visit as often as you'd like! Thank you for stopping by!

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JER'S TURN- E.T.: THE EXTRA- TERRESTRIAL TURNS 30!

2012-12-20T15:45:00.000-08:00

JER: My “COUNTERPOINT” partner, JOHNNY CHAZZ, was supposed to have conjured up an interesting, possibly controversial, subject to discuss this week on his turn. However, my poor friend has been feeling a bit under the weather and passed the literal baton off for me to complete the race instead. So, after some pacing the floors and waiting for lightning to strike with inspiration, I came up with the idea of focusing on a film that might be celebrating an anniversary before we kiss- off the year that was 2012!

By looking at anniversaries, I thought that 30 was a nice, round number to begin with. It turns out that 1982 was a pretty good year for a collection of films that have stood the test of time, maybe some a little more popular than another, but still holding their perspective place after 30 years. Some of those films include BLADE RUNNER, HEAVY METAL: THE MOVIE, THE THING, PORKY’S, TRON, FAST TIMES AT RIDGEMONT HIGH, CONAN: THE BARBARIAN, POLTERGEIST, PINK FLOYD: THE WALL, STAR TREK II: THE WRATH OF KHAN, THE DARK CRYSTAL and BREAKING AWAY. Again, good or bad, whatever your opinions might be, they have all gathered a sense of ‘cult’ followings, respectfully, and a fan base of devotees always ready for another screening of their favorite.

My attentions, instead, went towards a film that actually changed my personal perspective of both film- watching and the mechanics of film making. The film, somewhat, sneaked its way into the theaters during the Summer of 1982… having a very limited engagement… almost testing the waters, for fear of failure. The film I would like to recognize and highlight is the Steven Spielberg classic, E.T.: THE EXTRA- TERRESTRIAL.

The film would open a month before I would turn 14 years old on June 11, 1982. It was the “Summer Of Spielberg” since POLTERGEIST had just opened a week prior on June 4, 1982… although credited as Story, Screenplay and Producer; it was obvious that there was a lot of Spielberg projecting onto the screen by way of direction and not at all like the films that its director Tobe Hooper (THE TEXAS CHAINSAW MASSACRE) was known by. At this time in my life, what was there not to know of Steven Spielberg from CLOSE ENCOUNTERS OF THE THIRD KIND, JAWS and RAIDERS OF THE LOST ARK?

PLOT: A group of alien botanists visit planet Earth one evening and explore an outer forest section on the outskirts of a suburban neighborhood. While collecting specimens to observe, their mission is cut short as investigators come barreling in all terrain vehicles, as they must have witnessed and tracked the landing of the alien ship. Quickly, the aliens are summoned back into the ship before they are captured…except for one. One of their own had strayed a little too far, taking in the wonderment of the forest’s trees and is left with the desertion as his fellow botanists’ ship departs while leaving him behind.

Enjoy this wonderful tribute to E.T.

Quickly, the alien tries to hide from the human intruders and seeks shelter below the path now leading towards a residential area. Elliott is a typical ten year old boy living in a typical middle- class American home with a typical family. As if through some sort of sixth sense, Elliott is led to the outdoor shed where certain gardening tools are kept… he realizes he is not alone.

Through curiosity, Elliott finds a way to persuade the alien out of hiding and into his room, where he befriends and cares for his new found companion. The secret is broken as Elliott divulges the discovery to his siblings without mom’s notification.

Elliott names his new friend E.T. after the title of extra- terrestrial, meaning life from outside Earth. Elliott and E.T.’s connection grow strong as one can feel what the other feels. Although there is a feeling of safety, E.T. still expresses the need to return to his home and asks the assistance of Elliott in finding a means to communicate with his fellow botanists to come back and retrieve him.

ORIGINS: Although director Steven Spielberg didn’t write the story, there were many compatibilities between his childhood and that of Elliott’s, the protagonist of the film. Focusing on Elliott’s plight, he is a meek 10 -year- old boy. In 1982, it could arguably be said that it was more of an awkward time to grow- up in, aside from his age, then that of a 10- year- old growing up today. Elliott would not have grown up in a world of de-sanitation with the exposure of the internet and the frankness of the media and television. Hard to believe, but 1982 was considered a more innocent time in America than 2012 could ever be. Elliott is also coming from a newly separated family, with his father no longer in the picture and being the middle child to an older brother, Michael and younger sister, Gertie. Spielberg also endured a divorced upbringing with older siblings as well… he was the only boy (or ‘man’) of the house with the absence of the father figure. Both Spielberg and Elliott grew up in sheltered homes with mom playing both parental figures and a feeling a sense of rejection and ‘not fitting in’ with classmates and the world around them.

Spielberg, at an early age, discovered how to work his father’s home movie camera and used the new media as a means to escape and express what was once missing in his life. Elliott, on the other hand, was given a friend, being entrusted to care for someone as he once wanted to be cared for. Both found something that would allow expression and love to replace a state of loneliness that once was felt.

Spielberg explains the origins of E.T.'s storyline

Divorce has always been a very personal, hurtful and touchy topic on any scale. Hollywood had never really presented a film that dealt with the subject. The world was making a change in itself, technology and music was continually experimenting and films were becoming far more sophisticated than it had within the last ten years. Spielberg knew that with change came the responsibility to introduce families, especially children, into the world of divorce. The rates were growing higher than ever before and the time to heal was now.

Screenwriter: MELISSA MATHISON

Writer Melissa Mathison was a female screenwriter who was just beginning to make a name for herself within the Hollywood circuit. Having co- written the Francis Ford- Coppola produced THE BLACK STALLION in 1979, Mathison was enjoying the critical praising from the film. Having just started dating actor Harrison Ford, Mathison and Spielberg were introduced. Spielberg began pitching an idea about a boy who was dealing with divorce and how he wanted to combine that concept with the idea of his visiting aliens from CLOSE ENCOUNTERS OF THE THIRD KIND. His thoughts were always that he didn’t want to see the aliens leave in the end… he wanted them to stay so that we could learn more about them and interact with this new species. So, the thought of “what- if” came into his head: what if one of them stayed behind and befriended someone whose innocence, almost ‘childlike’ qualities, were what was needed to truly except the new being. With that pitch, Mathison began to work on a storyline structure…the rest, as they say, was history. Now that the screenplay was ready for the cameras, the idea of how E.T. would come to life needed to be worked out.

Creature Creator: CARLO RAMBALDI

Special Effects and puppeteer expert Carlo Rambaldi had previously worked with Steven Spielberg in the creation of the aliens seen in CLOSE ENCOUNTERS OF THE THIRD KIND in 1977, a year later he assisted with the head movements for the creature in Ridley Scott’s ALIEN. Spielberg approached Rambaldi with the task of creating an even- more detailed alien than anything he had ever created. Its articulations, body and facial appearances needed to be so life- like that audiences could lose itself in the character than point out that it was a guy in a suit or just another puppet on a set. It would take a total of seven operators to control E.T. and bring him to life. The results were so exceptional, that many of the actors and crew members believed that E.T. was just another living actor on the set. Many of the child actors would attest that they knew him to be alive throughout the production. Many of the operators would keep E.T.’s movements alive even when the cameras weren’t rolling to keep an ongoing sense of magic on the set. Carlo Rambaldi won an Academy Award for Best Effects/ Visual Effects for his creation of E.T. His career would have his wizardry appear in later films like DUNE (1984) and Stephen King’s SILVER BULLET (1985) before he would continue doing some minor make- up effects for his native Italian- made films until 2006. Rambaldi died on August 10, 2012 in Italy at the age of 86.

Rare glimpse of Carlo Rambaldi talking about creating E.T.

As much as earlier Steven Spielberg films went, his casts were always made up of real people whom the audience could conceivably believe could possibly live though any scenario their director might have in store for them, however, he rarely used Hollywood big name talents. Many of the cast, especially the children, were first- timers on any Hollywood set.

HENRY THOMAS

Henry Jackson Thomas Jr. was only ten years with a very minor film role under his belt before auditioning for the role of Elliott. It was during a weepy improvised scene involving taking E.T. away from Elliott that made Spielberg teary- eyed while blubbering, “kid, you got the part!” Thomas’ career has been a flourishing one since with roles in such films as CLOAK & DAGGER (1984), LEGENDS OF THE FALL (1994), GANGS OF NEW YORK (2002) and the recently completed BIG SUR set for a 2013 release.

ROBERT McNAUGHTON

Robert MacNaughton was fifteen years old when he played Elliott’s older brother Michael. His acting career had consisted of three minor roles before his audition for E.T. Since then, MacNaughton did one other feature film entitled I AM THE CHEESE (1983) and did some minor television appearances before leaving Hollywood in 1987. His last known whereabouts was that of a U.S. Postal Service employee in Arizona. He has stated that he felt very blessed to have been an actor but that he was ready to move on with his own life.

DREW BARRYMORE

Drew Blyth Barrymore was a tender six year old when she received the role of younger sibling Gertie. Considered to be the more successful of the child actors that came from E.T., Barrymore’s credits include actress, director and producer. Granddaughter to screen actor John Barrymore and Great- niece of famed actors Ethel and Lionel Barrymore, Drew’s personal history carried equal attention as that of her professional career. She began drinking alcohol at the age of 9, took up marijuana at ten and began snorting cocaine at the age of twelve. Fame gave her freedom to do whatever she pleased and pulled her life together by the mid 90’s. Today, Barrymore is best known for her acting roles in such memorable films like CAT’S EYE (1985), BOYS ON THE SIDE (1995), SCREAM (1996), THE WEDDING SINGER (1998), CHARLIE’S ANGELS (2000) and 50 FIRST DATES (2004). She also founded her own production company, Flower Films, in 1995.

(left) PETER COYOTE (right) DEE WALLACE

Two adult characters took center stage within E.T. Actress Dee Wallace would play Mary, the recently separated mother of Elliott, Michael and Gertie. Wallace, at the time, was recognized as the heroine Karen White in Joe Dante’s THE HOWLING. Since her breakout role, she went on to star in films like CUJO (1983), Peter Jackson’s THE FRIGHTNERS (1996) and Rob Zombie’s HALLOWEEN (2007).

The other adult actor was Peter Coyote who played a character simply known as “Keys” (named so for the large, jingly keying attached to his belt while searching for E.T.) Since his role, Coyote is still a very busy television and screen actor to this date.

(left) JOHN WILLIAMS with STEVEN SPIELBERG

MUSICAL SCORE: The impact of E.T.: THE EXTRA- TERRESTRIAL lies in many different aspects: cinematography, lighting, set- design, screenplay, acting and direction. One of the most important and notable pieces of this or any film is the soundtrack. It would be very difficult to imagine anyone other than composer John Williams creating and conducting the music that accompanies E.T. right from the very start of the film. From the first alto flute note heard at the opening to the orchestra’s finale, the music becomes a character all of its own throughout the journey.

Before E.T., Williams had worked with Spielberg previously by scoring his earlier films: THE SUGARLAND EXPRESS (1974), JAWS (1975), CLOSE ENCOUNTERS OF THE THIRD KIND (1977), 1941 (1979) and RAIDERS OF THE LOST ARK (1981). To date, Williams has scored an overall 25 films for Spielberg total. There is much to be said about the magic of the music that brings equality to what E.T. as a film defines as. There is innocence, fear, action, suspense, drama, tears and joy presented on screen and heard in the various melodic themes though out.

John Williams conducting the "Flying Theme" from E.T.

John Williams would go on to win an Academy Award for Best Original Score for E.T.: THE EXTRA- TERRESTRIAL in 1983.

THE AFTER-MATH: E.T. IS A HIT!: Words cannot describe the out- pour of E.T. after its release. Everyone wanted a piece of E.T. memorabilia and every known studio, merchandising network and product were all too quick to please the high demands!

E.T.'s likeness was plastered on everything from his own cereal, lunchboxes, underwear, t- shirts, posters, toothbrushes, trading cards, Christmas ornaments, coloring books, candy, action figures, plush dolls and paperback novels... just to name a few items!

Two very ambitious and entertaining projects came from musicians that were 'touched' by E.T.'s magic, child- like qualities and the positive presentation of friendship. One was a long- playing album that told the story of E.T.'s adventures on Earth... it was read by none other than the 'child' superstar himself, Michael Jackson!

The other was a reflection of emotions projected from the film that inspired singer/ songwriter Neil Diamond to write a hit song entitled "Heartlight." The song talks about the development of friendship, not leaving and even flying over the moon!

A live presentation of HEARTLIGHT by Neil Diamond in 1988

13 YEAR- OLD JER WITH E.T.!!!

Universal Studios offered fans their chance to visit the Studio/ Theme Park that Summer to experience THE E.T. EARTH CENTER. It was a magnificent collection of all the available products and merchandise all under one roof (well, under one tent, to be exact). Wall- to- wall, as far as the eye could see offered visual candy to anyone who had fallen in love with E.T. One of the greatest opportunities available was a photo center that allowed anyone to take Elliott's seat on the bike as you went whisking past the moon with E.T. riding along in the basket in front. No surprise...I had to have my own photo, which I display proudly to this very day! Eat your heart out!

THE AFTER-LIFE: THE BLU- RAY RELEASE: Anniversaries can go many different ways. Depending on the magnitude and impact that a particular motion picture made to pop culture or contributed to the industry, many anniversaries have been celebrated with re- releases, special editions or even a face- lift by way of a re-mastered process. This portion of my topic will now focus on the first- ever release of E.T.: THE EXTRA- TERRESTRIAL in the blu- ray format.

The news had officially announced that the long- awaited release of the beloved film would finally make its way onto the blu- ray format on October 9, 2012 as part of Universal Studios 100^th Anniversary as a working film studio. E.T. would also be released at the right time, since it was celebrating its own 30^th anniversary, respectfully as well.

The blu- ray format offers a special digital transfer that creates a much cleaner and detailed image to meet the standards of the current high- definition seen in most formats like I- phones, I- pads and flat screen television screens. In order to truly get the best transfer available, it narrows down to source to which the process is transferring from. Based on how well the film was originally photographed and cared for by its rightful studio, a film can re- represent itself in a very clean and pristine copy or it can be derived from a lesser- than edition. Most studios have been put ‘in- check’ with the lack of care placed in some of its digital transfers. E.T., on the other hand, does not suffer from such issues.

The original 35 MM negative to E.T. was pulled from the vaults to follow through the digital process, a timely procedure that literally photographs each analog frame digitally from the negative. Just to give you an idea, the digital outcome creates clarity three times the actual resolution of the film. Once the entire film was photographed and processed digitally, a restoration crew of professionals will analyze and repair each frame as needed. All dirt will be removed, all tears in the film will ne patched up and any tarnishes or discolorations from the film can be color- timed to the best imaginable image. A film made in 1982 now looks like a film made weeks ago in 2012.

The same procedure is similar for the digital process of the film’s sound. Sound is typically recorded separately, unlike a camcorder, which records picture and sound together in the same format. The best available reproduction of sound is also based on the highest available source. In the case of E.T., the original sound was still intact and used to not only be used for a digital transfer, but to be reproduced in a newly created 7.1 surround system. The name is a common term for an eight channel home theater sound system by adding two more speakers to the conventional 5.1 (or six channel system). There is the standard front let and right speakers, center, subwoofer, and not two but four rear channels that are split to create more of a fluid surrounding of sound.

The picture clarity’s transfer is spot- on with the film never looking so good previously. I personally had owned the VHS tape and DVD releases with no comparison whatsoever. The newly recorded sound and music also carries through with a sense of hearing things that had never been picked up before.

Trailer announcing the release of E.T. onto Blu- Ray

Back in 2002, when E.T. celebrated its 20^th anniversary, director Steven Spielberg decided on using the digital graphic imaging (CGI, as it is commonly known as) to help ‘touch- up’ some moments that couldn’t be completed in 1982 originally due to the lack of sophisticated special effects. Spielberg incorporated new digitally- enhanced expressions on E.T.’s face as well as touching up some the lesser- than spectacular effects. Considered one of the most controversial steps taken by Spielberg was the digital ‘removal’ of the federal agents’ rifles and instead, replacing the agents hands with walkie- talkies. There was some back- lash from the purists who felt that Spielberg was finagling with the classic, much like director George Lucas had done with the original STAR WARS trilogy.

(left) Original scene with rifle (right) 2002 version with walkie- talkie animated it

With that being said, both Universal and Spielberg decided to release the original 1982 edition without any digital enhancements.

FINAL THOUGHTS: So, in conclusion, E.T.: THE EXTRA- TERRESTRIAL is a film that excused a number of different expressions from various people. It is a happy and imaginative film to some, an anti- political presentation to others and a weepy and emotional heart- wrenching film to the rest. The film represents a bench- mark setting for the typical 80’s films in the early years and set a standard in quality storyline and filmmaking for years to come thereafter… however short- lived that became in the end. In the end, thank goodness for films like E.T.: it allows us to believe in the power of storytelling and imagination in a cinematic world of re- makes and un- imaginative fluff that we are made to endure presently.

E.T. is also was considered a rarity of its own kind: being a blockbuster hit with an overall worldwide gross of nearly $800 million dollars and remaining the number one top- grossing film for almost fifteen years, Spielberg never made a sequel. Despite the current churn of spin- offs and quick sequels known by today’s standards, Universal actually backed- up Spielberg’s decision otherwise. As he put it, the journey of E.T. was a once in a lifetime adventure, never to be repeated again.

Look into the skies and dream…allow your senses to be fooled by what you might see or imagine seeing. For when Elliott thought that no one would understand him, along came a friend in the most unconventional way imaginable!

What are your earliest memories of E.T.: THE EXTRA- TERRESTRIAL? Do you have any happy thoughts when you think of E.T.? We always want to hear from you and we look forward to your comments...all will be answered in return within a short, few days!

CINEMA: COUNTERPOINT will be taking a short hiatus to celebrate the Holidays with our loved ones! Our next posting will be on WEDNESDAY JANUARY 23rd!

From all us to all of you...have a very Happy and Safe Holiday and a very prosperous New Year! SEE YOU BACK HERE IN 2013!

JER'S TURN: 50 YEARS of BOND... JAMES BOND!

2012-11-28T20:06:00.002-08:00

JER: “My name is Bond, James Bond.” Vodka martini: shaken, not stirred. A ladies’ man. A Double- O agent for Britain’s MI6 division. The driver of an Aston- Martin DB5. A professional Baccarat and other card games’ player. His supervisor’s name is M and he is supplied with the latest gadgets by Q. I cannot say that it hard for me to believe that 50 years of James Bond is being celebrated with the release of the franchise’s 23^rd film SKYFALL this year, but I am glad that the series is strong and has survived many blockades throughout the years. In fact, an affirmation is made at the end of SKYFALL by informing its audience that, in bold capitalized letters: BOND WILL BE BACK! Because of this, I feel it only right that the timing has brought me to talk about my personal favorite character and the many embodiments that have happened to bring to the silver screen: the world of James Bond.

Author & Creator of James Bond: IAN FLEMING

ORGINS: The character of James Bond was created in the mind of British author Ian Fleming in 1953. Based on research and the tales known of Fleming, James Bond would seem to have a lot in common with his creator than mere fiction would have. Fleming was a womanizer, having had many short- term affairs with women even when he was married, like Bond, he also enjoyed gin and was considered a very dashing and worldly gentlemen who spoke four different languages. Fleming also dabbled in the world of espionage and the British Intelligence.

In 1939, Fleming began a more formidable attachment to British secret service when he began working for Naval Intelligence. During the last year of the war, he traveled to Jamaica for a Naval conference. It is then that he discovered his personal tropical paradise and as soon as the war was over, he returned back and purchased property and designed his own home: he gave his house the name of “Goldeneye.”

Over the next few years, Fleming would flesh- out a character that included many of his attributes and personal/ professional experiences into a defined ‘gentlemen’s gentlemen’ role. He had to be dashing and in control, he could both woo a woman and put her in her place as he saw fit, he needed to be internationally prepared in various languages, techniques of gambling and drinks and go about without raising a suspected eyebrow. He would carry honor and the love for his country and would be prepared to do anything at the call of duty. The first literary appearance of James Bond was in “Casino Royale” which was published in 1953. The rest, as they say, was history.

Producers: (l) HARRY SALTZMAN & (r) "CUBBY" BROCCOLI

THE BOND/ SEAN CONNERY EARLY YEARS (1962- 1967): Throughout the history of radio broadcasts and film, many different variations have come about using the name James Bond. The general focus that will be placed here is on the “official” James Bond films released through Eon Productions: a private and family- owned company created by film producers Harry Saltzman and Albert “Cubby” Broccoli, based in London that also operates from the Pinewood Studios in the United Kingdom. It is a subsidiary of Danjaq LLC, the holding company that officially owns the copyrights and trademarks to the Bond character and events portrayed on the screen. Broccoli’s name is essential to the Bond storytelling, since his name virtually appears in the opening credits of every Bond film since 1962. Albert passed away in 1996, however his daughter, Barbara Broccoli, continues on the legacy by co- producing the Bond films since her father’s death.

SEAN CONNERY

The first actor to bring James Bond to the silver screen was an Irish actor named Sean Connery. Born on August 25, 1930 in Fountainbridge, Edinburgh, Connery joined the Royal Navy but was discharged due to medical conditions. When he turned 23, he had a choice of either becoming a professional football player or an actor… he chose acting and said it was one of his most intelligent moves. He had a flourish career as an actor for both screen and television, but his major breakthrough would come in the way of portraying 007. The choice of casting Connery in the role was not the producers’ first, however, their attention was caught from Connery’s strong- willed temper for not standing down during points of the audition process.

DR. NO would be both Bond and Connery’s first embodiment of the role, making its debut on October 5^th 1962. Budgeted at an estimated $1,100,000.00, the film took in $59 million worldwide. Popular television actor Jack Lord (the original HAWAII 5-0) portrayed CIA agent Felix Leiter: a character that would become both an ally and a friend to Bond throughout the franchise’s story arc and the first “Bond girl” Ursula Andress as Honey Rider rounded off the cast. Andress won a Golden Globe in 1964 for “Most Promising Newcomer- Female” beating out Tippi Hedren for THE BIRDS.

An exciting trailer for the first Bond film: DR. NO

FROM RUSSIA WITH LOVE (1963) had Sean Connery returning back as Special Agent 007 as he goes on the search for a Russian decoder machine. This is also the first film that introduces Bond enthusiasts to the evil SPECTRE organization, which will continually build a storyline arc for a number of films to come as the company that vows to destroy the British Secret Service division known as MI6 and James Bond himself. Rounding off the cast is Robert Shaw (JAWS) as the muscle- bound Russian baddie, Grant. This is also the first film to introduce SPECTRE’s evil leader, Ernst Blofeld, played by Anthony Dawson. Mike Myers would parody this character as Dr. Evil in the AUSTIN POWERS trilogy. Given a rise in budget, the production came in at an estimated $2 million dollars with a return gross of $79 million worldwide. It would seem as if Bond has created quite the name for himself with many more stories to be told!

Third time’s a charm for both Bond and Sean Connery, as GOLDFINGER (1964) is released and becomes an instant hit with the fans, some claiming to be the best of the franchise. Beginning with the popular characters that appeared in the film including actress Honor Blackman as Pussy Galore, Harold Sakata as the evil hat- throwing ‘Odd-Job” and Gert Frobe as the menacing Auric Goldfinger, the world of Bond was quickly establishing memorable villains and Bond girls to come. Making a budget jump to an estimated $3 million, the returns worldwide would appear as a lucrative $125 million worldwide. Yes, Mr. Bond, you are definitely becoming the international man you set out to be! Gold would definitely come to GOLDFINGER in the way of an Academy Award win to Norman Wanstall- Best Effects, Sound Effects.

Without hesitation, Connery would slam down the martinis and the villains in the fourth installment in the series in 1965’s THUNDERBALL. This time round, Bond’s mission is to head down to the Bahamas to recover two stolen nuclear warheads in the possession of SPECTRE. The film introduced both Claudine Auger as Domino and Italian actor Adolfo Celi as SPECTRE’s evil Emilio Largo into the world of Bond. The film used a number of different special effects and live- action photography for its underwater action sequences.
With an estimated budget of $9 million, THUNDERBALL came back with a strong $141 million. It, too, won an Academy Award: John Stears- Best Effects, Special Visual Effects.

Donald Pleasence as Blofeld

YOU ONLY LIVE TWICE (1967) once again having Connery as 007 in this fifth installment. Bond’s mission, this time, takes him to Japan as he works with the Japanese secret service ninja force to stop a series of ‘spacejackings’ before a nuclear war is provoked by SPECTRE. The character of Blofeld returns with more enfaces placed on his evil plans for world domination. Blofeld is played by fame character actor Donald Pleasence (HALLOWEEN). Budgeted at an estimated $9,500,000.00, the film grossed approximately $112 million. After production, Sean Connery felt that he was done as James Bond and told producers that he would never play the secret agent again. With that said, producers looked into the horizon as Bond was about to take another step forward in the growth of child to adolescence.

GEORGE LAZENBY

THE BOND FILMS: GEORGE LAZENBY/ SEAN CONNERY FINALE (1969- 1971): With Sean Connery out of the picture, a worldwide search was conducted: enter George Lazenby. Born in Australia on September 5^th, 1939, Lazenby made a move to London, England in 1964, after serving the Australian Army. He was cast as James Bond in 1968 based off a screen test fight scene, the strength of his interviews and fight skills. The new Bond would make his debut in ON HER MAJESTY’S SECRET SERVICE in 1969.

On a brand new mission, Bond takes to the Swiss Alps in ON HER MAJESTY’S SECRET SERVICE. Bond lays down the charm with lots of thickness as he woos a mob boss’s daughter and goes undercover to find out more information about Blofeld’s secret heavily- guarded Switzerland chalet. What’s this? England’s most eligible and untamable bachelor gets married? The bride is Diana Rigg (Emma Peel from TV’s THE AVENGERS) as Tracy. The honeymoon, however, is cut short, thanks to the doings of Blofeld, this time played by Telly Savalas (TV’s KOJAK). So, how did the new Bond favor in the box office? At an estimated cost of $7 million, the film’s returns grossed about $87 million. Lazenby actually quit the role of Bond right before its premiere night, claiming he could get other acting roles as well as stating that the Bond contract was too thick and too demanding on him.

The exciting trailer for ON HER MAJESTY'S SECRET SERVICE

Rumor has it that David Picker, the head of United Artists at the time, made an offer that couldn’t be refused when he enticed Sean Connery to making his encore performance as James Bond in the seventh installment to the franchise. Connery agreed with the inclination that he would ‘never’ play Bond again!

DIAMONDS ARE FOREVER (1971) brings the return of 007 at his new mission in the investigation of who is smuggling diamonds, which are being stolen in the process. Ernst Blofeld might have changed his physical appearance and Bond is left wondering if he might have anything to do with the recent thefts. Television and film actress Jill St. John plays the latest Bond babe as Tiffany Case and character actor Charles Gray (“The Narrator” in THE ROCKY HORROR PICTURE SHOW) as the newest embodiment of the ever- changing Blofeld rounded off the cast. How did audiences take to Connery’s return as Bond? At a budgeted $7.2 million, the gross was an estimated $116 million.

ROGER MOORE

BOND IS BACK: ENTER ROGER MOORE (1973- 1985): Roger George Moore was born on October 14, 1927 in Stockwell, England and had been an earlier contender as Bond’s successor before Lazenby’s casting and Connery’s return, but Moore’s schedule on British television’s THE SAINT (1962- 1970) didn’t allow him the opportunity to pursue the role. The timing was right when producers offered the role of 007 with Moore’s acceptance. According to Moore’s autobiography, he had to lose weight and cut his hair for the role. Although he resented it, he was finally prepared to put his own spin on the Bond character.

Arguably, fans have debated that Sean Connery set the bar high in the representations of Bond. In agreement, there weren’t any other actors to compare his interpretations to. There is something to be said about Moore’s take on Bond: there were women for Bond to seduce in those years, Moore brought a regal and dry wit to his mannerisms and played 007with a proper English accent as apposed to Connery’s signature Scottish tones.

LIVE AND LET DIE was released on June 27, 1973. Bond’s latest adventure pit- stops in New Orleans as he investigates the deaths of several British agents. While traveling deep within the world of the Cajun community, Bond encounters voodoo, witch doctors and black magic along the Bayou way. Yaphet Kotto (ALIEN) played Mr. Big, a self-made heroin controller along with Jane Seymour (TV’s DR. QUINN: MEDICINE WOMAN) as the mysterious tarot card- reading Solitaire helped round off the cast. Budgeted at an estimated $7 million, the film went on to gross approximately $125 million in box office receipts. Looks like audiences still loved James Bond, no matter who played him… so far.

Moore’s second role as Bond would be in 1974’s THE MAN WITH THE GOLDEN GUN. 007 is led to believe that he is targeted by the world’s most expensive hit- man, Scaramanga (Christopher Lee) who charges a million dollars per job. Can Bond stop him before it’s too late? Bond deals with twice the babes with Britt Ekland as Goodnight and Maud Adams as Andrea… he also has to avoid Scaramanga’s right- hand man, Nick- Nack (Herve Villechaize: Tattoo from TV’s FANTASY ISLAND). The most expensive budget to date, the film’s cost was an estimated $13 million with an estimated $98 million in returns.

The year is now 1977 and Bond is celebrating fifteen years since DR. NO's release. To coincide, the tenth adventure is released on August 3rd as THE SPY WHO LOVED ME. (This critic’s favorite film of the franchise). With Egypt as the backdrop, Bond is united with a KGB Russian secret agent, Major Anya Amasova/ “Triple XXX” (Barbara Bach) to investigate the hijacking of British and Russian submarines carrying nuclear warheads taken by mastermind Karl Stromberg (Curt Jurgens). Along with Stromberg, he is joined by his henchman Jaws (Richard Kiel), the man with a mouthful of metal teeth. Moore really comes into his own as Commander Bond with quick- thinking one- liners and biting wit with the charms of the gentleman in wooing quite a few eligible Bond babes throughout the film. Raising the bar slightly, the budget inflates to an estimated $14 million and grossing a well- received $186 million! Songwriter/ composer Marvin Hamlisch provides one of the best soundtracks provided for a Bond film.

Carly Simon's opening theme to THE SPY WHO LOVED ME

At the end of a decade, 1979 marks the release of MOONRAKER. The typical exotic locations are put aside as Bond takes to outer space in an adventure that has him investigating the mid- air hijacking of a space shuttle that leads him to the rocket’s creator, Hugo Drax (Michael Lonsdale). Lois Chiles is the brainy Bond babe playing Dr. Holly Goodhead along with the return of henchman Jaws, he drew popularity previously. Bond did not want to fall behind in the film industry’s love for sci- fi/ space films (STAR WARS, ALIEN) and in keeping up, the budget grew to a whopping $34 million dollars with a high- end return of $210 million worldwide… the largest return on a Bond film yet!

FOR YOUR EYES ONLY rang in the 80’s with its 12^th strong entry into the series. Roger Moore returns for his fifth appearance as James Bond to date. The mission: to recover a communications device before it slips into possible Russian hands. Could this be the end of Bond’s evil nemesis, Blofeld? One needs to see the opening sequence to see for yourself… but Bond is in good company as a bevy of Bond girls make their way into his crosshairs while on his mission. Carole Bouquet is the lead Bond girl as Melina Havelock and Lynn- Holly Johnson (ICE CASTLES) is the figure- skating Bibi Dahl. The name Bond continues to present a strong draw for the box office as its estimated budget of $28 million draws in an estimated $195 million worldwide.

MAUD ADAMS is OCTOPUSSY

OCTOPUSSY was released on June 10, 1983 as Bond’s next mission sends him to the circus! A British agent is murdered and found clutching onto a priceless Faberge egg. A collector purchases the egg at an auction, but Bond becomes suspicious as the buyer meets up with a Russian General. Soon it is discovered that both men are plotting to blow a nuclear device in an American Air Force Base. Maud Adams makes a very unheard of appearance as the second time a Bond girl is repeated in two different films playing a different role. Maud Adams from THE MAN WITH THE GOLDEN GUN plays Octopussy this time, the owner of the traveling circus Bond uses to get close to the Base. Budgeted at $27.5 million, the multi- hands of OCTOPUSSY rakes- in $187.5 million worldwide.

The mid- eighties is met with the high- action adventure A VIEW TO A KILL in 1985. California’s Silicon Valley is the target of a microchip corporation headed by Max Zorin (Christopher Walken) with his private bodyguard, May Day (Grace Jones). Bond must investigate Zorin’s plans to use the chip to wipe out the Valley with a mega- earthquake. Tanya Roberts (THE BEASTMASTER) plays Bond’s lead female, Stacey Sutton. Including some dazzling effects and action, the $30 million budgeted cost brought in an estimated $152.4 million. Roger Moore made a record- breaking seven appearances as 007, the highest of any actor to portray James Bond. A VIEW TO A KILL would mark his final appearance of the secret agent… with only anticipation left for producers and fans, alike, to ask the inevitable question: Who will play James Bond next?

TIMOTHY DALTON

SHAKEN & STIRRED: TIMOTHY DALTON (1987- 1989): Next to George Lazenby’s 1969 ‘one- stop shop’ portrayal of Bond, Dalton’s would be the second shortest, but equally controversial, appearance as the famous British agent. Unlike Moore’s more playboy approach to the character, Dalton presented a darker interpretation, which may have been the cause for a premature ending to his Bond contributions…

Timothy Peter Dalton was born on March 21, 1944 in Colwyn Bay, Wales and had achieved many appearances in British television on many BBC programs as well as stage performances. Dalton was approached twice by the persuasion of the producers to play Bond before agreeing to the role, now having been freed- up from his earlier theatre obligations. The studios were ready to unveil a new James Bond for a new era!

Ironically celebrating its twenty fifth anniversary and its fifteenth installment, Dalton suited up for his first Bond appearance in 1987’s THE LIVING DAYLIGHTS. Dating itself, the film still focuses on the ‘Cold War’ with Russia as the plot deals with an arms dealer who is looking to start another world war. Locations from the exotic Morocco desert landscapes and the freezing Austrian streets paint the backdrop for the seven continents Bond travels through in his latest mission. Again, how did audiences feel about a new Bond? Estimated at a cost of $30 million, the film grossed a worldwide total of $191 million! Maryam d’Abo is the latest Bond Leading Lady as Kara Milovy.

A thrilling trailer for Dalton's THE LIVING DAYLIGHTS

LICENCE TO KILL (1989) represents a more personal Bond story similar to ON HER MAJESTY’S SECRET SERVICE back in 1969. Instead of dealing with a topic of love, Bond becomes a man seeking revenge after his CIA friend Felix Leiter is left for dead in the hands of drug kingpin Franz Sanchez (Robert Davi). The story is intense with Bond even leaving the Secret Service to avenge his friend in this installment. Dalton was signed on to do three Bond films, but legal entanglements delayed production on the next film. It wasn’t until 1994 that Dalton officially resigned from his contract, much to the dismay of the producers. The understandings were presented and both parties made their clean break… it was time to revisit an old friend who had been previously approached!

PIERCE BROSNAN

21^ST CENTURY BOND: PIERCE BOSNAN (1995- 2002). Pierce Brosnan was born on May 16, 1953 in Navan, Ireland. After Timothy Dalton was unavailable the first time through, Brosnan was approached to play Bond in 1986. Obligations to his hit television show, REMINGTON STEELE, didn’t allow him to pursue until NBC cancelled the show. Once Dalton was out, the producers were ready to get back into the game after almost six years of hiatus.

GOLDENEYE was released on November 17, 1995 with much anticipation from fans. Anyone who knew Brosnan’s work on his previous television show could already see the good- looking fellow as Bond. The new adventure takes place during the closing of the ‘Cold War’ as Bond teams up with the lone survivor of a destroyed Russian research center… but Bond might finally meet his match as a former agent, thought to be dead, might be controlling the entire operation. A Bond first, as Judi Dench takes the office of MI6’s Director (and Bond’s boss) “M”… a role commonly played by male actors in the previous sixteen films. An increased budget of $58 million spared no expense in presenting action and adventure to its fullest… the payoff? How does the returned grosses of $351.5 million worldwide sound? Bond is definitely back!

Captivating Tina Turner's GOLDENEYE theme!

TOMORROW NEVER DIES marks the eighteenth Bond film and was released in 1997. Brosnan returns as Bond who tries to thwart the plans of a media mogul who is trying to provoke war between China and the U.K. only so that he can obtain exclusive rights to the coverage. Bond girls include International superstar Michelle Yeoh (CROUTCHING TIGER, HIDDEN DRAGON) and Teri Hatcher (TV’s DESPERATE HOUSEWIVES). Probably considered to be the weakest film in the series by many, the film went on to gross an approximate $221 million worldwide.

THE WORLD IS NOT ENOUGH marks the end of an era as the last film released in the 20^th century on November 19, 1999. With the aid of Bond girls Sophie Marceau (BRAVEHEART) and Denise Richards (WILD THINGS), Bond uncovers a nuclear plot while protecting an oil heiress from a former kidnapper. The world still has not had enough of Brosnan nor Bond as the worldwide gross comes in at a healthy $225 million.

DIE ANOTHER DAY marks the return of Bond in the new millennium with a release date of November 22, 2002. This would mark Bond’s fortieth anniversary (20 films total) and Brosnan’s fourth and final appearance as 007. Bond takes a serious beating as he is sent to investigate a North Korean terrorist, however, he finds himself betrayed and captured. Because MI6 cannot interfere, Bond is held hostage and tortured for 14 months before he is set free. Bond must find out who his captures were as he finds out a diamond mogul is funding the construction of a space weapon. Joining the ever- growing exclusive list of popular Bond girls is Academy Award winning actress Halle Berry (MONSTER’S BALL) as Jinx. One last send- off for Brosnan’s Bond? A whopping $142 million was spent on the budget bringing in a grand total of $432 million worldwide! A new Bond waits in the wings… yet again.

DANIEL CRAIG

A TOUGHER BOND: DANIEL CRAIG (2006- PRESENT). Daniel Wroughton Craig was born on March 2, 1968 in Chestire, England and is now the sixth and most current actor to play Bond. Craig is also the first blond of the otherwise dark- haired 007. Craig was considered an unfit choice by the producers by the fans… to the degree that groups were forming to boycott seeing his first entry and riddled the internet with unkind words about the upcoming Bond. The producers backed their decision and moved forward with a multi- media blast to introduce the new James Bond to the world! A re-boot, of sorts, was now taking place with Bond… denying him of his signature catch- phrase, “My name is Bond, James Bond” and providing him with more agile skills and a rough- around- the- edges demure.

CASINO ROYALE would be released four years since Brosnan’s DIE ANOTHER DAY. The date was November 17, 2006. A “prequel” of sorts, as both a new Bond and actor is introduced to his first mission (just like Ian Fleming’s first book with the same title) by winning a poker game at the famed Casino Royale in Montenegro. He plays the gambler to stop a criminal who finances various terrorists around the world. We see a Bond that actually makes mistakes, who possibly gets people killed and who even takes a beating from thugs. Eva Green (KINGDOM OF HEAVEN) joins the Bond girls’ list as Vespa Lynd, a new love interest for Bond that leaves quite the mark on him! Jeffrey Wright plays the incarnation of CIA friend Felix Leiter, as they meet and work together for the first time. Budgeted at an approximate $150 million… the fans seemed to have accepted the new Bond as the film took on a worldwide gross of $594 million! The biggest draw to date for a Bond film. Certain events occur (no spoilers here, you just have to see it for yourself…) that continue on where things get left off in the next chapter…

The exciting trailer to Craig's CASINO ROYALE

QUANTIUM OF SOLICE (2008) literally picks up where CASINO ROYALE left off… Bond is out for revenge and fueled with anger and fury. He defies “M”’s (Judi Dench) request to not pursue forth, but reluctantly agrees that Bond is the only agent who can stomp out an environmentalist from taking the country’s most valuable resources. A’la LICENCE TO KILL, Bond lets his emotions take the best of him, but he quickly learns to be the professional agent and stay on target of his mission in the end. A budget first: At a cost of $200 million, the film brings in a lucrative worldwide gross of $586 million!

We now come full circle in 2012 as Bond celebrates a landmark fifty years with the release of its 23^rd film, SKYFALL released November 9^th. Bond’s loyalty to both “M” and the MI6 organization is tested when several agents’ identities are being revealed to terrorists after an encrypted file with personal information is stolen. 007 must track down the person responsible, as it may turn out to be someone in M’s past in the form of a very menacing Javier Bardem (NO COUNTRY FOR OLD MEN) as Silva. Craig has clearly taken over the role and has brought back the famous line… with a possible return to an ‘old school’ Bond with both the celebrated Aston Martin vehicle and the classic PPK gun! SKYFALL pays many respects to Bond’s career and the times that have stripped away at him. Could Bond start to show the early signs of age? Should he hang- up the old PPK gun? Box office would tell a different tale…with an estimated budget of $200 million… the film has already grossed $161 million in just nine days of its release. Craig is contracted to another untitled Bond film set for 2014. Only time will tell as events turns the world of MI6 into a whole new underground development with new faces doting the world of Bond, James Bond… there would seem to be no end… and let’s hope there is no end any time soon!

I will now pass the baton over to my "counterpart" JOHNNY CHAZZ for his take on the subject...

JOHNNY CHAZZ: In response to this week's topic, I will offer my insight into the James Bond movies over the years. I cannot possibly reply with the length of writing offered by JER this week, but I will address some key points of relevance with respect to the topic.

Was CONNERY the best BOND?

The highlights of Bond films are narrow, yet probably include: "Dr. No", "Goldfinger" and "From Russia with Love". The rest remain marginal at best.

As for Sean Connery, he was certainly the Bond that everyone since has tried to live up to - and perhaps someone did. That issue remains debatable.

Pierce Brosnan as Bond was a nightmare. Bad years, bad movies, horrific scripts and lousy casting. Case closed!

The sound scores are also an issue of ongoing concern. Soundtracks for Bond films are generally worth listening to when they are instrumental only (“Goldfinger”, “Casino Royale” and “Dr. No” offer some entertaining non-vocal trifes). However, on the flip side, Tom Jones gave us a tune that was reckless to say the least in "Thunderball" and even Madonna’s efforts were abysmal later on (“Die Another Day”). I loathe at the thought of being subjected to the hard and rapturous scuff that is sung in the current "Skyfall" movie by Adele.

Roger Moore, as JER mentioned, offered that witty and polished Non-Scottish flair - one that was British: clever and very, very UK. This worked - and in all actuality, it is not surprising why most countries outside the USA preferred Roger Moore as the "true" Bond.

SEAN CONNERY stands next to the iconic Aston Martin

Bond films have weak scripts and can only feed eye-candy to audiences that require this. Fast cars, fast women and rushed cuts from one shot to another. Gadgets (the poison gas releaser grew old after the first glimpse) and car chases are boring and the casting lacks tremendously on a consistent basis. There is no "art" or "craft" really at work other than what we see captured in every other movie setting box-office records these days. How dull - how insulting.

British actor Daniel Craig’s “Skyfall” is generating close to $1 billion worldwide and some are claiming it is the best Bond movie to ever hit the screen in the past 50 years. Perhaps it is - but there is a segment that just does not care. I fall in that group.

The International trailer for Craig's 2012 SKYFALL

The truth is, everyone likes what is new and hip and this film might rank in the top 3 or top 5, but I highly doubt that when you look at films such as “From Russia With Love,” “Dr. No,” “Goldfinger”, your opinion might be compromised.

DANIEL CRAIG...not hip enough???

It appears as though we are discussing box-office revenues this week and there are two angles at which to examine that. One: Bond films make money - ok. Two: Bad movies also make money. So what is the point in discussing box-office revenues if the movies do not provide the substance that the discerning segments of film-goers demand? A mute point.

So here is the "Counterpoint". I am not into Bond movies - and never really was. The films are no longer "hip" and they can never be retro since Daniel Craig is not an old-school type and 'you just can't go home' as they say. Will I go see “Skyfall”? Absolutely not. Why? I would rather take a walk; grab a Rueben at the deli and Skype a friend. I simply have better ways to spend my time and my $10.

It sounds harsh, but there it is so, so much more in the world of film to examine that it is mind-boggling that we even think about meddling with movies such as the Bond movies - and they seem to never, never end.

JER: Harsh, indeed! No one, including myself, is trying to put the Bond films on a pedestal higher than well- deserved films that are related to both “art” and true cinema. With all due respects to my “Counterpoint” partner…I feel that there is an ignorance on your end, JC, for not really grabbing (or even trying to grab) the real essence of what the films have portrayed and continue to do so over the last 50 years.

ROGER MOORE= COOL!

The Bond films, by my perception, still represent a sense of shivery long lost in films today. 007 is a ladies man, wears the best suits and tuxedos, drinks from glasses and not bottles or cans and drives the best vehicles and has the coolest gadgets. It is hard for me to accept the fact that anyone can look at the entire franchise and sum it ALL up with the phrase: “I am not into Bond films.”

We have talked about how films that do well in the box- office do not define a film’s greatness in the past... I am not implying that by including the numbers at the end of each film’s segment. What I was trying to illustrate was the continued success the entire franchise has accomplished and the strong legs it has created to continue on with more films. So, if there is a 'segment' that doesn’t care, your number is outweighed by, thank God, people who do want to see an action film with interesting characters, villains and beautiful women… and I am proud to say I am one of them in those numbers! Should I dare say that SKYFALL is considered the best of the Bond films within the last 50 years? What would be so wrong as to say “yes”? All I can say is: don’t knock it if you haven’t seen it!

JOHNNY C brought up a good point about the soundtracks and the distinctive songs that have been a part of pop culture since 1962’s Monty Norman/ John Barry’s “James Bond Theme”. We at CINEMA: COUNTERPOINT dedicated a blog page to that very topic… if interested in reading what we had to say about it, please visit us at the following link: http://www.blogger.com/blogger.g?blogID=298232811241447037#editor/target=post;postID=8417228204175375841

Everyone is entitled to their opinions and that is what I feel makes CINEMA: COUNTERPOINT work! JC and I have two different opinions at times and we agree completely in others… we have found the right balance that makes this page work the way that it does. We are not obligated to lie or falsify our thoughts just to jump on the band wagon or by getting into the flavor of the month. More than anything, I believe that both JC and I spoke on behalf of two opposing sides that do, in fact, exist out there in the real world...those who care and those that don't...

As the reader, what side do you fall on? Do you care to see more BOND films or has the series ran its course years ago? We would like you to voice your opinions and comment back to us with your thoughts... we will always reply to every posting!

Make sure you check back with us on WEDNESDAY DECEMBER 19TH, 2012 for JOHNNY CHAZZ' END- OF- YEAR BLOG TOPIC... afterwards, we will take time- off for WINTER BREAK and return back in 2013!

ALL OF US AT CINEMA: COUNTERPOINT WANT TO WISH YOU THE HAPPIEST AND SAFEST OF HOLIDAYS THIS YEAR!

http://www.youtube.com/user/cinemacounterpoint?feature=mhee

JOHNNY CHAZZ' TURN: "GO WEST"... THE GENRE OF WESTERNS

2012-11-08T08:24:00.000-08:00

JOHNNY CHAZZ: We speak of genre in film and there are so many directions to turn: Drama, Foreign, Thriller / Suspense, Fantasy, Comedy, etc. This week however, we go West........

There is little doubt that Film Westerns have been a dying art over the years, and the appreciation by audiences for this genre is fading rapidly.

Westerns typically reflect American ideology more than any other genre. “Brokeback Mountain” (2005) just shows how that's changed, and perhaps there and the changes that our culture is going through in respect to more of a ‘feminist world’, per se. Are Westerns simply becoming, well…..melodramas?

JOHN WAYNE: "THE DUKE"

Heck, just take a close look at one of John Wayne's last two westerns: “Rooster Cogburn” and “The Shootist”, where giant portions of the plot revolved around his character trying to figure out how to fit in a world that includes strong women he wants to settle down and possibly have a relationship with.

Let’s drop some names now: John Wayne, Jimmy Stewart, and Gary Cooper serve as the classic Western icons in American film. Nobody fits the bill like Wayne, a towering presence both on and off his horse. These are the icons – and the whole world once knew it well.

John Wayne, when teamed up with the likes of the brilliant John Ford or even Director Howard Hawks, delivered movie after movie, playing an idealized version of himself. Starting with the classic “Red River,” and continuing through the late 1950’s release of “The Searchers,” both the cinematography and the performances were second to none. While the “Duke” would play a variety of roles in different types of movies, it was the western for which he became an icon. In films such as “Rio Bravo,” and “El Dorado,” Wayne’s roles took on an air of humor, as the movies became a bit lighter-hearted.

Here now is a great tribute to JOHN WAYNE: "THE DUKE"

GARY COOPER

Gary Cooper starred in 1952’s “High Noon.” Directed by Fred Zinnemann, “High Noon” played out as a story of a solitary man standing up to a gang of red-neck criminals. Here is a film that changed the Western genre by itself. The score to the film, as well as both the camera shots and editing made it so revolutionary.

It was during the 1950's that the genre found its rhythm, as rough-neck cowboys like Wayne, Cooper, Henry Fonda, and perhaps the not-so-tough Jimmy Stewart rode their horses, battled Indians (funny enough: they were usually played by white men in make-up) and rode into one-horse towns with an air of sheer overconfidence.

These films were decidedly different star- making turns than the westerns of the 1940s, ‘50s, and ‘60s. While most of Clint Eastwood’s characters in the 1970’s were memorable and distinctive, his best known Western may have been “The Outlaw Josey Wales” (1976). Here, Eastwood would play in the role of a revenge story moving the genre back into the mainstream for film-going audiences.

Enjoy the original trailer for THE OUTLAW JOSEY WALES

STEVE McQUEEN

As the decade wore on, the western basically began to fall-apart – and virtually vanish. Steve McQueen’s last western was “Tom Horn,” released in 1980, as he died months later. Eastwood would wait until 1985’s release of “Pale Rider” before people could enjoy his style on screen again. In the same year, we must also offer kudos to “Silverado”.

It has been almost 20 years since the release of Academy Award winning “Unforgiven,” and today the western has all but disappeared. The early 1990s saw two dueling variations of Wyatt Earp, the somber (and painfully slow) “Wyatt Earp” with Kevin Costner along with “Tombstone,” starring Kurt Russell.

The flops? Just take one look at the disastrous and utterly ridiculous “Waterworld” (1995) or “Treasure Planet” (2002) directed by Ron Clements. These were utter disappointments.

“No Country for Old Men,” could easily be classified as a Western – and quite a good one at that. Still, is what we call westerns today really just “Thriller / Crime Genres”? The point being, it seems that today’s Western can fit into any sub-genre category including everything from fantasy, to science-fiction and most often than not, the crime-genre.

Perhaps audiences are just bored and need every genre to fit into another sub-genre. Is this another topic for the future on CINEMA: COUNTERPOINT? The possibilities, therefore, might be considered endless without a doubt!

Your thoughts Jer?

JER's DAD- THE COWBOY

JER: Kudos on another interesting topic brought up by the ever- resourceful JOHNNY CHAZZ! An interesting topic and summarized ‘short and sweet’ by the size of your entry. My dad was a cowboy, of sorts. He loved the outdoors as he walked about in his cowboy boots and wore his traditional hat… he even owned a horse. I recall many rides on that mare as a youngster before my dad went on to that great big corral in the sky. I miss you, dad and this one’s dedicated to you, Fernando!

Westerns marked the earliest of films leaving behind a legacy of actors known specifically for the genre. Here are but a few legends that shot- up the silver screen and left a lasting impression upon this particular critic.

TOM MIX

THE EARLY WEST: One of the true pioneers of the Western world of acting has me immediately giving recognition to Tom Mix, who started off in many genre ‘shorts’ as early as 1909. Mix was hired by Selig Pictures to provide and handle horses before making his screen debut in 1910. Along with acting, Mix was also beginning to write and direct films as well. His popularity made for an astounding 289 appearances in films until 1935, churning out almost five films a year.

Another star that comes to mind is Gene Autry, better known as “The Singing Cowboy”, because of his talented crooning performances in radio before becoming an actor. He began singing on a local radio station in 1928 and found himself starring in his own radio show and recording albums almost three years later in 1931. Three was the magic number again for Autry when he made his debut film appearance, IN OLD SANTA FE, in 1934. He is best known for singing the western anthem “Back In the Saddle Again.”

"Back In The Saddle Again" tribute by Gene Autry

Will Rogers is considered to be an American icon. Debuting in 1918, Rogers was a humorist and a vaudeville actor well before standing in front of a camera. Although he wasn’t a fully- dedicated actor of the Western genre, Rogers still made an impressive amount of films relying on talents that would help define the characters he portrayed. While living in Johannesburg, he appeared in a Wild West show where he learned to ride a horse and use the lasso. Returning back to America, Rogers’ skills landed him into vaudeville and, in 1917, landed him a starring spot in the Ziegfeld follies!

All this talk about the great western actors, one name fails to be mentioned and one that deserves much recognition is “The Queen of the West”… Miss Dale Evans, who was best remembered as the Leading Lady of Country- Western musicals of the 1940s. Making her screen debut in 1942, Evans originally began her career as a singer. She would marry rising western star Roy Rogers in 1947, only having worked with him in several films prior to their marriage. Rogers was already creating quite the name for himself and becoming widely known for his trusty and faithful companion… his horse, Trigger. Both Rogers and Trigger’s footprints are immortalized at the courtyard in front of Grumman’s Chinese Theater in Hollywood!

DALE EVANS, TRIGGER & ROY ROGERS

With the introduction of the new media known as television, Westerns could now be brought right into your living room as well! Some of the long- running shows debuting between the 1940s and 1950s were GUNSMOKE, THE BIG VALLEY, BONANZA, THE LONE RANGER and MAVERICK. Following thereafter between the 1960s through the 1980s were other memorable shows like THE WILD WILD WEST, LITTLE HOUSE ON THE PRAIRIE, McCLOUD and THE LIFE AND TIMES OF GRIZZLY ADAMS. Other shows were still débuting within the 1990s on throughout the early 2000s included the ever- popular DR. QUINN: MEDICINE WOMAN, WALKER: TEXAS RANGER and the cult favorite THE ADVENTURES OF BRISCO COUNTY JR. starring Bruce Campbell!

It goes without saying that JC remembers and mentions such giants of the genre like John Wayne, Gary Cooper and even Henry Fonda and Jimmy Stewart, both of whom have had their saddle days as well.

EASTWOOD: The "LEONE" Years

CLINT EASTWOOD: JC also mentions one of the more contemporary ‘cowboys’ to cross the silver screen in the latter 20^th century: Mr. Clint Eastwood. His career began in 1955, starring in bit parts and almost giving up on acting before getting his big break on TV co- starring in RAWHIDE in 1959 for six years. During his television hiatus from the show, Eastwood would make an historical decision by starring in a trilogy of low- budget Italian westerns directed by Sergio Leone: A FISTFUL OF DOLLARS (1964), FOR A FEW DOLLARS MORE (1965) and THE GOOD, THE BAD AND THE UGLY (1966). Leone brought a whole new ‘realistic’ look of dirty outfits and stubble faces that would forever change the previous neat and pressed clean- cut look of the cowboy from yesterday.

BEST DIRECTOR/ BEST FILM= UNFORGIVEN

HANG ‘EM HIGH (1968) was made and released in America and was followed by other westerns like PAINT YOUR WAGON (1969) and TWO MULES FOR SISTER SARA in 1970. By the mid to late 1970s, a new wave of westerns were cropping up known as the American revisionist westerns that included Eastwood starring in HIGH PLAINS DRIFTER (1973) and THE OUTLAW JOSEY WALES (1976).

It would be almost nine years later before Eastwood would return back to the saddle in 1985’s PALE RIDER but it wasn’t until just a few years later that he would strike gold in Hollywood. That gold came in the form of an Academy Award for his double- duty turn as actor and director for the Best Picture winner UNFORGIVEN. Although keeping him extremely busy these days, with his focus mainly as a director, Eastwood would seem to have finally hung up his hat as a cowboy…for now.

1960s WESTERNS: Although the 60s paid closer attention to the Vietnam War than to a slowly- changing genre, a few memorable films were still released and recognized during this turbulent decade.

THE MAGNIFICENT SEVEN (1960) based on Akira Kurosawa’s 1954 Japanese film THE SEVEN SAMURAI, the western- remake consisted of an all- star cast including Yul Brynner, Charles Bronson, Steve McQueen, James Colburn, Eli Wallach and Robert Vaughn. The film’s plot is now the considered the cliché setting of a small village threatened and terrorized by a group of bandits who hire a band of seven American gunmen to protect the village and dispose of the villains. The film’s success spawned three sequels…none of which equaled the same financial returns.

The original 1960 trailer for THE MAGNIFICENT SEVEN

HOW THE WEST WAS WON (1962) was an epic Western that follows four generations of a family as they move westward in different stages of their lives. Henry Fonda, Karl Malden, Harry Morgan, Gregory Peck, Debbie Reynolds, James Stewart, John Wayne and Richard Widmark head up the fabulous cast.

Other films worth mentioning within the decade are: THE MAN WHO SHOT LIBERTY VALANCE (1962), ONCE UPON A TIME IN THE WEST (1968) and 1969’s BUTCH CASSIDY AND THE SUNDANCE KID.

DIRECTOR/ WRITER: SAM PECKINPAH

SAM PECKINPAH: Director Sam Peckinpah was an influential western craftsman in helping continue where Leone left off. Having been a continued director of western television shows including BROKEN ARROW, THE WESTERNER and THE RIFLEMEN, Peckinpah was ready to bring forth one of the biggest influences of modern western appearances that changed the genre forever: the year was 1969, the film was THE WILD BUNCH! Dirty, grimy and just straight- up bad-asses, THE WILD BUNCH rode in on a blaze of hellfire that introduced gunplay violence as never seen before. Using his signature slow- motion sequences, Peckinpah allowed the audience to really experience every flying bullet that either missed its target or made a direct hit. The film continues to be plagued by a series of controversial criticism. Some believe the film overly glorifies violence while others consider it a modern American classic.

MY DAD'S FAVORITE FILM: THE WILD BUNCH

Sam Peckinpah submitted a number of Western- genre entries with other films like RIDE THE HIGH COUNTRY (1962), THE BALLAD OF CABLE HOGUE (1970), Steve McQueen in JUNIOR BONNER (1972), 1973’s PAT GARRETT AND BILLY THE KID starring James Colburn and Kris Kristofferson and BRING ME THE HEAD OF ALFREDO GARCIA (1974).

1970s WESTERNS: Hollywood took note of what directors like Leone and Peckinpah had done with the Western genre… as if they had taken it off the shelf and added a whole new layer of dust rather than cleaning it up! Because of the new look to the Western film, the 1970s embraced the rugged appearances and produced a number of well recognized movies.

LITTLE BIG MAN (1970) Starred Dustin Hoffman as a Caucasian boy raised by Cheyenne Indians during the 19^th century. The film largely focuses on the behaviors of the early American pioneers and their interaction with Native Americans.

A MAN CALLED HORSE (1970) is the story of the life and times of an English aristocrat named John Morgan (Richard Harris) who is captured by a Sioux tribe. The film depicts a gruesome initiation never seen before and the rise of Morgan’s beginnings as a capture and finally gaining the respect of the tribe and rising to becoming a leader. The film inspired two sequels: RETURN OF A MAN CALLED HORSE (1976) and TRIUMPHS OF A MAN CALLED HORSE (1983) both of which had Harris reprising his role.

A wonderful tribute to A MAN CALLED HORSE

Other films that deserve honorable mention include: THEY CALL ME TRINITY (1971), JEREMIAH JOHNSON (1972), THE LIFE AND TIMES OF JUDGE ROY BEAN (1972), WESTWORLD (1973), BLAZING SADDLES (1974), THE APPLE DUMPLING GANG (1975), THE WHITE BUFFALO (1977) and GOIN’ SOUTH (1978).

1980s WESTERNS: Even in the center of the music television revolution, westerns still survived and thrived in the decade that brought us Madonna and Reagan-omics! Here are but a few highlighted films worth mentioning:

HEAVEN'S GATE

HEAVEN’S GATE (1980) was a heavily controversial film directed by Michael Cimino (THE DEER HUNTER). The publicized events were not centered around the plot: an epic storyline that focused on the dispute between rich cattle owners and poor European immigrants during the 1890s, but rather on the over- budget production cost in making the film. The estimated budget was at a ghastly $44 million and only drew in about $3 million at the box office during its release. This is the film that allegedly broke United Artists (the film studio) which filed for bankruptcy. The film has since gained much respect and has been highlighted at many film festivals today.

THE LONG RIDERS (1980) recalls the detailed accounts of the James- Younger gang directed by Walter Hill (48 HRS, THE WARRIORS). As a personal favorite of mine, this film is a cinematic gift in many shapes and forms. The film centers on Jesse James and his brother along with Cole Younger and his brothers as they robbed banks shortly after the Civil War. The treats begin with the cast alone, which consisted of real- life brothers: The Keaches: James as Jesse James and Stacy as Frank James. The Carradines: David as Cole Younger, Keith as Jim Younger and Robert as Bob Younger. The Quaids: Dennis as Ed Miller and Randy as Clell Miller and finally The Guests: Christopher as Charley Ford and Nicholas as Robert Ford. Hill tributes his method of directing to that of Sam Peckinpah, using only the most realistic locations, seeing and feeling the grime on the characters’ faces and an intense slow- motion shootout as the finale. A high recommendation to any fan of the genre!

The fantastic trailer to Walter Hill's THE LONG RIDERS

Others that deserve recognition include: TOM HORN (1980), URBAN COWBOY (1980), THE LEGEND OF THE LONE RANGER (1981), SILVERADO (1985), THE THREE AMIGOS (1986) and YOUNG GUNS (1988).


BEST DIRECTOR/ PICTURE= DANCES WITH WOLVES

KEVIN COSTNER: Another contemporary actor, whose roots have stayed true in the fields of the Western world is Kevin Costner. After a series of ups and downs in the acting community, Costner finally landed a role in the highly- publicized western SILVERADO, opposite such acting greats including Scott Glenn, Kevin Kline and Danny Glover. A few years later, Costner would star in, what was considered an “urban western” by director Brian DePalma, THE UNTOUCHABLES. The truly defined western would come along in 1990 as Costner made his directorial debut in the Academy Award winning Best Picture: DANCES WITH WOLVES. Others that followed included WYATT EARP (1994), THE POSTMAN (1997) and OPEN RANGE (2003). More recently, Costner was awarded a Primetime Emmy for his portrayal of “Devil” Anse Hatfield in the televised miniseries THE HATFIELDS AND THE McCOYS.

(left) Russell in TOMBSTONE/ (right) Costner in WYATT EARP

1990s WESTERNS: As previously mentioned by JC, the decade brought us the rivalry of Wyatt Earp films! In one corner, TOMBSTONE (1993) stood proud with Kurt Russell portraying the handle-bar mustached lawman with Val Kilmer’s memorable and scene- stealing performance as Doc Holiday. On the other corner we have WYATT EARP (1994) directed by SILVERADO’s Lawrence Kasdan. Kevin Costner and Dennis Quaid take on the roles of Earp and Holiday, respectfully. So, who was left standing during this gunfight at the O.K. Corral? I guess it just depends on who you talk with. (My opinion? TOMESTONE!)

Other films worth mentioning during this decade include: BACK TO THE FUTURE III (1990), FAR AND AWAY (1992), POSSE (1993), MAVERICK (1994) and THE QUICK AND THE DEAD (1995).

THE CONTEMPORARY WEST: In short, the Western is a genre like many others: it follows a string of continuous films, and then it dissipates and continues to come back in short revivals. Consider the more temporary films of the recent and the ones coming soon.

Jeff Bridges in TRUE GRIT (2010)

Leave to it the skilled craftsmanship of the Coen Brothers (Joel and Ethan) to re-make the classic John Wayne film TRUE GRIT in 2010 and still allow the film to be its own version without relying on remake values. Jeff Bridges played the one-eyed drunken U.S. Marshall Rooster Cogburn with a unique style and attention to character without stepping into the territory created by Wayne’s interpretation. Acknowledgements are paid towards directors John Ford, Sergio Leone and Sam Peckinpah in the presentation of the film, cinematography and set designs.

(left) Craig and (right) Ford: COWBOYS AND ALIENS

Director Jon Favreau (IRONMAN) took westerns in a whole new direction with the graphic novel- inspired COWBOYS AND ALIENS (2011) fusing science fiction with the Old West. Starring Harrison Ford and Daniel Craig, a spaceship arrives in Arizona: 1873 and it is up to a posse of cowboys to try to stop them by any means necessary. The film kept true to the natural appearance and feel of the Wild West while keeping it exciting by introducing alien spacecrafts and modern weapons!

Upcoming films to help keep the Western alive will be the highly anticipated Quentin Tarantino entry entitled DJANGO UNCHAINED starring Jamie Foxx. Loosely based on a series of spaghetti westerns released throughout Europe on the mid 1960s, Tarantino definitely puts his signature spin on the tale of a slave- turned- bounty hunter who is freed and sent off to rescue his wife from the hands of a brutal Mississippi plantation owner. This film is set to open on December 25^th, 2012.

Official trailer for Tarantino's DJANGO UNCHAINED

THE LONE RANGER will also be bringing the spirit of the West to life in its projected July 3^rd 2013 release. Produced by uber-successful Jerry Bruckheimer (PIRATES OF THE CARIBBEAN, THE ROCK) and directed by Academy Award winning director Gore Verbinski (Best Director for an Animated Film: RANGO). The story follows Native American Tonto (Johnny Depp) recounting the untold stories of the origins of how the Lone Ranger (Armie Hammer) became a man of justice.

Official trailer for THE LONE RANGER due out July 2013

Overall, Westerns have yet to have the sun set on the genre just yet. Imagination and creativity will always draw an audience to a time long forgotten when the West was wild and the law was settled by a six shooter.

We ask you, the reader, to share your thoughts… what do you think of Westerns? Do you have a favorite and why? We always look forward to your comments and all submissions will be relied. Make sure you head- on back here again on Wednesday November the 28^th, as we observe the Thanksgiving holiday and JER comes back with a great dish of a topic to be served up piping hot!

Until then, enjoy the THANKSGIVING holiday with family and friends from yours here at CINEMA: COUNTERPOINT!

http://www.youtube.com/user/cinemacounterpoint?feature=mhee

JER'S TURN: THE BEST OF THE LESSER- KNOWN HORROR FILMS

2012-10-15T22:16:00.005-07:00

JER: The month of October conjures up the ‘spirit’ (no pun intended) to watch the scary stuff more frequently than any other time of the year. In doing so, there are titles that are an annual must- see for the enthusiast. Anything with the slasher Michael Myers (HALLOWEEN) or the metal blades of Freddy Krueger (A NIGHTMARE ON ELM STREET) or the Camp Crystal Lake stalker Jason Voorhees (FRIDAY THE 13^th) might be the electives to begin with before getting into heavier themes like maybe HELLRAISER, THE EXORCIST or even SCREAM.

The thought to bear in mind is the fact that for every film that becomes the horror classic, there are a slew of unsung films that gather a small band of fans but just never see the light of the famous and the recognized. My topic involves bringing some of these titles out into the public’s eye and give them just a little of the recognition they rightfully deserve.

Please refer to last year’s blog topic, when CINEMA: COUNTERPOINT covered THE BEST AND WORST HORROR FILMS. Both JER and JOHNNY CHAZZ provided a Top 10 List and our individual 3 Worst Films as well. Click the link to take you there directly: http://cinemacounterpoint.blogspot.com/2011/10/jer-as-we-enter-my-favorite-month-of.html

Here is my Top 10 Best “Lesser- Known” Horror Films I, JER, recommend:

10- GRAVE ENCOUNTERS (2011): A very limited release with plenty of internet and “On Demand” cable exposure made this indie fright treat rise quickly to securing a small legion of fans. In the ‘realistic/ lost footage’ presentation aspect, like THE BLAIRWITCH PROJECT and PARANORMAL ACTIVITY, GRAVE ENCOUNTERS focuses on a small group of paranormal investigators who, for their television show, lock themselves inside an abandoned mental hospital that is allegedly haunted. As the evening gets later, the team may find that the allegations might be true. Shot largely with a “night vision” setting on their digital cameras, The direction team of The Vicious Brothers keeps the pace very steady and play on many fears including darkness, deathly silence and the psychological uncomfortable feelings of shadows and abrupt and loud noises.A sequel, GRAVE ENCOUNTERS 2, was recently released this year.

The frightening trailer for the indie favorite, GRAVE ENCOUNTERS!

9- PHANTASM (1979): This gem of a horror film was quite popular for its time but, alas, lost some of its popularity to the mass production likes of Freddy Kruger and Jason films. Still, there are people that still get the chills at the mere mention of PHANTASM and its harrowing villain with the icy cold stare and the growling voice only known as “The Tall Man” (played with evil and wicked delight by Angus Scrimm). The story plays with the creepiness of cemeteries, morgues and mausoleums as a young boy discovers a series of grave robberies tied- in with The Tall Man. What he discovers is an arsenal of bizarre weapons, including the infamous ‘sphere’ (a silver sphere that can switchblade knives of drills while flying towards its victims in high speed). An original story written and directed by Don Coscarelli (THE BEASTMASTER, BUBBA HO- TEP), who was also responsible in writing and directing three other chapters in the franchise.

8- INNOCENT BLOOD (1992): Though not in the same hemisphere as director John Landis’ other horror film, AN AMERICAN WEREWOLF IN LONDON, INNOCENT BLOOD still deserves more recognition than what it gets. Marie (Anne Parillaud LA FEMME NIKITA) is a vampire that only weeds out and feeds on the bad and the corrupted, until she gets involved with two different sides of a bad coin: a policeman (Anthony LaPaglia) who she actually begins to fall in love with and feeding on mob kingpin Sallie “The Shark” (Robert Loggia) and gets more than she bargained for. Masterful and gruesome special effects by Steve Johnson (SPIDERMAN 2, THE ABYSS) headline some never- before- seen transformations and death sequences that must be viewed to believe!

John Landis' horror/ comedy: INNOCENT BLOOD

7- MANIAC: Although the title might be confused with the very recent ‘remake’ released in 2012 with Elijah Wood, I am clearly referring to the original 1980 midnight cult classic instead. So horrific and gory for its time, theatrical advertizing slapped an X rating to the film before lightening the rating to instead refer that no one under 18 would be admitted. The low- budget indie starred Joe Spinell (TAXI DRIVER, ROCKY) as a mentally disturbed man who had been abused as a child roaming the streets of New York. His violent outlet is to murder young women and collect their scalps to try to appease his haunting past. The film basically plays with the audience’s stamina… can one sit through the entire film without being disgusted or revolted? Better yet, can one enjoy the classical make- up effects by Mr. Tom Savini (FRIDAY THE 13^th, CREEPSHOW) including a very graphic scalping sequence? That would be the audience’s decision to make! Check out Savini's cameo as the driver who gets his head blown off by the MANIAC!

6- THE FOG (1980): When the name of director John Carpenter comes up, it is more likely that fans will pair him off with his masterful indie classic HALLOWEEN. Carpenter’s sophomore film, THE FOG, is probably more synonymous with the dreadful attempt of a remake made in 2005… but let’s focus, again, on the better ‘original’ as my recommendation instead! THE FOG is just a bonafied classic in every sense of the word. Directed by the one and only Carpenter, he brought in the elements to create a true ghost story with no expenses overlooked. Classic and respected actors (Janet Leigh, John Houseman, Hal Holbrook) combined with then- contemporary actors (Jamie Lee Curtis, Adrienne Barbeau, Tom Akins) all brought forth a variety of different talents in fleshing out the characters and their interaction with each other. The story takes place on the small seaside Northern Californian town of Antonio Bay as it is about to celebrate its 100^th anniversary. As the day draws nearer, the townsfolk soon realize that something evil and wrong occurred a century ago and those that were wronged are coming back for what is rightfully theirs. Along with directing, Carpenter co- wrote the screenplay, the soundtrack and even makes a cameo in the beginning!

The original 1980 trailer to John Carpenter's THE FOG

5- JEEPERS CREEPERS (2001): There is a certain unstable feeling that an audience gets on the first ride through JEEPERS CREEPERS. It is considerably original, given that it was made within a world of Freddys, Jasons and Pinheads… and yet, it still delivers chills and excitement along the way. A brother and sister are driving home to visit family during Spring break, along driving down the backroads, they encounter a being that may or may not be human. A deathly game of cat-and-mouse ensues as the siblings seek shelter while pursued by the flesh- eating creature. Handsomely written and directed by Victor Salva, another film (JEEPERS CREEPERS 2) continues the tale with a third installment, JEEPERS CREEPERS 3: CATHEDRAL, is in production for a possible 2013 release date.

4- CURSED (2005): Alas, director Wes Craven has seen his days of hits (A NIGHTMARE ON ELM STREET, SCREAM) and misses (VAMPIRE IN BROOKLYN, MY SOULD TO TAKE) yet, Craven continues to re-invent the wheel, or ‘genre’, in this case. Consider CURSED as Exhibit A. Written by Kevin Williamson (SCREAM, I KNOW WHAT YOU DID LAST SUMMER), the story takes place in my favorite city: Hollywood, CA! A werewolf is loose along the winding roads of Mulholland Drive, when a brother and sister are driving home on a late evening. One thing leads to another and the brother is mauled by the hairy beast. Like all good fables, the search for the beast has to take place before the next full moon! The theatrical “young adult” friendly PG-13 version was too light for thrill seekers, so the studio released a more satisfying “unrated” version onto DVD and blu- ray! This is the version to watch with all the lights off!

Check out the werewolf horror film by Wes Craven- CURSED

3- STAY ALIVE (2006): Ok, let me get this straight…a horror film that involves a video game that kills people? And… we are supposed to take it seriously? The storyline and premise got bunked in its original release, again, suffering the friendly PG-13 rating theatrically. The unrated DVD release is far more intense and creepier than its predecessor. A mysterious underground online computer video game causes the unanswered death of a friend that leaves a group of gamers to solve the mystery themselves. They soon discover that the game in question is based on the true story of an ancient noblewoman known as the Blood Countess, who was buried alive in the grounds of her estate and seeks revenge on anyone who meddles with her. Minor humor lightens the theme, but does not damage the intensity of the plot as the creep factor is played to its fullest!

Enjoy the very creepy trailer for 2006's STAY ALIVE

2- THE CABIN IN THE WOODS (2012): Admittedly, I was very skeptical upon its original theatrical release…I didn’t want to know too much of the story, so as not to ruin it for me, yet there wasn’t enough to make me want to go see it in theaters in the first place. The general plot centers on five friends that take a break and head out to a secluded cabin out in the middle of nowhere. Upon arrival, they find that it is quite isolated without any means of communicating with the outside world. In the midst of getting their weekend started, the cellar door mysteriously flings open…almost inviting the group to climb down the stairs to investigate…but maybe that is what it was intending to do! No spoilers here from my end, but I can tell you that I was immediately pulled in with plenty of frights and scares to keep me riveted to my seat. Having spent much of his career as a writer of television for episodes of ALIAS and LOST, first time director Drew Goddard also wrote CLOVERFIELD as well as co- writing this very original thriller.

1- THE DECENT (2005): Now we get to my #1! I have dropped much recognition to the way of THE DECENT for many, many reasons! It is bold and very original; the cast is primarily made up of strong (and not- so strong) women and the tension starts off intensely high and only gets higher as the film develops further! To help one of their friends get over a tragic event in her life, a group of extreme thrill seeking women take a self- guiding cave exploration trip. As they ‘descend’ into the unknown dwellings, they find that they may not be alone! Claustrophobic, paranoia and fear quickly takes over with only the strong left to survive. It is, literally, a decent into the audience’s fears as well. Expertly written and directed by Neil Marshall, the film is one that I try to recommend to horror and thrill fans alike as often as possible. It is a New Zealand production that didn’t quite get the respect it deserved during a very limited theatrical run. Now available in a special unrated version on both DVD and blu- ray, the American audience has finally embraced this contemporary find. Warning: a very awful sequel was made in 2009 (THE DECENT: PART 2) with an even lesser theatrical run with the intensions of striking gold on the video store shelves instead. An even bigger warning was the fact that Marshall didn’t have any participation in this production whatsoever! You are better off not renting, buying or stealing this abysmal second chapter and just relish in the original tale as he director/ writer intended!

The 2005 trailer for the suspenseful and scary THE DECENT!

There you have it, fans, my list of thrillers and chillers that deserve a little time in the spotlight. Possible, I also hoped to have reset the buttons in your heads to gear towards the lesser- known this Hallow’s Eve season with taking a fresher look at what else might go bump in the night!

JOHNNY CHAZZ: With Halloween rapidly approaching, JER turns us to his annual look at creep show films - specifically those of the horror genre that are not "household" names per se. I, admittedly, am not as versed in the horror genre, as my "counterpart" JER. To simply this as best as I can, I came up with a condensed list of only 5, with hopes that it may stir some interests as the elected 10 already mentioned. Here are my thoughts this week:

1. "Suspiria" (1977): I continue to promote this as one of the top horror films of all time coming from the 70's decade. An Italian / foreign film per se, but one that most people have not seen and are not familiar with. The sets, the performances, the lighting as well as the elements of climactic terror and suspense make this a true classic and a horror film that should be examined by students interested in the genre.

2. "May" (2002): A dark yet fairly sad and desperate film with our protagonist named "May". The film is, in most senses a character-study which is something rarely seen in this genre. May only desires to connect with people and the world around her, but it eventually leads to a heartbreaking moment where she basically goes over the edge.

Enjoy the very bizarre trailer for MAY

3. "Trick 'r Treat" (2007): Set on Halloween night there is a real "creepshow" factor going on in this flick as well. This movie offers a series of frightening stories focusing on Halloween night in a small town, but each story finds its path leading into another. The casting is actually fairly decent and the movie is actually worth the price of admission and / or rental.

4. "Orphan" (2009): A nightmarish and tragic story about a couple and their unborn child. The film is actually a throw-back to some of the flavors and styles offered by Hitchcock in the sense of camera angles, script and limited but carefully crafted and pertinent scenes of horror and fear.

5. "Audition" (1999): Simply stated, the mannerisms throughout this film of actress Asami Yamazaki (Eihi Shiina) make this thing work at a pretty solid level. Her apartment; the interview scene; her sullenness as well as the final scene of the film are all elements that create tension and are frankly, disturbing on all levels. The film actually offers a degree of emotional depth and intrigue into the lives of the limited, yet solid cast. The final act of this 3-Act film is truly one of the best kept secrets in the world of "chillers and thrillers" as stated by Jer this week.

Here is the original Japanese trailer for AUDITION

JER: As you can see, the horror genre has many different avenues to get lost on...there are indies, foreign... classic and contemporary... and the great and the appalling! The way the season is spent will be up to you! Which will you choose?

So, we ask our readers...are there some horror films that are your "go- to's" around Halloween time? Do any of our recommendations sound like films you might check out for yoursef? Are there any other films you would like to share or bring forth into the light from your end? We value and reply back to all your submitted comments and we always look forward to hearing from you!

Make sure you check back with us on Wednesday November 7th, 2012 when JOHNNY CHAZZ takes control of a brand new blog topic form to discuss... you know I, JER, will be ready to shoot back my replies and thoughts!!!

To all of you fright fans, guys and ghouls alike, we at CINEMA: COUNTERPOINT wish you a very Haunting and Fright-filled HAPPY HALLOWEEN!

JOHNNY CHAZZ' TURN: THE FALL/ WINTER FILMS... A GLANCE FORWARD

2012-09-26T23:35:00.001-07:00

JOHNNY CHAZZ: Last year around this time I began to discuss how pleased I was that the Summer movies were in our rear view mirror and the focus on Fall and Winter films had begun. I also gave our readers a serious glimpse into the future with my prediction of “The Artist” as quite possibly winning for Best Picture at the Academy Awards in March 6 months later, which it did. Hence, this week’s topic – a glance forward at the films of this Fall / Winter which could make a serious run at the top prize at next year's Academy Awards.

Director Paul Anderson offers an intriguing film coming this fall starring Philip Seymour Hoffman (“Capote”) titled “THE MASTER”, a fictional account of a cult leader during the 1950’s. Anderson has delivered other outstanding productions in the past such as “Magnolia”, “Boogie Nights” and “There Will Be Blood” and he turns it up another notch higher with a film this year that could make a serious run for the coveted Best Picture nomination.. It appears as though this will be a seductive film in all senses and one that focuses on the power of the cult organization with respect to leadership, obedience, power, love, hate and more. This film promises to be impacting and should be in the forefront of film lovers all the way to the red carpet.

The official trailer for Paul Anderson's THE MASTER

Ben Affleck will receive praise for his upcoming film “ARGO” this year, but it already promises to appear overrated. Mercifully, we leave the Boston area in an Affleck film (“Gone Baby Gone”, “The Town”) to focus on the 1979 Iran hostage crisis. Here is our “Middle-East” token film of the year and Affleck brings in John Goodman as his good-luck charm for a run at the top award next March. The film may be of some intrigue, but this critic is not going to rush to the box office with the herd of other film goers.

There has been quite a bit of talk about “LINCOLN” coming this Fall. This Spielberg film focuses on the life and times of President Lincoln and the issue of slavery being abolished in America. Daniel-Day Lewis and Tommy Lee Jones highlight the cast (heck, Sally Field even makes a return for a role here) and the film appears to have some real potential – at least on the surface. What is key to remember is that looking over the list of recent Spielberg films (past 15 years), there is very little that has been offered which could make a serious run at the Academy Award. This one may be over-hyped and fall short as well. Still, it may be worth a look on the big screen.

Comedies are rarely taken seriously at the awards, but “SILVER LININGS PLAYBOOK” could make a mild bid for the top prize. A decent cast with Jennifer Lawrence, Bradley Cooper and Robert DeNiro are in the spotlight here in a film that appears to fall into the “Comedy / Drama” genre and guarantees to have a feel-good ending. Generally that is a recipe for disaster and probably will be the downfall for this film again this year. This looks like the top Fall “date movie” in a sense.

After piecing together the outstanding “Cache” in 2005, Michael Hanecke returns this Fall with a film titled “AMOUR”. The story focuses on a pair of musicians who are in the eighties and dealing with internal family issues. An award winner at the Palme D’Or, this one should be taken seriously at least at this point in time, but with a little-known cast and a fairly low budget, the Academy may see this one as being too “artsy” and “well-crafted” for its’ own good.

“BEASTS OF THE SOUTHERN WILD” is another film that will make its mark this Fall. Set in the Southern Delta, the film appears to move from realism to fantasy as our protagonist (a six-year old girl – Quvenzhane Wallis) begins to encounter pre-historic beasts in a possible dream-state…yet that is to be determined. The film does appear somewhat original and creative, but is this really something that the Academy is going to vote for? Doubtful, but it may be in the running longer than we think.

The 2012 trailer for BEASTS OF THE SOUTHERN WILD

With a cast of Melissa Leo and Denzel Washington, “FLIGHT” appears to be a promising possibility this Fall. The concern here is: When was the last time Denzel Washington was involved in an Academy Award winning film? The film focuses on the accounts underlying an airliner crash. Robert Zemeckis (“Back To The Future”) directs here and that is certainly a plus. John Goodman and Don Cheadle also add to a fairly strong cast in a film that I do believe many film-goers will enjoy. As an Academy Award winner? Doubtful – but it does have a chance to make some noise in the upcoming months.

The intense trailer for Robert Zemickis' FLIGHT

At first glance “THE SESSIONS” looks like an immediate write-off with the strict involvement of Helen Hunt. The film is directed by Ben Lewin who has produced very little in the past – absolutely nothing noteworthy of Academy attention – thus, that does not bode well. Still, the film appears to offer some tear-jerking moments and that always scores points in Hollywood and with audiences. Additionally, the subject material is quite serious and if the script is strong enough and the performances can take that script to another level, this film could be a live long shot to make noise at the awards. Keep an eye on this possible surprise this year.

I was quite shocked to see the cast line-up for “MOONRISE KINGDOM” – a Wes Anderson film that is being released in the upcoming months. The likes of Bruce Willis, Ed Norton, Bill Murray and Harvey Keitel are all present along with Frances McDormand and Tilda Swinton. This is indeed a formidable cast, but is it overkill? The film is a simply love story set on the East Coast during the 1960’s. The film promises to be in the running for the “Cinematography” award this coming March and the screenplay may also be considered as well as the Direction. This one is a grab-bag, and it will take a viewing on the big screen before any serious commentary can be made. It looks like hit or miss at this point.

Director Tarantino plants a seed this Fall with “DJANGO UNCHAINED” starring Jamie Foxx, Leonardo DiCaprio and Samuel Jackson. A slavery-focused film mirroring a couple of others this fall will guarantee it’s acceptance by movie goers. Additionally, audiences have actually accepted DiCaprio as a tremendous actor and a household name which is quite sad in the eyes of this critic. His films as well as his acting talents are vastly overstated and his versatility remains in question. Jamie Foxx is also a pass-on for this critic and a poor choice for any role in a film. So, sounds like I am beating this film down, does it not? It looks like we, as an audience, are going to be forced to visit every plantation I exchange for “Django’s” freedom. Foxx looks ridiculous in this role and the film appears to have some comedic and funky Tarantino-like elements incorporated into a film that deals with a subject that in no way should be treated that way. The film dominates us with anger, resentment and violence which appears to be way over the top in this feature and could easily be its’ demise at the Awards.

There are indeed other films such as “The Teleportation Accident”, “The Trouble with the Curve”, "Life of Pi", "The Great Gatsby" and “Hyde Park on Hudson” which will receive some hype and attention at the box offices this Fall.

Point being, we have once again arrive at the time of year where real films begin to surface yet again – and mercifully so. The concern however at this point is that the films this Fall really look quite weak at on the surface, thus a series of trips to the theater is the only method of ironing this all out.

Johnny Chazz’s early prediction: “THE MASTER” for Best Picture, 2013.

Your thoughts on the upcoming films this Fall / Winter, Jer?

JER: It was extremely saddening to say that the Summer films of 2012 were, for lack of better wording, pathetic! Anything that was worth seeing came out in the early months and the films weren’t spread- over evenly throughout the classic Summer- months’ run. It is also equally saddening to state that the three BEST films of the Summer were of the comic book persuasion. Before I go further, let me define “saddening” in this context... it would seem as if imagination could only be derived from the pulp print and not from creative imaginations that didn’t involve grounded super- heroes. The three I refer to were: THE AVENGERS, THE AMAZING SPIDER-MAN and the fantastic DARK KNIGHT RISES. These are bound to receive some technical Award recognition. However, JOHNNY CHAZZ wants my thoughts on the Fall/ Winter films in general... as JC focused on the potential Academy Award favorites exclusively, my choices will be on both the entertaining AND potential Award-nominated selections.... here we go!

SKYFALL: Daniel Craig returns as James Bond 007 in the 23^rd installment of Ian Fleming’s ever- popular secret agent series. This time round, Bond’s loyalty to M (Judi Dench) is tested as something from her past comes back to haunt her. Britain’s M16 comes under attack and it is up to 007 find and destroy the threat… no matter what the cost may be. Craig’s take on Bond has breathed a refreshing sense of life into the character, making him more believable for the new generation of high- adrenaline action and thrills! To add a new level of creepiness, Javier Bardem (NO COUNTRY FOR OLD MEN) will portray the baddie Raoul Silva. Ralph Fiennes (SCHINDLER’S LIST) and Albert Finney (BIG FISH) rounds- out the cast. Sam Mendes (AMERICAN BEAUTY) takes the helm as director, bringing in some highlighted dramatic moments while balancing out the rush commonly known in a Bond film. The film is slated for a November 9^th release in the U.S.

THE HOBBIT: AN UNEXPECTED JOURNEY: Nothing less can be expected from director Peter Jackson who directed the ever- successful THE LORD OF THE RINGS trilogy as he returns back to the Shire in this prequel that started it all. Based on the best- selling novel by J.R.R. Tolkien, THE HOBBIT, we meet up with a young Bilbo Baggins (Martin Freeman) as he swept away on a journey presented to him by Gandalf the Grey (Ian McKellen returns). Bilbo is asked to accompany thirteen dwarfs on a quest to reclaim the lost Dwarf Kingdom of Erebor. Perils and danger awaits them along the paths as Bilbo makes his way through the Goblin tunnels to confront the one creature that would change his life forever… Gollum (Andy Serkis also returns). It is then that Gollum introduces Bilbo to the ‘precious’ ring that will haunt him for years to come. Even though this is the pre- story to the sacred trilogy, there are returning cast members reprising their roles including Elijah Wood (Frodo), Ian Holm (Old Bilbo), Christopher Lee (Saruman), Orlando Bloom (Legolas), Cate Blanchett (Galadriel) and Hugo Weaving (Elrond). The magic is slated to begin on December 14^th.

LINCOLN: Excuse me, Mr. JOHNNY CHAZZ, but I will beg to differ on your remarks on the quality of films presented by director Steven Spielberg within the last 15 years as you stated. Films like AMISTAD, MUNICH, SAVING PRIVATE RYAN, A.I.: ARTIFICIAL INTELLIGENCE and last year’s WAR HORSE were all either nominated or contenders for Best Picture nominations alone and all within those 15 years that you mentioned. Now that I got that bit of business taken care of, let’s talk LINCOLN. I believe that Daniel Day Lewis is a fine actor and it is well about time that he returns back to the silver screen with a worthy Oscar- potential role. The early critical word is that he is a shoe- in for a nomination and the film has all of the appearances of the classic dramatic Spielberg flair we have come to expect from him within the last 15 years. The drama and time period reminds me of AMISTAD, the war sequences are equal parts SAVING PRIVATE RYAN and WAR HORSE with the acting caliber and cast of any fine Spielberg production. This film will take a number of nominations without any doubt. Slated to begin on November 16th.

See the moving trailer for Speilberg's LINCOLN

CLOUD ATLAS: The best thing to keep in mind before watching this anticipated film comes from its caption: “Everything Is Connected.” With that in mind, welcome to the world directed by three: Tom Tykwer (RUN LOLA RUN) and Lana (formally Larry) and Andy Washowski (both of who directed THE MATRIX and V FOR VENDETTA). Imagine a tie- in of past present and future storylines that include an 1849 diary of an ocean voyage across the Pacific, letters from a composer to a friend, a thriller about a murder within a nuclear power plant, a rebellious clone in futuristic Korea and a tribe living in post- apocalyptic Hawaii. An interesting side note is that most of the actors taken on various roles for the different story lines. For example, Tom Hanks plays four different roles, Halle Berry takes on three, and Hugh Grant presents two. Rounding out the all- star cast are Hugo Weaving (THE MATRIX) and Susan Sarandon (THELMA AND LOUISE). The film is slated as a Drama/ Mystery/ Sci- fi mash. The connection is slated to begin on October 26th.

Enjoy the mind- bending world of CLOUD ATLAS

ZERO DARK THIRTY: Academy Award winning director Kathryn Bigelow and writer Mark Boal return from their 2008 Best Picture THE HURT LOCKER collaboration with another military controversially- based production. The story focuses on the decade- long mission to find Al- Qaeda’s terrorist leader Osama bin Laden after the 9/11 attacks. The story primarily gears towards the Navy Seal Team 6 that terminated bin Laden on May 6, 2011. The Academy may find themselves being favorable to Bigelow and her film, considering the subject matter and the issues that are being recognized within an election year! We could see some possible nominations come forth. Slated for December 19^th.

LES MISERABLES: Talk about a Christmas present! Broadway musical fans are rejoicing with the long- awaited adaptation of the hit smash show! Based on Victor Hugo’s novel, the film is set in 19^th- century France in which paroled prisoner Jean Valjean (Hugh Jackman) breaks his parole to create a new life for himself. Following closely behind is the persistent Inspector Javert (Russell Crowe) while both men find themselves in the backdrop of the French June Rebellion. Director Tom Hooper is the best choice to navigate this period piece. Considering his eye for European history from his previous works, including HBO’s JOHN ADAMS and the Academy Award Best Picture winner THE KING’S SPEECH, Hooper is also innovating a brand new approach to the movie musical that has never been attempted before. Usually, the actors record their singing months before the movie begins filming and all of those tracks are played back during the making of the film and the actor ‘lip-syncs’ to their recordings. Hooper has devised a way of actually recording the actors to sing ‘live’ at the same time that they are being filmed. A pianist actually accompanied them while they sang. The actor was then allowed to set the tempo- or pace and the piano would be replaced with a 70- piece orchestra. Bringing both their acting and singing talents are Anne Hathaway (Fantine), Amanda Seyfried (Cosette), Helena Bonham Carter (Madame Thenardier) and Sacha Baron Cohen as Thenardier. Slated for a December 25^th release.

A great "first look" at the live singing for LES MISERABLES

JOHNNY CHAZZ probably already covered everything that can be said of THE MASTER, DJANGO UNCHAINED and FLIGHT… which are all films I am very interested in seeing as well.

I think it is rather bold for JOHNNY CHAZZ to just come right out and make an early prediction by stating that THE MASTER will win the Academy Award for Best Picture. That now put me into a predicament! However, I am probably torn between a couple of films at this time. I can, undoubtedly guess that both LINCOLN and ZERO DARK THIRTY will be nominated. I can probably narrow it down by saying that maybe one of them might win the coveted prize. So, I will say that LINCOLN is my prediction to win Best Picture! The dark horse might be LES MISERABLES….remember that just a few years back no one thought CHICAGO would walk away with the Best Picture award… and it did! Could it happen again?

What are some the films you are looking forward to for the Fall/ Winter season? How do you feel about the films we covered and do either agree or disagree with our comments? As always, we invite your comments and views and we always reply back!

Stay tuned and come back and visit us on Wednesday October 10, 2012 when JER returns with another interesting take on the world of cinema! Thank you for stopping by!

http://www.youtube.com/user/cinemacounterpoint?feature=mhee

AN EDITORIAL- JER’S TURN: REMEMBERING DIRECTOR TONY SCOTT (1944- 2012)

2012-09-12T08:00:00.000-07:00

“The biggest edge I live on is directing. That's the most scary, dangerous thing you can do in your life.”- Tony Scott

JER: The date was August 19, 2012 when reports swarmed the Los Angeles Police Department just shortly after 12:30pm about an apparent suicide that took place off the Vincent Thomas Bridge. The location is a suspension bridge that connects San Pedro and Terminal Island in California. An identified man had been reported to have taken a 185- foot fall from the bridge to the waters of the Los Angeles Harbor below. Witnesses could only describe the jumper as a middle- aged man wearing sporty orange and gray attire with shorts… some onlookers believed that he was performing an extreme- sports stunt, but appeared nervous before climbing the fence and finally throwing himself off the top. The body was recovered later that Sunday evening by divers for the Los Angeles Port Police and later identified by the coroner’s office that evening…the unidentified man was 68- year old Director Tony Scott.

The Vincent Thomas bridge

At the time of his death, Scott was said to had suffered from an inoperable brain tumor, that rumor was later announced to be “absolutely false” by his widow. Investigations are still on- going at the time of this posting.

Born Anthony David Scott on June 21, 1944, he was the youngest of three sons and immediately found himself following in the footsteps of his eldest brother, Director Ridley Scott. Showing an early love and talent for art and painting, Scott attended various schools including Leeds College of Art and Design and received a degree at the School of Art at the University of Sutherland. He struggled financially with work as a painter and decided to forge a partnership within brother Ridley’s advertising establishment, appropriately titled Ridley Scott Associates… it is there that Tony began shooting commercials.

1983 marked his first feature debut with the vampire cult film THE HUNGER starring David Bowie (LABYRINTH), Catherine Deneuve (THE LAST METRO) and Susan Sarandon (DEAD MAN WALKING). Although not a box- office success, it definitely caught Hollywood’s attention with what would be known as a signature visual presentation and style of photography that had not been seen before. Atmospheres appear murky and moody with the use of filters and shadows. The film primarily takes place in England and a constant lack of direct sunlight is apparent in both the topic of the film and the director’s intent to cast bright light on any specific details. Scott allows the actors, all respectfully great in their own ways, to really (excuse the term) ‘flesh- out’ their roles in the story telling. The photography aspect would apparently be a similar trademark for older brother Ridley Scott’s earlier films including ALIEN and BLADE RUNNER as well.

Opening sequence from THE HUNGER...A must see! (contains brief nudity)

Paramount Pictures’ head producing moguls Don Simpson and Jerry Bruckheimer approached Tony to direct their next film entitled TOP GUN (1986) with established up and comer Tom Cruise to star. The collaboration of the great production team, actor and director created one of Paramount’s all- time biggest films grossing over $344 million worldwide. Scott was given the chance to work with real Top Gun men and women as well as actual training facilities. Shot primarily at the Miramar Flight School located near San Diego, CA. Scott also spent many hours in the air, shooting various dogfight and action sequences would continue his working relationship with Paramount on his next film as well.

1987 would have Tony Scott directing the sequel to a highly- successful film for Paramount as well as work with one of its popular and lucrative actors as well. BEVERLY HILLS COP II, starring Eddie Murphy, for another blockbuster hit for the studio and director… grossing $300 million. The sequel played with a more gloss appeal and presentation than did its original, which was a lot grittier looking. Scott spoke for a generation, as MTV was huge and the look of music videos as it presented more shine and used the technology of video replay to its advantage. Nonetheless, the timing couldn’t have been any better in the marriage of Scott’s visual presentation and the new generation of video watchers! Another great add- on that soon became the staple of the Scott brothers was the use of filtered lenses, which were used primarily to extenuate the appearance of outdoor lighting or scenery. As an example, a sun could be coming over a mountain view and a colored filter gave the scene a look of color being drowned over by the light of the sun with highlights or yellows, oranges and reds blending like a prism. The upper- crust of Beverly Hills, Rodeo Drive and other hotspots are shown with that ‘larger than life’ appeal that only Hollywood can create. Murphy is given an opportunity to show off his credits…as a comedian, an actor and having the ability to ad- lib when appropriate and be the actor when called upon as well.

Scott would not always be as successful as with his two back- to- back Paramount hits, but he would still bring his sense of style and trademark maverick direction all of his upcoming projects. 1990 marked the start of a new decade and Scott would now try a hand at working with Columbia Pictures on the heavy- hitting REVENGE starring Kevin Costner (THE UNTOUCHABLES) and Madeline Stowe (THE LAST OF THE MOHICANS). The film performed poorly in the box office… lacking from a powerful soundtrack, unlike TOP GUN and BEVERLY HILLS COP II and it definitely didn’t take on the appearance of a feel- good Summer flick, either. The direction was new for Scott, as a sense of drabness took over the polished- up look of his previous two films, reflecting back to the style presented in his first feature, THE HUNGER. Colored filters were beautifully used in some of the desert scenes around the outskirts of Mexico, giving a nice wash- out of colors to the desert landscape. The title alone gave you a hint of what subject the storyline would take. The film, over the course of the years, has found an audience that appreciates what it set out to do and many various ‘cuts’ of the film have been released. Colombia Pictures finally settled with a “Director’s Cut” and have released it as their definitive DVD and Blu- Ray release.

Documentary for REVENGE with Tony Scott discussing sex & violence

Tony Scott with Tom Cruise on the set of DAYS OF THUNDER

The question that the powerhouse producing duo of Simpson and Bruckheimer asked was: could lightning strike twice in the same place? Paramount Pictures was willing to find out for themselves! With a screenplay by the highly- respected Robert Towne (CHINATOWN), DAYS OF THUNDER (1990) would invite Tom Cruise to bring his love for race car driving to the silver screen. Tony Scott as director would complete the fold for those responsible for the success of TOP GUN. There was a huge undertaking in filming a NASCAR film, with the number of fans to please as well as the Tom Cruise elite. Race sequences are intense and strong while the camera work allows the audience the true feeling of what it is like to be in the pit and riding along with the driver. Filters once again highlight some great moments and are used gingerly throughout the production. The action is screen- filled when needed and Scott still finds the right moments to apply a love interest for Cruise with co- star (and eventual wife) Nicole Kidman. Although it didn’t perform as well, it still brought in over $165 million dollars.

Producing titan, Joel Silver (THE MATRIX) also saw the talents of Tony Scott and felt he had the right film for him to helm as well. 1991’s THE LAST BOY SCOUT paired off the very popular Bruce Willis (DIE HARD) and funnyman Damon Wayans (TV’s In Living Color) playing off a wise- cracking and action- packed story and script by Shane Black (LETHAL WEAPON). The film grossed a cool $60 million dollars. The direction was very quirky and free- handed, giving both Willis and Wayans an opportunity to really show off their talents, respectfully. Wayans, in particular, was played off as a more serious version of Eddie Murphy’s Axel Foley from BEVERLY HILLS COP II, but still allowed him rein for ad- lib, when necessary. Scott’s popularity kept escalating and his work was sought after by many producers and studios throughout Hollywood...

Success, as Tony Scott would prove, is not always in the box office dollars. Many of his films are recognized from its own stem of popularity that has been forged by real film- goers and fans of the genre alone. Take into account Scott’s next project, 1993’s TRUE ROMANCE. The film, box office- wise, performed under the actual budget of the film… yet, the film goes well detected and has formed quite the cult following along the way. Written by a then- unknown Quentin Tarantino and starring a cast of many talented actors including a strong supporting team including Christian Slater (HEATHERS), Patricia Arquette (ED WOOD) along with Dennis Hopper, Val Kilmer, Christopher Walken, Samuel L. Jackson, Gary Oldman, Brad Pitt and James Gandolfini! Returning, somewhat to the techniques used in BEVERLY HILLS COP II and melding that along with REVENGE, Scott was able to tell his tale of crime with a spark of excitement and intensity!

The action- packed 1993 trailer for TRUE ROMANCE

1995 would introduce director Tony Scott to an actor he would gain the respect of and acquire on his acting talents for many films to come. The actor: Denzel Washington and the film would be the underwater suspense drama, CRIMSON TIDE. Mixing it up with the ever- talented Gene Hackman (THE FRENCH CONNECTION), the film played off the emotions and fine- acting, as opposed to the actual action as seen in many of Scott’s earlier films. The ability to use limited spacing within the submarine and sill create a sense of tension and panic really works well for this type of film. The film’s storyline and high- profile actors were able to attract an audience to the box office creating a revenue of about $157 million dollars. The producing team of Don Simpson and Jerry Bruckheimer had since moved away from Paramount by this time and had Scott work for Touchstone Pictures, a division of Disney with the duo producing.

Scott Free Productions was a film production company brought forth by Ridley and Tony Scott and produced the 1996 sports thriller, THE FAN starring Robert DeNiro (RAGING BULL) and Wesley Snipes (BLADE). DeNiro plays an obsessed stalker to Snipes Pro- Baseball player and both actors bring the tension to its fullest. Again, Scott allows the actors to work off of each other and both do an excellent job in doing so. Not as much an action film as it is more of a taunt suspense thriller with plenty of un-nerving moments throughout the film. The tension is taken up to another degree with its high- impacting photography and original music score by famed composer Hans Zimmer (THE DARK KNIGHT).

The original trailer for THE FAN... intense!

As the 90s quickly comes to a close, Scott cannot help but make a film that deals with the world of new digital technology and allows viewers to decide if we are headed into a world of “big brother” watching us too closely. ENEMY OF THE STATE was released in 1998 starring CRIMSOM TIDE’s Gene Hackman and brought forth the first (and final) collaboration with the highly profiled Will Smith, just coming off the successes of INDEPENDENCE DAY and MEN IN BLACK. After the very untimely death of co- producer and collaborator Don Simpson, Jerry Bruckheimer produced this on a solo basis for Disney and was pleased to work with Scott once again. The film dealt with espionage and shot most of the film using blue filtering to give the film a colder and industrial look to fit the premise of the storyline. The film grossed over $111 million worldwide.

A new decade and new century gave Scott a new look in some of his featured films, now using more composite digital shots to enhance the photographic look of the film…straying away from the film- like quality of a motion picture and joining the ranks of directors embracing the polished high- definition look. Case in point, 2004’s MAN ON FIRE proved to be an experiment in new technology in cinematography and editing for Scott. Starring CRIMSON TIDE’s Denzel Washington and the ever- popular presentation of the young Dakota Fanning, the film played with a number of eye- popping visual candy that had not been seen before. Scott was allowed to do many quick- edits, use filtered lenses and maneuver the look of film with digital effects as well as use some actual captions to help extenuate the dialog. The film was considered by some to be too quirky and out of place, while others accepted the new look as well as the taunt storytelling and nature of violence in the film. Tony Scott served as co- producer as well.

The original theatrical trailer for 2004's MAN ON FIRE

Where MAN OF FIRE might have began, 2005’s DOMINO only continued on with the frenzied photography pace and digital design of the film’s look. Starring Keira Knightley (PIRATES OF THE CARIBBEAN), the film was the recounting of Domino Harvey’s life story, turning away from the life of a model to become a bounty hunter. The story’s wild premise only gave more juice for Scott to fuel- up the screen with many visual shots and plenty of action and violence to spare. The film was dedicated to the real Domino Harvey who died of an accidental overdose of fentanyl on June 2005, months before the film’s release. Tony Scott attended her funeral.

DÉJÀ VU (2006) would mark the third collaboration with Denzel Washington in this high- tech action sci- fi thriller! Borrowing from the genre of time- travel, Scott devised the continued use of digital technology but pared- down on the use of the quirky photography/ editing that he had most recently became fond of using. The story was intense and Washington brings home his expected best in carrying the film through the tension and sophisticate storyline. Scott is again given the opportunity to work with producer Jerry Bruckheimer for a Buena Vista/ Disney release as well. The film’s science- fiction premise seemed a bit out of line for Tony and more the alley of brother Ridley’s, since his hits BLADE RUNNER and ALIEN were widely known and treasured. Still, Tony executed the challenge very well and proved to be a director ever- willing to accept new avenues to travel on.

Tony Scott’s last two films probably marked two different sides of what made him the director he will always be remembered for.

To begin with, 2009’s THE TAKING OF PELHAM 1 2 3 is a remake of the 1974 action thriller, this time starring John Travolta (PULP FICTION) and continued collaborator Denzel Washington. The film was somewhat flawed in the approach and Travolta was not detained from his over- the- top antics as the villain of the story. The film was not considered appealing by most and suffered in the box office.

The film. however, does not lack in its presentation with Scott paying close attention to photography. editing and smart direction. There is no shortage of suspense and plenty of intense moments to please the action fans.

2010’s UNSTOPPABLE proved to be more of the type of film Scott would be known for doing. His last film had long- time actor Denzel Washington return playing opposite newcomer Chris Pine (STAR TREK). The odd similarities between these two films are that Washington is in both and they deal with trains. Though PELHAM is more the crime thriller, UNSTOPPABLE lives up to its name as the action film Scott is synonymous for.

2010 interview with Tony Scott where he reveils "fear of creative failure"

JOHNNY CHAZZ: We can appreciate Tony Scott's quote - well, to a point at least. The primary concern I have is "What caliber of films" this Director involved himself in. Thus, I will make my response this week short and brief as this is Jer's focus and I do think he makes some strong points above.

Probably known best for 'Top Gun,' 'Crimson Tide,' 'Enemy of the State,' and 'Man on Fire,' Tony Scott did add something to Hollywood.

One might recall that I was a huge fan (no pun intended here) of the 1996 Tony Scott release of "The Fan" during our 'Sports' genre last posting.

As for his work in the 80's, "Top Gun" and "Beverly Hills Cop II" fans are still supporting his films as time marches on. As we moved into the 1990's, I can recommend "True Romance" as well as "Crimson"- which are probably worth about $2 to $3 at your local Wal-Mart DVD sale basket.

Perhaps I feel as though Scott incorporated better "actors" as time marched on. We examine films such as "Crimson Tide" with the strong casting - and the latter may have the edge however Denzel and Hackman are indeed a formidable duo.

The original trailer for CRIMSON TIDE

In the past decade, "Deja Vu" and "Man on Fire" were fairly gripping but "Domino" was basically a disaster and synonymous with watching paint dry.

I am not a fan of "action" films for a variety of counts. However, I do respect the words of Jer this week and his tribute to a Director who did "get it right" with regards to this genre.

We never like to see a director "leave us" and it is certainly a sad day for Hollywood and the movie industry with this loss.

JER: Like his films, Scott was unstoppable. A statement by Pepperdine University film professor Craig Detweiler probably summed up the best definition of Tony Scott by referring to his taking his own life by jumping from the bridge as a “high- adrenaline ending, which matches his dramatic style.”

His trademark cigars and beaten- up red baseball cap will lay to rest as we can only be left with the memories of the man through his films. Scott was not a high- profile person, but his films will always be. Rest In Peace, Mr. Scott.

What reflections do you have in regards to the talented works of Tony Scott? Of the mentioned, were there any films that you claim to be your favorite(s) and why? As always, we welcome your comments and replies are always given back in a matter of days.

Please join us on Wednesday September 26th as JOHNNY CHAZZ makes his return with an exciting blog topic that only he can produce! Thank you for joining us!

Have you visited the official CINEMA: COUNTERPOINT page on YOUTUBE? Check out classic and contemporary trailers, scenes and other great trips down memory lane! Just click the link and check out the "Favorites" on our site! Enjoy!

http://www.youtube.com/user/cinemacounterpoint?feature=mhee

JOHNNY CHAZZ' TURN: "SPORTS AND FILM"

2012-08-22T14:48:00.000-07:00

JOHNNY CHAZZ: Sports is a genre within itself when it comes to the movies, and what better time than now to discuss such a genre. With baseball in its peak, football on the horizon and the Olympics just ending in London, the “boys of summer” are alive and well. Let’s use this week on CINEMA: COUNTERPOINT to discuss some of those sports movies that have had the biggest impact on us over the years. Here is Johnny Chazz’s Top Ten:

#10. “61”: What a tremendous story and a film that so few people really ever talk about anymore. Babe Ruth had held the single-season home run record for quite some time until Mickey Mantle and Roger Maris battled it out in 1961. Whether you are a Yankee fan or not, any sports fan will instantly be enthralled with the content and the authenticity of this film. The performances are solid, the casting is specific and on target, and the plot thickens with every scene. The film was directed and produced by Billy Crystal.

#9. “SECRETARIAT”: Being a fan of horse racing, I am compelled to include this 2010 film on my list. With the underrated Diane Lane across John Malkovich, the casting cannot be sold short. Often times this genre can be a bit too “feel good” and “inspiring” for its’ own good, but “Secretariat” does a nice job through and through to tell one of the greatest sports stories of all-time. The final scene at the Belmont Stakes is riveting and the photography along with the musical score is just outstanding when it comes to a racing film. This one can and will bring tears to a racing fan’s eyes.

#8. “BRIAN’S SONG”: James Caan stars along with Billy Dee Williams at the peak of their acting careers in one of the most powerful sports flicks of all-time. Despite racial differences, both men become close friends. The coverage of Gayle Sayers running for the Chicago Bears is one of the top moments in the film. The soundtrack is excellent, the footage is real to life and the story is simply riveting. Consider this one of the top football films of all-time.

The original 1971 trailer for this made for TV film

#7. “MONEYBALL”: This film did indeed receive the credit it deserved, and believe it or not, “Moneyball” actually had an outside shot at the top award with the Academy last year. I recall actually being at Oakland Alameda Stadium the year that the A’s had such a turn-around season in 2002 and I recall a buzz in the crowd that was like no other I had ever experienced at other ballparks. Brad Pitt, Jonan Hill and Phillip Seymour Hoffman put on quite the performance in their roles on screen accompanying one of the best baseball stories of all time. The film was based upon the novel “The Art of Winning an Unfair Game” where manager Billy Beane (still managing today) put a team on the field simply based on statistical methods that were, in every sense – unorthodox. This film comes highly recommended for baseball fans.

#6. “HOOSIERS”: In 1986 this one came as a real surprise to audiences as it had been at least 6 or 7 years since a really solid sports movie had hit the screen. Gene Hackman and Barbara Hershey made a formidable ensemble here as the film takes us through the 1951 Indiana Hoosiers basketball season. Although Jack Nicholson was originally considered for the head-coaching role, Gene Hackman most likely proved to be the right choice. The film focuses on the great athleticism of the team as well as Indiana’s love for the sport. The film is motivating, well-casted, and nostalgic and could easily be considered the best basketball film of all-time. (Note to Jer: You will be pleased to see that my guilty pleasure of 1979’s “The Fish That Saved Pittsburgh” did not make the top-10 list”.)

#5. “MIRACLE”: Here’s a not only a film that has basically been forgotten, but a subject that is not nearly talked about enough. The film was inspired by the United States Hockey Team in the Winter Olympics during 1980. The fact that the “Cold War” was, in a sense being fought on the ice was pure motivation for the American team in this stunning upset as the United States proved victorious in the Gold Medal match over the USSR. Even if you are not a fan of Ice Hockey, it is a virtual guarantee that you will be on the edge of your seat throughout this film. Kurt Russell is outstanding in his role with Patricia Clarkson supporting. The film is a period piece, as well as being one that is quite emotionally impacting especially if you recall the day when the event took place. With the world watching the team rose to the occasion, prompting broadcaster Al Michaels' now famous question “Do you believe in miracles?”

#4. “A LEAGUE OF THEIR OWN”: I am not a Tom Hanks fan to say the least, but here is a film that must make my top-ten list. Released in 1992, audiences everywhere seemed to take to this film and Director Penny Marshall did not disappoint. During World War II, it was the “women” who created a league of their own to entertain baseball fans on the home front. The performances by all are actually quite convincing and the score for the film is appropriate for the time period. Geena Davis, Madonna and Rosie O’Donnell are well casted here and offer just enough “attitude” to actually make them seem as though they are real ball-players. It was the love of the game that brought all of the players together, and each characters is developed well-enough to tie the film together at the end. Tom Hanks as the team manager is humorous and offers a performance that is timely and charismatic. I recommend this one anyone who has yet to see it as it does stand the test of time.

#3. “EIGHT MEN OUT”: The makes my top three without any hesitation. The very fact that professional sports remains “under the microscope” even today is a testament to the message delivered in this film. The film centers around the true story of the 1919 Chicago White Sox (often referred to as the “Black Sox”) who were accused of throwing the world series in order to make money for themselves from underworld crime bosses and bookmakers. The ‘Sox were a virtually guarantee to win the series over the Reds, but since the odds were so high on the other side, the ‘Sox took a fall for the short money. Some people do not consider this film to be one of their favorite sports movies since it casts a poor light on how we actually “romanticize” baseball in the early years. Yet, we realize the impact of the statement by the young fan who states “Say it ain’t so Joe…..” (referring to “Shoeless” Joe Jackson). Based on the performances (John Cusack, D.B. Sweeney, Christopher Lloyd and Charlie Sheen), the musical score and the attention to detail, this must be considered one of my favorite baseball and sports films of all-time.

The original 1988 trailer for EIGHT MEN OUT

#2. “RAGING BULL”: This was perhaps one of Robert DeNiro’s best films and certainly ranks among his best “sports” roles considering there were only a couple. As a matter of fact, it probably ranks among one of Scorsese’s best with the same token. Still, this film must be in my top three considering the tremendous direction, score, plot and amazing performances throughout. Cathy Moriarty plays Jake a Motta's (DeNiro) wife and Joe Pesci is in the role of his brother Joey. The fight scenes are classic, the sound in the interiors is impeccable, the editing is bold and the scenes inside the ring are perhaps the best of any boxing movie ever. This is an absolute must-see for any sports fan.

#1. “THE HUSTLER”: There was never a doubt that this film would fall into my top slot. Paul Newman and Jackie Gleason star in this 1961 play-like film that is not only one of the top sports films of all-time, but easily ranks in my top-50 of all-time American films. The interior sets are genius as well as the script which was so, so smartly written. George C. Scott also puts on such an amazing and intense performance that he almost overshadows our main characters. Directed by Robert Rossen, the film has Oscar written all over it in so many different categories. The interior sets are classic and refined as well as the billiard action and the angles used by Rossen to create tension within a small space. Pool professional Willie Mosconi trained Paul Newman to shoot such a smart game for the role as the film moves towards the final match between Eddie (Paul Newman) and the “classy” and “refined” Minnesota Fats (Jackie Gleason).

The original 1961 trailer to THE HUSTLER!

So, this is Johnny Chazz’s take on the top-10 sports films of all-time. I realize that some of you may question why I left out films such as "Rollerball", "The Pride of the Yankees" and "The Natural" - and believe it or not, I almost included "The Fan" as I really loved the modern-day message it sent. Still, I had to narrow it down to ten, and that is easier said than done. Now, hit this one Jer as I toss the ball into your court.

JER: The ball is caught and served… great topic as we wheel away from the summer months and we work around the plates before sliding into home! I have always been a little more selective about my sports films and I realize that I am not as diverse in that world as you are, JC. Nonetheless, a great film is a great film- regardless of the genre or theme. With that said, I attempt to create my own Top Ten List of Sports Films:

#10. MAJOR LEAGUE: It’s comedy, it’s baseball and it had Charlie Sheen before he was a total ASS! (I mean that from my own personal experiences with Mr. Sheen!) Following the road of the disastrous Cleveland Indians through their epic fails, the team begins a new year under new management who will actually benefit from their losses. The team gets wind of this and turns their game around to bat- out a great season. The 1989 cast includes Tom Berenger (PLATOON), Rene Russo (LETHAL WEAPON 4) and Wesley Snipes (BLADE). Play Ball!!!

#9. BEND IT LIKE BECKHAM: 2002’s sleeper hit about an 18 year old Punjabi daughter (Parminder Nagra from Television’s E.R.) growing up under a strict Orthodox family, must hide her passion to play football (or American soccer) and befriends another 18 year old (Keira Knightly from THE PIRATES OF THE CARIBBEAN) who plays for the same league under their male coach (Jonathan Rhys Meyers from Television’s THE TUDORS). The film captures the life and times of West London from both a typical English family’s point of view as well as the traditional aspects of life for a London- raised Punjabi family while grasping onto their culture and traditions. The film is both funny and touching with real heart captured by its director/ writer Gurinder Chadha.

The entertaining trailer to BEND IT LIKE BECKHAM

#8. THE LAST BOY SCOUT: A bit far off the field, but an action- packed football film taking place in the heart of Los Angeles. Directed by the recently deceased Tony Scott (TOP GUN, UNSTOPPABLE) the film follows a washed- up detective (Bruce Willis) as he takes on the assignment of assisting an ex- quarterback (Damon Wayans) in cracking a murder case involving a pro football team and a politician. The 1991 film carries all the explosive elements needed for a great action film for its day: written by Shane Black (LETHAL WEAPON) and produced by the legendary Joel Silver (THE MATRIX, DIE HARD) collaborate to create a wallop of an adventurous flick! Did I mention that football was the premise of the story?

#7. CADDYSHACK: How could this classic 1980 comedy not be on anyone’s list? With an unforgettable cast of characters including Chevy Chase (VACATION), Rodney Dangerfield (BACK TO SCHOOL), Bill Murray (GHOSTBUSTERS) and Ted Knight (Television’s MARY TYLER MOORE SHOW and TOO CLOSE FOR COMFORT) on top of being directed by triple- threat writer/ director/ actor Harold Ramis (GHOSTBUSTERS, VACATION), CADDYSHACK introduced an entire generation to golf with screwball wit! Things aren’t as posh as they would seem within the greens of the exclusive Bushwood Country Club as golf caddies compete for the annual college scholarship amidst an unstoppable gopher who threatens to tear up the entire course while illegal gambling, drug use and insanity take over the course and destroy the prestige name of the Club along the way!

#6. FIELD OF DREAMS: 1989’s fantasy- baseball drama had only one message to deliver:” If you build it, they will come” and so the film discovers many different layers as what the meaning of that phrase takes on for many different characters and the subplots that the film covers. Kevin Costner (THE UNTOUCHABLES) leads the cast as an Iowa corn farmer who hears a haunting voice whisper the memorable phrase as a request to build a baseball diamond in his field to have the 1919 Chicago Black Sox players return for a game. The film focuses on the discovery (and rediscovery) of family, values and the love for America’s game. The fabulous cast also includes James Earl Jones (COMING TO AMERICA) and Ray Liotta (GOODFELLAS).

#5. ROCKY: The 1976 drama introduced America to its next great hero: Rocky Balboa, who was brought to life by its writer and creator- Sylvester Stallone. ROCKY symbolizes the American Dream to become somebody and to prove that anything is possible as long as the spirit to go the distance lives in the soul of the pursuer. Directed with a flare of realistic drama, John G. Avildsen (1984’s KARATE KID) helms the story of a small time boxer from Philadelphia who gets a once in a lifetime shot at fighting the heavyweight champion. Balboa trains for the match of his life for honor and self- respect. With memorable performances by Talia Shire (THE GODFATHER), Burgess Meredith (Television’s BATMAN) and Carl Weathers (PREDATOR), ROCKY has found its place with its fans as a film with heart and guts.

#4. THE NATURAL: Although missing from JC’s list of favorites, it is one that happily finds a home on mine. Robert Redford plays a middle- aged batter who comes out of nowhere with his self- made bat taken from a tree that had been struck by lightning to help a 1930s losing baseball team to the top of the majors in this fantasy drama. Beautifully directed by Barry Levison (RAINMAN) THE NATURAL contains some breathtaking cinematography and inspiring music from composer Randy Newman (TOY STORY, RAGTIME).

The exhilerating trailer for 1984's THE NATURAL

#3. YOUNGBLOOD: This may not ring on the top of JC’s Top 1000 list, but it sure has a place on mine. 1986’s YOUNGBLOOD might have been a starring vehicle for its main star, Rob Lowe (ST. ELMO’S FIRE) but the film proved to be more than that. With Patrick Swayze as a mentor, Lowe plays a farm boy who wants to play real hockey, so he hops over the Canadian border to play. He has to; however, show that he can move about the ice and being able to hit the puck is just the start. The film features some great hockey sequences as well as a great 80s soundtrack to boot to make this film a fun little treasure for anyone who enjoys the game or the era.

#2. THE BAD NEWS BEARS: I am not talking about that piece of crap wannabe remake with Billy Bob Thorton, but thee original Bad News Bears of 1976! Walter Matthau turns in a memorable performance as the sloppy but loveable Coach Buttermaker who happens to be a down- on- his- luck ex minor leaguer who takes on a league of juvenile little- leaguers as they compete for the California league. With a fantastic cast of pint- sized unknowners, Tatum O’Neil (PAPER MOON) is the jewel on this scuffed tiara as the team’s secret weapon pitcher.

The original 1976 trailer for THE BAD NEWS BEARS!

#1. RAGING BULL: What more can be said of director Martin Scorsese’s true- story telling of the rough and rugged life of prize fighter Jake “The Raging Bull” LaMotta. Robert DeNiro’s portrayal of LaMotta earned him a much deserved Academy Award for Best Actor. The unique style of electing to shoot the film in black and white created an element different from any other film during its release year of 1980. Scorsese has a flair of selecting the right actors to interact with each other that continually add to the drama or tension of the story being told. Joe Pesci (GOODFELLAS) is a break- out star as Jake’s brother, Joey. Another interesting fact that Scorsese built into the production of the film: the fight sequences are recorded in full stereo so that you may hear every hit and jab thrown while the actual dialog or drama of the film is recorded in mono!

The classic opening sequence to RAGING BULL

Great films that deserve a moment of reflection and their enique way of capturing the spirit of the sport they represent... however, it is also understood that many films were overlooked. What do you feel were films that deserve to be recognized?

We always look forward to your comments and please check back as we always reply back to all!

PLEASE join us on Wednesday September 12th as CINEMA: COUNTERPOINT pays tribute to the loss of one of Hollywood's most recognizable and talented Directors: MR. TONY SCOTT (1944- 2012)

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JER'S TURN: JAWS- THE FILM AND THE IMPACT

2012-08-08T19:34:00.001-07:00

JER: The summer of 1975… the thought brings me back to when I was a mere seven year old boy falling deeply in love with the movies and who viewed the world through innocent and naive eyes. Amongst the many that were released that summer, the more memorable were titles like ROLLERBALL starring James Caan, Barbra Streisand’s FUNNY LADY, MONTY PYTHON AND THE HOLY GRAIL, Walt Disney’s THE APPLE DUMPLING GANG with Bill Bixby, Don Knotts and Tim Conway, NASHVILLE (a JOHNNY CHAZZ favorite) and the long awaited FRENCH CONNECTION II with Gene Hackman. In the mix of the famous and not- so- famous of the films being released and anticipating release, one film did ‘emerge’ from the depths of a young director’s vision that would change film- watching and film- making all together. The date was June 20^th, 1975 and the phrase ‘blockbuster’ was coined from the display of box office dollars generated from a single film that had not been seen previously: It began with Steven Spielberg’s JAWS.

Fast- forward to the summer of 2012, or 37 years later, with yet another wave of excitement that is making its way back into the hearts (and fears) of film fans alike as JAWS is preparing to be released on blu- ray for the first time ever! Serious collectors and first-timers are bogging the internet with talks and conversations of high anticipation as the date draws nearer.

It is no secret that many have heard of the various plights JAWS was cursed with… some would even go as far as to down-play the film as ‘corny’ or ‘boring’ by today’s standards. Who could be afraid of a rubber shark in a world of computer- animation and high- tech graphics or be submitted to suspend reality for the briefest of moments to believe such nonsense? At the same token, how can one argue with the fact that JAWS has remained on the top of many prestigious film lists as ‘best’ in its categories and the respect it has garnered from fellow filmmakers alike?

The blu- ray trailer for JAWS (in HD)

In this posting, CINEMA: COUTNERPOINT would like to recall one of the greatest summer films of all time as well as the one film that may have created the phrase "blockbuster" and the many layers of enjoyment it has provided. So, grab your tanning oil and your beach blankets and let’s dive right into the world of JAWS.

ORGINS:

Benchley makes an appearance as a Reporter in JAWS

JAWS began in the imaginative mind of author Peter Benchley when his novel was published in 1973. Benchley was inspired by a number of true- life shark incidents including a string of attacks that occurred in New Jersey back in 1916. The results led to four deaths and occurred over a period of twelve days. After writing his book, film producers Richard D Zanuck and David Brown (DRIVING MISS DAISY, THE SOUND OF MUSIC) were able to obtain an unpublished copy for their reading. An offer was made by the duo for the film rights and Universal Studios was signed on to release the film. As the film grew closer to a production point, Benchley was asked to co- write the screenplay... he even makes an appearance in the film as a news reporter during the 4th of July festivities. The question now needing to be answered was who would direct the project? Many names were immediately brought forth, but the team of Zanuck & Brown was looking for someone who could visually tell the story and capture the spirit of the novel and what Benchley was trying to convey in character and events. Yes, who indeed…

28 year old director Steven Spielberg

A very young 28 year old Steven Spielberg was already a contracted director for Universal who was quickly creating a name and reputation for himself. Aside from being one of the youngest on the lot, he had already had the honor of directing various top- A actors on television shows that included the likes of Joan Crawford (NIGHT GALLERY) and Peter Falk (COLUMBO). A made- for television film starring Dennis Weaver called DUEL was released in 1971 on NBC and received rave reviews and ratings. His feature length film was made with 3 million dollars and starred a very dramatic Goldie Hawn in THE SUGARLAND EXPRESS (1974) which also received great critique and grossed over 12 million dollars worldwide. The film was produced by the team of Zanuck & Brown.

Having had a wonderful experience working with the new kid on the lot and proving himself ready to go to the next level, Zanuck & Brown decided to give Spielberg the project to direct. Everyone, including, Spielberg, knew the risks involved from the anticipation levels expected by the fans of the novel, since it remained the number one best seller for 44 weeks!

After selecting the quiet seaport town of Martha’s Vineyard as the perfect location for the fictitious town of Amity Island, Spielberg could now focus his attentions on selecting the three main actors to flesh- out the leads of the story. The perfect combination of Roy Scheider as Chief Martin Brody, Richard Dreyfuss as Matt Hooper and the ‘seadog’ portrayal of Quint by veteran actor Robert Shaw was finally drawn out from many other considerations which included Charlton Heston (Brody), Lee Marvin (Quint), Robert Duvall (Brody), Jeff Bridges (Hooper) and Jon Voight (Hooper). Peter Benchley’s dream cast: Paul Newman, Robert Redford and Steve McQueen!

Composer John Williams: circa 1975

JOHN WILLIAMS- JAWS’ HEARTBEAT:

Undoubtedly, the soundtrack to JAWS is synonymous to the film and is easily one of the most recognizable pieces of contemporary classic music over the years. Composer John Williams had already begun what would be his longtime musical relationship with Spielberg by scoring THE SUGARLAND EXPRESS and JAWS would now mark their second collaboration. Williams was proving himself to be a successful and respected composer with scores like FIDDLER ON THE ROOF (1971), THE POSEIDEN ADVENTURE (1972), THE TOWERING INFERNO (1974) and EARTHQUAKE (1974) already adding to his credits. The most distinguished of the JAWS score is its theme. Probably one of the most satirized pieces as well; the theme consists of the memorable low notes provided by tubas and strings. Many wonderful themes are sprinkled throughout JAWS in various points of the film: some are to highlight the anticipation of suspense and others play with Amity’s beachfront scenery as the backdrop.

The theme from JAWS video with stills from the film

Cinematographer Bill Butler on the set of JAWS

A REVIEW- THE FILM:

This is a film that made an impressionable impact on a seven year old who wanted to go to the movies to see a film about a shark…and that was exactly what I got! Even at my age, the distinct sounds of Williams’ soundtrack making an appearance before we get the first shot of the ocean’s floor caused an entire theater to react with excitement. Director of Photography Bill Butler ingeniously used the camera as the shark’s point of view. Rumor has it that Spielberg was so frustrated with the huge percentage of the mechanical shark’s breakdowns, that he was succumbed to use the camera as the shark since the other one is inoperable! Nonetheless, the technique proved to be unique and effective as we were taken on a ride to see what its next victim would be.

Shaw, Scheider and Dreyfuss from JAWS

The arguable question has always been a counterpoint of theme to what JAWS is defined as: is it a horror film or not? An “eating machine” works as the protagonist of the film with one job to perform…eat human flesh. The other side of the spectrum resorts in its rating of PG with a clause appearing on its theatrical posters stating “may be too intense for small children.” The carnage in question is inserted at various moments throughout the film as dramatic moments are given equal time to help developing the personalities of the town’s inhabitants and the main characters. This is another point that makes this film stand out and carry a stamp of its generation. Time is actually spent developing characters and storylines instead of focusing on a total body count with an unlimited array of victims available for feeding and bloodletting. Would one automatically assume because of tension, blood and a shark thrown into a story or film that it could default to it being defined as ‘horror?’ I wouldn’t. Maybe at seven years old, the only vivid memories would be of the shark attacks and it would have definitely been defined as a horror film, but I see it very differently today.

JAWS, in this critic’s opinion, has always been a story of men and struggle…a claiming of grounds. Man versus beast, if you would, over territory. The territory, in the film, is Amity and its waters. A peaceful town that is brought up early on in the film when Brody makes it into the office that fateful morning in which his duties as a lawman is to deal with kids karate- chopping neighbor’s picket fences! How does a quiet little town deal with a bully or a menace? The shark is also a threat to the community… not only because of the fatal effects one would suffer if swimming near it, but also the economic expectancy of summer (more specifically, 4^th of July) dollars that the town needs to keep afloat. The town has to get together to try to resolve the problem (claiming their ground) and the solution arises in…the form of one man, Quint. Such similar stories have been told many times before but with different scenarios. The struggle of man and his surroundings is a tale as old as time and makes it more relatable because of our own personal experiences.

"Bruce" the shark and Steven Spielberg

Sadly, there are now at least two generations that never have or never will have experienced JAWS in an actual theater. In 1975’s presentation at my local movie house, the lights dimmed and the film immediately began! No trailers, no commercials, no cartoons, and no concession announcements…just straight to what you paid your price of admission for! There was a quiet hush that went over the entire auditorium yet there was a wave of whispered enthusiasm that made people strap in for the ride they paid to see.

In conclusion, JAWS still remains a very powerful and impactful film for me 37 years later. It works on so many levels: terror, biting humor, action, drama, suspense and tension. If one can look past the “rubber shark” theory, you find a fantastic and ageless storyline that speaks to each of us based on our own personal attitudes or emotional histories. I, for one, find myself waiting in high expectation for the August 14^th release date for the blu- ray having once owned the VHS tape and the DVD. If you have not experienced blu- ray and are either curious or intrigued by the comparisons, I was able to provide an example for your viewing pleasure.

JOHNNY CHAZZ: Right off, we must realize that the text (the novel) provides us with a storyline and characters that are much deeper than the film can offer. Still, doing justice to the film, novels are a longer "read" than films are as a "watch". Nonetheless, a sacrifice is almost always made when you take a novel and put it on screen - and so much of the creativity, characterization and imagination is lost ("The Da Vinci Code" would serve as a prime example).

The film won three (3) Ocscars and was probably deserving of that. Still, this was a year that provided us with the likes of "Dog Day Afternoon", "Barry Lyndon", "Nashville", "One Flew Over The Cuckoo's Nest", and Michelangelo Antonioni's "The Passenger" which was arguably the best film of that year.

Spielberg's work here almost reminds us of a "Hitchcock-like" film in the way it is filmed and shot. A quiet town is used and the characters are slightly flawed which adds to the hostility and rage. The characters are limited with plenty of extras in the background.The suspense is real - but timed beautifully and is never overwhelming. Even the play of tension between the three main characters in the film create a mood in a limited space which is drama to a "T". Robert Shaw undoubtably offers the most riveting and convincing performance in the movie.

Jer asked our readers if this was a "horror" film - and that can be debated. The truth is, Jaws appears to fall into the "Monster-Suspense" genre that we often see with "B" movies - and, not to diminish the film - in so many ways "Jaws" does remind us of what "B" movies were all about.

The original trailer for the 1975 release of JAWS

What is so powerful about "Jaws" is that it continues to stand the test of time. The story remains relevant today and upon re-visiting the film, your fear of going in the water re-surfaces all over again. It simply terrorized movie audiences 37 years ago, and continues to do so today.

"Jaws" is hardly a complex film, but the best moments of the film (to me) are when the shark is not present. The moments of floating endlessly and hopefully on the 'Orca' (the boat's name) with the John William's score and the sounds of the ocean water crashing against the boat create a real creepshow feeling. Referring to Jer's comment: It may well qualify as "the most recognizable pieces of contemporary classic music over the years". To add, the underwater cinematography is quite terrific and offers audiences the shark POV that tacks on to the terror.

"Jaws" is in no way one of Spielberg's best films as we must look at 3 or 4 others ("Schindler’s List" - 1993 & "Close Encounters Of The Third Kind", as well as "E.T.: The Extra- Terrestrial" and "Saving Private Ryan") before moving down the list to this cult-classic.Still, something special was certainly created here since focus on character was still a piece of the film that made it work. What we can say, and beyond a shadow of a doubt is that "Jaws" was the film that set the stage for Steven Spielberg, placing him on the map for years to come and re-defined the horror-suspense-monster genre for years to come in the world of cinema.

Robert Shaw (Quint) delivers the "Indianapolis"speech

JER: April 6th, 2011 was a date in which CINEMA: COUNTERPOINT posted a blog topic entitled: "THE TOP 25 SCREENPLAYS IN THE LAST 50 YEARS!" to which I listed JAWS as my number 10. To borrow a quote from that posting, here is what I wrote then about JAWS as a screenplay:

10. JAWS (1975) Like THE EXORCIST, what is mainly lacking in the capturing of an audience’s interest in any modern horror/ thriller is the lack of character and dialog. Peter Benchley’s best selling novel is reshaped into a building of characters on both a human and caring manner and how the lives of some change when confronted with an uncontrollable being. A highly recognized moment is placed on Robert Shaw’s “Indianapolis” speech delivered on the ‘Orca” to Richard Dreyfuss and Roy Scheider. Plus, who can forget the immortalized “You’re gonna need a bigger boat” line?

In summary, I go back to what JOHNNY CHAZZ said in regards to: "Jaws" is hardly a complex film, but the best moments of the film (to me) are when the shark is not present. I believe that moments like Quint's delivery of the incident on- board the 'Indianapolis' is one of the greatest moments of dialog assembled and captured on film. There are plenty of great sequences to confirm JC's quote as well. Moments within the Brody household, The various fisherman arguing before casting off the docks to try to win the reward money and the two fishermen who uses the wife's holiday roast as bait that fateful dusk eve. This and many other elements help with the actual telling of a story and not just focus on the carnage of a potential R- rated film.

Shaw, Sheider, Spielberg and Dreyfuss on the set of JAWS

It may be high time for a revisit or maybe the opportune moment to see it for the first time, in any repsects, JAWS is definitely a film to sink your teeth into!

As always, we look forward to your comments on the subject... what has been your JAWS experience? Were you able to see it in theaters or have you only seen it on a home- format?

Mark your calendars as JOHNNY CHAZZ will look into his crystal ball for the inspiration to kick- off his latest blog topic on WEDNESDAY AUGUST 22nd, 2012! Thanks again for visiting us!!!

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JER'S TURN: DAVID LYNCH- THE DIRECTOR & THE ARTIST OF FILM

2012-07-26T00:23:00.002-07:00

JER: The feeling of déjà- vu hovers over my laptop…haven’t we been here before? The subject of writer/ director David Lynch has been an on- going topic between JOHNNY CHAZZ and me since we first met and began talking about the directors we enjoyed the bodies of work from the most. So, I guess it is slightly embarrassing to admit that Mr. Lynch never came up as a subject to discuss here on CINEMA: COUNTERPOINT before. Let me clear that up just a bit more…his films and his life has been discussed to a certain degree in previous postings but a full blog page topic line has never been dedicated to him solely. I will give that credit to Reader Janelle for bringing up her ‘obsessed’ following with several of his films and the need to read and discuss more of his film history and a slight visit into his biography as well.

If you are an avid fan or a first timer into the realm of David Lynch it comes with a warning: once you have journeyed into his cinematic “rabbit hole”… you will never be the same. Lynch’s unique and controversial methods have been the topic of numerous discussions since he made his feature- length debut with the cult classic ERASERHEAD back in 1977. Some would go as far as to call him a genius… others would just call him insane. Jurors, I leave it to your interpretation, after all, that is what Lynch has always asked of his audiences in the first place.

NOTE: (Please visit our previous posting dated 2/13/2012 entitled “A HYPNOTIC STATE OF BEING”, which further discusses techniques that offer a ‘dream- like’ ambience to its storytelling).

BIO: David Keith Lynch was born in Missoula, Montana in 1946, a town very similar to the little ‘heartland” locations that many of his films take place in. He expressed a love for art at a very early age and signed up for many classes before enrolling into Boston’s School of the Museum of Art just after high school. In the art of expressing himself through his works, he quickly picked up the media of film.

After ‘experimenting’ with a few shorts, Lynch’s first full- length film took almost five years to finish and was finally completed and released in 1977 as ERASERHEAD. Right from the very beginning, many studio executives didn’t know how to receive or market this very strange film until a distributor by the name of Ben Barenholtz took a chance and helped launch the film to its current cult status.

It wouldn’t be too much longer before Lynch entered into mainstream filmmaking when he released 1980’s THE ELEPHANT MAN. David Lynch received two Academy Award nominations: Best Director and Best Screenplay. The film was a success on both a critical and commercial aspect and this secured a position to continue directing and writing a number of films. He found a way to work on both mainstream films as well as independent projects with the same flare and artistic curiosity that has kept audiences guessing to this very date.

This only marked the tip of the iceberg for what Lynch had in mind. After the commercial and critical success of THE ELEPHANT MAN, famed producer Dino De Laurentiis (BARBARELLA, RED DRAGON) sought Lynch out to direct his most ambitious project to date: filming Frank Herbert’s classic sci-fi novel, DUNE. Plagued with too many studio decisions and on- set egos, Lynch was very dissatisfied with the experience of the 1984 film that subsequently bombed in the box office. An extended ‘special edition’ was released on both television and DVD, to which Lynch requested his name be taken off the director’s credit. The name of “Alan Smitee” appears in its place, the name commonly used as a “John Doe” amongst directors who have no claim on their films. It was back to the drawing board for his next project.

A Tribute to David Lynch's 1984 release DUNE

Redemption came in the form of 1986’s BLUE VELVET. Middle America’s suburban town is literally ‘turned on its ear’ when an underlying of darkness and depravity takes over. Things are not as they would seem under the microscope. The film would receive only one Academy Award nomination: Best Director- David Lynch. The film also marked the first collaboration with Music Composer Angelo Badalamenti who composed the eerie and haunting themes throughout the film. Lynch would develop a wonderful relationship with the composer throughout the years including a wonderful and intriguing music video piece featuring some original compositions by Badalamenti and featuring vocalist Juliee Cruise on 1990’s INDUSTRIAL SYMPHONY #1: THE DREAM OF THE BROKENHEARTED.

1990 was a banner year for Lynch has his media outreach made its way to both cinema and television. WILD AT HEART would reunite Lynch with his BLUE VELVET actress Laura Dern and match her with the equally unique acting of Nicolas Cage. Cage went through an odd Elvis phase in his life and brought that into a number of his films including HONEYMOON IN VEGAS and SNAKE EYES. Lynch gave him his iconic snake- skinned jacket and allowed him to snarl on the screen with much enthusiasm. The same year also launched the highly anticipated television series TWIN PEAKS which was produced by Lynch. A variety of other credits were held during production including director and writer of a few episodes and he even made an appearance as an actor in the reoccurring role of FBI Regional Bureau Chief Gordon Cole. Lynch centered a teenage girl’s murder on a sleepy logging town tucked away amidst a scenic backdrop of trees and mountains. The series only lasted two seasons ending in 1991.

Lynch would keep himself busy for the next eight years with various projects including his continued work for television and even directing and writing a feature length film released in 1992 entitled TWIN PEAKS: FIRE WALK WITH ME, considered to be the prequel to the events that led to the death of its main character, Laura Palmer. Many of the short- lived television series returned in their original roles for the film. Music was provided by Angelo Badalamenti (who also wrote the series’ music) as well as an appearance by Juliee Cruise as the Roadhouse singer… both of whom were mentioned in Lynch’s INDUSTRIAL SYMPHONY #1 feature- length video.

Captivating video of Juliee Cruise's theme from TWIN PEAKS

THE STRAIGHT STORY could be taken in a literal sense when it was released in 1999. Richard Farnsworth walked away with the only Academy Award nomination for the film as its lead character, Alvin. Based on a true story, the film focuses on how a 73 year old man from Laurens, Iowa rode on his lawn mower to Mt. Zion, Wis. in 1993 to mend his relationship with his ill 75 year old brother, Lyle. The film offered a rare glimpse at how Lynch was able to ‘slow down’ the process of telling a story without the use of overblown budgets or heavy special effects. Some would even dare interpret this film to be Lynch’s most ‘normal’ entry to date.

2001’s MULHOLLAND DRIVE would remain true to the unique and bizarre views of Lynch… Hollywood- style. A freak auto accident on the twisting roads of Mulholland Drive would leave a woman (Laura Harring) amnesic. Her destined run- in with an actress hopeful (Naomi Watts) would team together to piece the clues as to the woman’s identity. The original storyline and premise was derived from a television film Lynch directed and wrote back in 1999 of the same name.

Again, Lynch would take some time from feature films to work on television segments and video documentaries between 2001 and 2006 to finally release the last of his feature films to date: INLAND EMPIRE starring re- occurring actress Laura Dern. Lynch would, again, center this story around Hollywood and the film industry as Dern’s character is an actress preparing for the biggest role to date. As she begins to develop feelings for her co- star, she finds her real life mimicking that of the fictional life of the film she is making. It is only then that the film takes a turn for the surreal and the lines are blurred from that moment on. The third half of the film was shot on the opposing side of Hollywood Blvd. better known as the poorer side. Having walked down those very same streets personally, I can tell you that a certain residue permeates of urine and filth. It is far from the tourist attractions of the Walk of Fame, the Chinese Theater and the Pantages… yet; close enough to be a stone’s throw away.

Not more can be mentioned of the latest works by Lynch. After 2006 on through to the present 2012 would have Lynch occupied with a number of videos and shorts. 2011 had Lynch work on a video documentary with legendary 80’s pop band Duran Duran entitled- DURAN DURAN UNSTAGED. Think of it as a concert film on hallucinogens. Leave it to Lynch to film the concert in a standard black and white and super- impose images over the images of Duran Duran’s lead singer Simon LeBon, keyboardist Nick Rhodes, drummer Roger Taylor and bassist John Taylor. Everything from smoke, flames, sunbursts and even bizarre shrunken heads make their way onto the screen to obstruct the performance itself.

Duran Duran's "Careless Memories" from Lynch's UNSTAGED

LYNCH: THE DIRECTOR’S EYE: In this critic’s opinion, I believe that David Lynch is the modern day side- show barker. He entices and attracts a curious audience to his world of oddities…and we cannot help but look without tearing our vision away from it, much like driving slowly past an automobile accident. We are left to revel in bewilderment, possibly disgust but always with a sense of wonder. His films leave us guessing and maybe even left to our own devices… much like a believer is left pondering the meaning of life. Is it too cerebral for an average audience? Is the idea of “getting” his films mean “not getting it”? If so, then what is the point then?

The same can be said of an artist, though. The work of an Expressionist is to let the viewer derive their interpretation or perception of what they see. Much so are the films of Lynch as well… he offers no explanation in interviews nor does he leave a director’s audio commentary track on any of his films’ releases on DVD or Blu- Ray. After all, weren’t the origins of film created as yet another canvas for artists looking to go beyond paints and brushes? Lynch is, without argument, an artist who has decided to essentially use the camera as his molding clay or paintbrush or charcoals and allow the raw film to be displayed on its canvas: that being the screen. Like an exhibit, we pay to see the works of the artist by purchasing a ticket at the box office or renting or buying his films. We are poised and (somewhat) ready to be taken on the journey of the creator. Some are left satisfied and conversations arise… others look upon with discuss, confusion and questions.

Maybe we, the audience, had it wrong all this time. What if film was just meant to be another art form and we didn’t need the clarity of story and scripting? What if film didn’t have dialog? Could the artist still express what needed to be said in the same format as art without words? Did ‘experimental’ film makers like Andy Warhol, the latter films of Stanley Kubrick or German and French Expressionists know what the concept was really meant to be used as? There is a lot to be asked with a lot to be answered…

JER’S TOP 3 LYNCH FILMS:

For the record, let me say how much I have and always will respect the works of David Lynch. He is bold and does not compromise his work for the general public. It was very difficult to center my attentions on only three, but I also wanted to keep the forum very open to my eagerly- awaiting “counterpoint” partner, JOHNNY CHAZZ. So, without further ado, here are my personal selections.

#3. THE ELEPHANT MAN: Mainstream, yes. Artistic, absolutely. The true story of the tragic and inspiring life of John Merrick couldn’t have been captured any better by any other director in 1980. Taking a bold step and presenting a mainstream film (released by Paramount Pictures) in black and white was a risk that paid off in its essence of presenting the grotesque disfigurations of Merrick as well as the interpretation of the seedy streets of the lower dredges of England.

The moving trailer for 1980's THE ELEPHANT MAN

Anthony Hopkins is highly underrated as Frederick Treves, the Victorian surgeon who rescues the young John Merrick (John Hurt) from the physical beatings and mistreatments as a side- show freak who suffers from a rare disfiguring congenital disease. The film represents the 19th century with excellent set design and cinematography. The film was bestowed 8 Academy Award nominations including the previous Best Picture and 2 nominations for Best Screenplay and Director for Lynch as well as one for John Hurt for Best Actor. Nominated for Best Original

Score, John Morris adds the final somber touch with saddening themes for Merrick and the menacing moments of Merrick’s inhabitance of the side- show.

***Here is where it gets to be a little unsure. The safe “go- to” title should be BLUE VELVET… and why not? Widely considered to be the most popular film directed by David Lynch, it was also the most successful in all markets. However, it isn’t about making a ‘safe’ decision within my “top 3 films” … it is more about the overall presentation and how I felt about it long after seeing it. Thus, BLUE VELVET is an excellent film and deserves all of the accolades it continues to receive…but, let’s just say that other films deserve equal time in the spotlight and I want to shine it upon them.

#2. DUNE: I know that many people were extremely harsh and turned off by this film…not only because of the hard- to- follow style that Lynch presented the film in, but the story and characters didn’t work for a general audience back in 1984. DUNE is heavy science- fiction with multiple storylines and various characters belonging to various families to keep track of. I must admit that I am a big fan of and the owner of the special extended edition (Alan Smitee) and not the original ‘David Lynch’- direction version. I feel that the stories and events are fleshed out better because the additional material lends in the development. Lynch’s version was probably the victim of executives’ cutting away the general works and pared it down to a senseless telling.

#1. MULHOLLAND DRIVE: Admittedly, my main attraction to this film has always been because of the fact that it takes place in and around Hollywood, CA. Obviously, there is way more going on in this film than its location to grab my attention. The two different story lines occurring here dabble in the innocence and the corrupted. Life seems to play a difference between both sides and the film gives us that devil/ angel opposition. Hollywood rests in Los Angeles or “City of Angels”, yet, it is also recognized as a city of corruption, crime and violence. Both sides arise in the course of the film with do- gooders and haters doing their best (or worst).

JOHNNY CHAZZ: I must admit that Lynch has been one of my favorite and most relished film directors over the past 20 + years since my initial viewing of a private screening of "Blue Velvet" on the USC campus in 1988. Thus, it is so inspiring and motivating that we have the opportunity to discuss Lynch and his films this week.

One common theme that we see in Lynch films is that of the "dream-state" surrounded by abstract art, if you will. So many people walk around life in the "conscious" realm whereas Lynch comments on how the subconscious and the conscious state... affect one another on a cyclical basis. One look at Lynch's "Lost Highway" or even "Mulholland Drive" would affirm that point.

What is KEY this week on our blog is to remember that when we discuss an artist and a director such as Lynch, we must keep in mind that everyone is seeing a "different" image and storyline on the screen - similar to taking a group of people to the museum of modern art. Everything on the screen is an expression of the mind and an abstract piece of film that is thrown at audiences in fragments (a theme to be discussed later).

Dreams and life are synonymous in the world of Lynch in the sense that they can go from a thing of beauty to terror in a moment's time. "Eraserhead" might be one example, but "Lost Highway" and "Mulholland Drive" probably offer primer examples of that phenomenon.

As for plot - that is basically irrelevant in the world of Lynch - heck, look at the recent film "Inland Empire" by Lynch - tremendous to watch, but the plot is a violently weaved and disturbing conundrum. It is the "experience" itself that matters and the mood (lighting, color, and sound) that surrounds it which makes Lynch's films so original, and often disturbing with the same token. I often wondered if the "Lady in the Radiator" (Eraserhead) was an homage to the films of Hiroshi Teshigahara in the 1960's - specifically "Woman in the Dunes". His films are also quite intriguing including "Face of Another" (1966) and "Pitfall" (1962).

Jer listed "The Elephant Man" and "Dune" in his Top 3 this week - so I will go ahead and comment on those films as well as list my Top 5 and eventually my Top 3 as it gets narrowed down.

"The Elephant Man" as Jer mentioned certainly was quite impacting for the time period and Jer makes a strong selection - at least in terms of the caliber of film we are dealing with here. Still, is it one of Lynch's Top 3? Hard to say - and art remains subjective does it not? Still, the film was a stray from Lynch's typical dream-state motif and was so much more dramatic in terms of plot and straight narrative ("The Straight Story" falls in that realm as well). I cannot list "The Elephant Man" in my Top 3 however as it is not a film that really defines Lynch as a director, nor does it reflect who he is and the true message he is sending to audiences. Nonetheless, "The Elephant Man" was outstanding in itself and must be remembered on that level.

"Dune" is perhaps the least entertaining film in Lynch's repertoire. I choose not to spend much time discussing what I feel was, without a doubt his most dull and meaningless film he ever directed. Not only do I not place it on the bottom of Lynch's entire film-work, but I am not sure it could even be classified as a rating level 5 in respect to most films out there. We might recall that Roger Ebert declared it to be the "Worst movie of the year!" So, just when you think Lynch is flawless, take a look at "Dune" - just miserable. Moving along…

Here are Johnny Chazz's Top 5 Lynch Films from #5 to #1:

#5. "WILD AT HEART": This is simply a stunning piece of work with cinematography and set design that was second to none. The flamboyance of the film weaved in with the colors and the eroticism made for a perfect scenario to play off of. Laura Dern and Nicolas Cage were extremely well cast here and Diane Ladd is utterly convincing. The film still has that "dream-like" and nightmarish quality while still maintaining a focus on plot and narrative. The writing and sound are strong fixtures in the film and it should be remembered as one of Lynch's most unique films re-defining his image in Hollywood in 1990.

#4. "ERASERHEAD": Lynch's debut feature film is a fantastic piece of criticism, surrealism as well as insightful and astute. Henry is the main character whose life has been turned upside down and "The Lady in the Radiator" who is a source of solace for Henry (an angelic character who also has nightmarish qualities - but also exists as an inner conscience to Henry and the decisions he has made as to the child's welfare) and the "Man from the Planet Beyond" are staple characters in defining Henry's existence.

"The Lady in the Radiator" from ERASERHEAD

The death of the baby scene may very well be seen as a commentary on the cruelty and gruesome idea of abortion - maintaining a dreamlike and hallucinatory quality. From the opening shot, the terror of the film is real - and audiences are in for a frightening and disturbing ride. How could the film not be made in black and white? What a touch and another quality of Lynch's early masterpiece adding to the horror and alienating facet of the film. Henry's psyche and the desolate sets / scenery are also areas where the "black and white" motif fit just right. The film is extremely complex and was filmed primarily at night on an extremely low budget.

Lynch has quoted that "No one has come close to interpreting the meaning of "Eraserhead". Still, the film will continue to be studied and broken down by critics and film students alike for years to come.

#3. "BLUE VELVET": We see in "Blue Velvet" the idea of the "underlying" of what appears to be a perfect town - a nightmarish theme that would also show itself in "Twin Peaks" (as mentioned by Jer) and later in "Mulholland Drive". This was a brilliant comeback film for Lynch after the "Dune" disaster. Sex and violence along with corruption and murder appear once again - but this time in a type of parody within the apparent "perfect town”.

The haunting trailer for BLUE VELVET

The scenes become tenser as main character Jeffrey (Kyle MacLachlan) becomes submerged in the world of Dorothy (Isabella Rossellini) as he forms a romantic and almost disturbing sexual relationship. However, on the flip side, his relationship with Sandy (Laura Dern) is sex-less and lacks any real passion which is almost a turn of the screw (no pun intended). Frank Booth's character is magnificently played by Dennis Hopper and only adds to the tension and bizarre mystery of the film which is really about the altered reality (just look at the duality of the opening scene of the film) and the surrealism that lies beneath the surface. Jeffrey is living in a world that collides with another - and the film as well as Jeffrey switches styles from a 50's superficial melodrama to a "voyeuristic" and disturbing piece of work.

The film is certainly a test of audience endurance with a style that is not plot driven - but rather an emotional roller coaster ride with plenty of eye-candy.

#2. "INLAND EMPIRE": Lynch's most recent work was absolutely phenomenal once again as 2007’s "Inland Empire" brings back Laura Dern as the main character with Jeremy Irons and Justin Theroux. The plot is similar to "Mulholland Drive" because it is about a woman, an actress yet again - in deep trouble. Dern (Karolina Gruszka) is terrific and was actually deserving of possibly a Best Actress nod for her performance in the film - especially the final act.

The original trailer for Lynch's INLAND EMPIRE

As Lynch mentioned, the script for the film is a composite of ideas that is then broken into fragments. Lynch simply came up with these fragments of ideas and then shot the scenes accordingly until the film began to unfold and mesh into a work of art. Lynch's love for the country of Poland also surfaces, adding the dimensionality of the film and curving the narrative of the film. “Inland Empire” is presented into three parts and also play as "Acts" - with Act 1 being a dream-like state (similar to what we see for the majority of "Mulholland Drive"; Act 2 is a nightmare in a sense and Act 3 is focused on performance and script that is second to none.

One might say that some and perhaps all of the characters in the film never really existed and only live in Laura Dern's "mind". There are countless scenes where Dern is walking through dark hallways and corridors only to encounter another aspect of the dream-state and altered reality (the "rabbits" scene is a prime example).

All I can say is to watch the film, let it soak - absorb everything you can and then take a break....then, re-visit it about three (3) times until the picture is clearer. Oh, and it may not be - but you will be better off- no doubt. It is a fine film with a performance given by Dern that is simply off the charts.

#1. "MULHOLLAND DRIVE": This film, along with "Inland Empire", are certainly deserving of top honors and are the epitome of what defines Lynch and how good he really is and can be. The film is a mystery with a deep dark secret hidden inside a box opened by a blue key. The scenes inside of "Winky's" are nightmarish in quality - yet maintain the dream-like state with the hazy and bright lighting coming in through from the windows. The scene at "Club Silencio" is magnificent in every way with a performance cover tune of Roy Orbison's "Crying" that is utterly convincing even though we are brainwashed that everything is an illusion.

Naomi Watts (specifically the audition scene), Laura Harring and Justin Theoroux offer outstanding performances throughout the film and the appearance of Ann Miller and Robert Forster are wonderful treats for the audience. The film is really about the making of a film - thus, we, as an audience, are also diving into the blue box and we too hold the key. Some critics might claim that “Mulholland Drive” is difficult to watch since the emotions expend the story or narrative - yet that is precisely the point and the idea conveyed by Lynch through the canvas of film.

Drive down MULHOLLAND DRIVE...if you dare!

Jer discusses the idea of "Hollywood" being highlighted and promoted in this film - and that is just another character that defines the theme of the film allowing the audience to experience the way Lynch views the movie industry and the surroundings.

The film "Mulholland Drive" is an abstraction - there is really no easy understanding as Lynch only wants to focus on "the experience" where audiences are being asked to use their intuition to gain a greater understanding. In a sense, describing and analyzing a Lynch film is similar to telling someone about a dream you had last night. The receiver does not understand the real impact and meaning of the dream, but YOU did - and you will never forget the strongest of dreams for as long as you live. That is what makes Lynch and his films so, so effective in the world of art and cinema.

JER: Points taken and greatly received. As much as I admire the works and I “get” the angle that Lynch comes from, I have always felt like I ride shotgun to JOHNNY CHAZZ’ take and understanding of what Lynch’s concept has always been about. This is why we have gotten along all of these years. I feel we both continually educate each other with our individual concepts and perceptions and we either communicate or beat each other over the heads with the view points we want the other to understand!

Well, being that JC got two more films on his “top” list than I did- I can only mention that both BLUE VELVET and WILD AT HEART would have rounded off my total five. There isn’t more I can add that JC didn’t cover other than this was a well- versed topic that needed to be discussed in detail.

We sincerely hope you enjoyed this week’s topic as we turn the keyboard over to you. What are your thoughts on the works of David Lynch: genius or just a lucky loony? What are your favorite Lynch films and why? Why not? The conversation goes beyond the page and we await your comments and all will be replied on.

Please check back with us on Wednesday August 8^th, 2012 as we reveal a new topic by JOHNNY CHAZZ. Until then, thanks for always stopping by and for your continued support!

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JOHNNY CHAZZ' TURN: CARY GRANT: REMEMBERING THE MAN & THE ACTOR

2012-07-11T23:26:00.003-07:00

JOHNNY CHAZZ: Who wouldn't want to be Cary Grant? At the age of 62, actor Cary Grant made his final film. Yet, a career such as his could never be overstated as his performances were consistently charming, witty, timely and utilized a humor that was perfectly polished. Known primarily for his box-office hit "North by Northwest", Cary Grant made a number of films that made him one of the top actors in film history. Grant first appeared on the big screen across Marlene Dietrich in "Blonde Venus" in 1932. However, it was MGM's "Topper" in 1937 that really put Cary Grant on the map.

This week I would like to pay tribute to Cary Grant and a few of the films that I feel were his best.

Grant and Hepburn: THE PHILADELPHIA STORY

1. "THE PHILADELPHIA STORY": What a cast to say the least. Not only was Cary Grant the lead, but James Stewart and Katharine Hepburn also played major roles. "The Philadelphia Story" was originally set on Broadway and the idea of marrying and then re-marrying was becoming a hot topic on the big screen during the 1940's...and “Philadelphia Story” did not stray from that theme. The film is smartly directed, well performed by all and is an outstanding example of a comedy (much unlike comedies today) that was carried out in good taste.

Hitchcock's NORTH BY NORTHWEST

2. "NORTH BY NORTHWEST": Released in 1959, this film offers an outstanding cast with the likes of Cary Grant, James Mason and Eve Marie Saint. It would be safe to say that most people have either viewed this film countless times or have, at the very least, stumbled across it on AMC or TCM. Directed by Alfred Hitchcock, this could easily be considered on of his and Grant's best pictures. Elements of suspense balanced with paranoia and creative camera angles made it a classic which has stood the test of time. The climactic scene is also a signature of this film and set the stage for future films to follow.

3. "HIS GIRL FRIDAY": Cary Grant and Rosalind Russell hooked up in this 1930 comedy with some very intelligent and witty writing to hold it up. The comedy is quite tongue in cheek and the dialogue is a rapid banter throughout the films which really propels the plot and holds audience interest. Grant's role in “His Girl Friday” was convincing, yet relaxed and natural.

Enjoy the original trailer for HIS GIRL FRIDAY!

4. "NOTORIOUS": Many critics and film fans feel as though this may have very well been Cary Grant's best film. It's hard to disagree considering the suspense implemented by Hitchcock in this 1946 picture. Ingrid Bergman stars across Cary Grant and the two become tangled-up in an international espionage thriller. Focused on the era post WWII, "Notorious" is without a doubt one of Grant's top performances and the film must be considered one of Hitchcock’s best achievements as well.

5. "BRINGING UP BABY": This All-American comedy hit the theaters in 1938 and starred Cary Grant along with Kat Hepburn yet again. Grant plays the witty role of a scientist who becomes romantically involved with Hepburn's character who is equally witty, but quite eccentric and outrageous at the same time. While trying to qualify for a $1 donation, Cary Grant must learn to get along with Kat's character and her irritating ways as she trolleys along with her pet leopard named "Baby". "The love impulse of man frequently reveals itself in terms of conflict" serves as one of the classic lines in the film.

6. "CHARADE": Filmed in color, this 1963 film was directed by Stanley Donen and featured both Carey Grant and the lovely Audrey Hepburn who was perhaps the "actress of the decade" in American Cinema. Who could forget the profile of Audrey with her classic 60's hair-style in the arms of Cary Grant in the film? James Coburn and Walter Matthau also add to the film with their appearances. "Charade" was full of suspense and romance at the same time, but the strength of the film relied primarily in the writing as Hepburn and Grant are handed dialogue exchanges that are second to none. Henry Mancini wrote the score that gave the film an additional boost with all the flavors of Paris, France in the early 60’s.

It would be safe to say that the three names which immediately come to mind when we think of the classic actors in cinema are: Humphrey Bogart, James Stewart, and of course - Cary Grant. Grant had bee nominated for an Oscar twice and was never declared a winner during the awards. However, in 1970 an honorary award was given to him by the Academy. The comedy-aspect of his films may have hindered his chances (and we see the same trend today), but there is little doubt that Cary Grant was overlooked at the awards for at least 2 or 3 of his films. This week CINEMA: COUNTERPOINT wishes to acknowledge the lifetime achievements of on of America's greatest screen actors: Cary Grant. Grant passed away in 1982 at the age of 86 and is regarded as one of the top-10 actors of all times. His films will always be regarded with the highest degree of merit.

JER: Gary Grant will always be considered, in my eyes, an “actor’s actor.” Meaning, he was the role model for what Hollywood titled as the ‘Leading Man’: Grant had the physical qualifications from his chiseled face down to his physique, his interesting accent stemming from his early years growing up in Bristol, England and his sense of timing when delivering lines. Grant could do straight drama and goofball comedies and one thing never changed about him no matter what the role required: he remained a gentleman. Even the name roles off the tongue with a regal flair… good thing he changed his name from his original birth name of (wait for it…) Archibald Alexander Leach!

I would have to agree with the likes of J.C.’s choice of films that best describe the body of work that Grant left behind. In particular, I must say that I have always enjoyed his collaborations with famed director Alfred Hitchcock. There were a number of films that both director and actor teamed up for, they include: SUSPICION (1941), NOTORIOUS (1946), TO CATCH A THIEF (1955) and NORTH BY NORTHWEST (1959). Come to think of it, Grant acted quite often in returning roles for other directors including Frank Capra, Stanley Donen and Howard Hawks.

Cary Grant’s life can almost play out in the style of some of his very own films. Born on January 18, 1904, Grant spent the better part of his youth in the town he was born in. At the age of nine, after coming home from school, he was told that his mother had gone off to a seaside resort. The truth of the matter was that she was actually sent to a mental institution and he would be completely unaware of the truth… he wouldn’t see his mother again until his late 20s. After lying about his age, he left school at the age of 14, forged his father’s signature and enrolled himself into the Bob Pender’s Troupe of Knockout Comedians. Soon after, Grant was learning the arts of pantomime and acrobatics and toured with the Pender troupe throughout England. During his years on the road, he would pick up his signature cockney accent from hanging around the music halls of London. IN July 1920, Grant was one of eight boys selected to perform in the U.S. The show was called “Good Times” and it ran on Broadway for 456 performances. Grant was bit by the acting bug once moving to America and decided to stay. Mae West enlisted Grant for her film SHE DONE HIM WRONG in 1933 stating that he had the right mixture of virility, sexuality and the aura and beaming of a gentleman. Grant had an illustrious career and lived to be 82 years old when he died on November 29, 1986 in Davenport, Iowa.

A wonderful tribute created by amal19. Thanks!

Noted actor, leading man and the overall role model of a gentleman, a reporter once told him, “everyone would like to be Cary Grant”… his reply was said to had been, “so do I.”

Dear readers, do you feel that Cary Grant is one of Hollywood's best Leading Men? Or was he just an overly- rated actor that got lucky? What is your favorite Grant moment or memory? We always look forward to your comments and we reply to ALL!

Tune in next time when JER types up a storm on his following turn and make sure you check back on Wednesday July 25th! As always, thank you so much for checking in.

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JER'S TURN: SUMMER FILMS OF 1985- A LOOK BACK

2012-06-20T10:30:00.000-07:00

JER: As the Summer of 2012 forges on, the lack of great movies is upon us. Let’s face it, personally, nothing has compared to the summers of yesteryear. There was a time…not too long ago… when summer meant great movies. The topic has been discussed by us here at CINEMA: COUNTERPOINT on previous occasions, so there is no doubt that we are in agreement on that subject. Instead of feeling the sorrows and pains of today, I ask you to jump in my DeLorean and let’s set the time machine to the SUMMER OF 1985!

Whew! As we arrive, I see that we have a busy schedule of films to watch in a period of four glorious months. Here are just some of the more recommended titles I have selected, aong with their release month and date, to make your stay more pleasant…they are:

MAY

22- RAMBO: FIRST BLOOD PART II= FIRST BLOOD was the first entry to the Rambo franchise that originally had him die at the end of the movie! If that would have happened, we would have never been truly exposed to the world of Sylvester Stallone and his ability to go shirtless and flex for the camera at any given moment! Rambo represented the struggle of the average man, he was a Vietnam vet who didn’t fit in the puzzle of society. He went up against things he felt were wrong and fought at whatever the cost would be. Shtick, action, explosions, guns and grunts…the best way to kick- off the summer season!

24- A VIEW TO A KILL= Roger Moore returns as Britain’s very own favorite spy: James Bond 007 in this film that also features both Grace Jones and Christopher Walken as villains! What is there not to like about the early Bond films: great exotic locales, beautiful women, a dashing gentleman of a hero, evil and corrupted villians and an opening theme song that always seemed to be better than the last! On that note, let’s not forget the really cool theme song provided by Duran Duran!

31- FLETCH= Chevy Chase hoped to inspire a character that would generate a series of sequels that would further tell the stories of his characterization of an L.A. reporter who loves to dig too deep for the dirt. Part comedy/ part mystery… the film would only generate one sequel: FLETCH LIVES…that series died rather quickly. Don't worry, Chevy...we love you in the VACATION series!

Here is the original 1985 trailer for Chevy Chase's FLETCH

JUNE
1- AKIRA KUROSAWA’S RAN= A refreshing change for any summer season was this Japanese entry from acclaimed director Akira Kurosawa. Borrowing from the world of Shakespeare’s KING LEAR, the film was hailed by critics and would be considered the last epic film by Kurosawa. The film was a love- child directed with great passion and respect as it takes its time introducing us into the world of the "Great Lord" and his three sons...two of which will stop at nothing to claim their father's throne even before death! RAN represents many classic Japanese cultures and weaved it in with a tragic tale of greed, back- stabbing and betrayal told with breath- taking photography and a sharp screenplay.

Enter the world of Akira Kurosawa's RAN

7- THE GOONIES= Executive Produced by Steven Spielberg and directed by Richard Donner (SUPERMAN, THE OMEN) the unexpected family hit would take us into a world of comedy, action and mystery with a mixed cast of Hollywood children and newbies. The story surrounds itself with the classic telling of kids looking for adventure with buried treasures, perils and unsuspecting bravery! The film boasts some of the most elaborate sets and special effects that can only be equaled by the high- level of fun that can be packed into this entertaining gem!

14- PRIZZI’S HONOR= Director John Houston (AFRICAN QUEEN) brought forth a masterful hit-man story blending humor, romance and drama. Jack Nicholson and Kathleen Turner play a hit-man and hit-woman who cross paths and fall in love…not realizing that each have been hired to kill the other!

Director John Houston's Mob comedy/mafia mash-up: PRIZZI'S HONOR

21- COCOON= Director Ron Howard (BACKDRAFT, SPLASH) scored big points with this bittersweet tale of a group of elders and the discovery of their “Fountain of Youth” without knowing that visitors from another world may be responsible. Howard brought a wonderful cast of classic actors together including Don Ameche, Wilford Brimley, Jessica Tandy, Hume Cronyn, Maureen Stapleton and included a cast of contemporary actors like Steve Guttenberg, Brian Dennehy and Raquel Welsh’s daughter, Tahnee Welsh. The film had a sense of innocence, a touch of dramaic woe and good- fun that hadn’t been experienced since E.T.: THE EXTRA- TERRESTRIAL.

28- ST. ELMO’S FIRE/ PALE RIDER=

ST. ELMO’S FIRE director Joel Schumacher would only be a couple of years away from presenting THE LOST BOYS, but his “brat- pack” ensemble cast including Demi Moore, Emilio Estevez, Rob Lowe, Ally Sheedy, Andrew McCarthy and Judd Nelsen are brought forth into the college world of Jamestown in Washington, D.C. The struggles of growing up and life after college are analyzed within the circle of friends in a variety of different aspects and points- of- views. The film was supported by a wonderful soundtrack and great photography: a signature calling card that Schumacher would further use in his future projects including FLATLINERS, FALLING DOWN, BATMAN FOREVER and THE PHANTOM OF THE OPERA.

Composer David Foster's "LoveTheme" for ST. ELMO'S FIRE

PALE RIDER marks Clint Eastwood’s return to the western since 1976’s THE OUTLAW JOSET WALES (or 1980’s BRONCO BILLY, which isn’t a western, but if you want to split hairs…) Taking dual roles as both director and actor, Eastwood’s unique quality of presenting grit in both the screen’s presentation and acting, has been the trademark of what is to be expected. Although different characters, Eastwood usually plays a loner of little words spoken with a six- shooter that definetly makes up for the lack of words gun does all the talking!

JULY

3- BACK TO THE FUTURE= What is there not to be said about this film? Directed by Robert Zemeckis (FORREST GUMP, WHO FRAMED ROGER RABBIT?) and Executive Produced by Steven Spielberg, the story of Marty McFly (Michael J. Fox) and Doc Brown (Christopher Lloyd), a time machine built out of a DeLorean and 1955 are all the key ingredients needed to provide a contemporary summer classic! The storyline is summed up in this simple question: ‘What if you could go back in time and meet your parents while they were in high school?’ The film inspired two sequels that continued the saga.

10- SILVERADO/ MAD MAX: BEYOND THUNDERDOME= A very different choice of films to select from on this date back in 1985.

SILVERADO- In the tradition of early Sergio Leone films (THE GOOD, THE BAD AND THE UGLY) and Clint Eastwood classics, director Lawrence Kasdan (THE BIG CHILL, BODY HEAT) wanted to make a true western world that had everything in it: drama, humor, tragedy, villains, revenge and romance. With an all- star cast that included: Kevin Kline, Danny Glover, Scott Glenn, Roseanna Arquette, Jeff Goldblum, Kevin Costner, John Cleese and Linda Hunt, the screenplay is brought to life in full robust with great cinematography to compliment the Old West.

The exciting original 1985 trailer for SILVERADO

MAD MAX: BEYOND THUNDERDOME was a disappointing third chapter in the telling of “Mad” Max's (Mel Gibson) continuing story, moreover, an unsatisfying continuation picking up from its predecessor: THE ROAD WARRIOR (aka: MAD MAX 2). In a post- apocalyptic world, Max finds himself in a self contained outpost in which he has to battle his way out of in order to survive. Tina Turner plays Auntie Entity, the proprietor of Thunderdome, who holds Max’s fate in her hands.

12- EXPLORERS= Taking a page from friend Steven Spielberg, director Joe Dante (GREMLINS) decided to tell a heartwarming coming- of- age tale involving friends, first- crushes, bullies and…aliens??? Well, there had to be twist somewhere! The film opened the doors for a group of talented youths including first- timers Ethan Hawke (BEFORE SUNRISE) and River Phoenix (STAND BY ME) as two- thirds of a trio of friends who 'invent' a portable device that transports them into space to connect with a couple of pop- cultured- influenced aliens! Whether on Earth or in space, one message is clear: kids are kids!

The original teaser trailer produced for Joe Dante's EXPLORERS

19- DAY OF THE DEAD= The third installment in the “DEAD” series by writer/ director George A. Romero, the film continues the deteriorating world that has been over- populated by the flesh- eaters and offers advanced techniques in Special Effects make- up from mastermind Tom Savini (FRIDAY THE 13th) and plenty of lifeless zombies to please the seekers of the un-dead. Romero was obviously way ahead of his time (zombie apocalypse, anyone???)

26- KISS OF THE SPIDER WOMAN/ EUROPEAN VACATION=

KISS OF THE SPIDER WOMAN offered escapism in the form of charm and fantasy in a summer filled with actions, comedies and a couple of horror films. William Hurt and Raul Julia play cell mates in a South American prison. Hurt’s character creates a world of romantic getaway as he weaves a tale to take their minds off of the imprisonment they face. As the story unfolds, a unique friendship develops with a mutual respect they didn’t have of each other in the beginning.

EUROPEAN VACATION is the sequel to 1983’s VACATION starring Chevy Chase and Beverly D’Angelo as the loveable Griswolds. The summer vacation with an itinerary- filled trip through Europe proved to be the set- up for laughs after winning the trip on a game show! Chase is the delight to watch as dad Clark with pratfalls, facial expressions and comedic timing abound.

AUGUST

2- FRIGHT NIGHT/ WEIRD SCIENCE= Here’s a doosey of a double bill on the same opening weekend!

FRIGHT NIGHT was written and directed by Tom Holland (CHILD’S PLAY) about a teenage boy who believes that his newly moved- in neighbor is a vampire! Holland has always been able to use his eye for cinematography and storytelling to conjure up both fear and fun.

WEIRD SCIENCE may not be as well recognized as writer/ director John Hughes’ SIXTEEN CANDLES or the December of 1985’s THE BREAKFAST CLUB, but the movie does hold its own as the one wish any teenage boy would want granted: to build a smoking hot girl!

Theme song performed by Oingo Boingo (Danny Elfman)

9- PEE- WEE'S BIG ADVENTURE= An unsuspected audience was subjected to a number of new introductions: Paul Reubens' creation of the 'man- child' character originally created during his stand- up comedy days on the Sunset Strip in Hollywood, director Tim Burton's feature- length debut and the carnival- like soundtrack from Oingo Boingo's frontman Mr. Danny Elfman! The film was prankish, immature, comical and innocent genius all rolled into one fun flick!

If you want to adjust the time machine, you’ll find that other films that opened throughout the rest of 1985 included:

THE BREAKFAST CLUB, MASK, YOUNG SHERLOCK HOLMES, LEGEND, A CHORUS LINE, OUT OF AFRICA, AGNES OF GOD, THE COLOR PURPLE, BRAZIL, LADYHAWKE, WITNESS, TO LIVE AND DIE IN L.A. and ROCKY IV.

JOHNNY CHAZZ: In all fairness, I do hand it to Jer this week for choosing a year when Summer films could actually be classified as somewhat memorable. The films that we are not discussing in detail must also be mentioned: "The Color Purple"; "Out of Africa"; "Witness" and "The Breakfast Club" were all quite good for the time. So, looking at the list of films that Jer highlighted in this week’s blog, I shall travel back in my own DeLorean to examine what was on screen during the summer heat over 25 years ago. Let’s dive in –

COCOON- At the time, it was simply fantastic. Well, it was a fantastic “movie” that is. Did you know anybody that did not enjoy this flick immensely? The cast was fun and the storyline was completely uplifting. Still, some of the characters do become a bit annoying – ever more now than they were in 1985. In all, it was a simple story with a lively cast that delivered a heartfelt message about growing old. Box office price: $6.00.

The original 1985 trailer for Ron Howard's COCOON

BACK TO THE FUTURE- Memorable and certainly a timepiece for the era. Still, the film seems to receive much too much hype and upon re-visiting the film recently it is actually somewhat plain and dull to be real honest. Box office price: $4.00.

KISS OF THE SPIDER WOMAN- There is little doubt that the book by Manuel Puig is three times better than the film. The screenplay is simply outstanding and a large part of that is credited to such strong and thoughtful dialogue in the text. You see, this is precisely what films today lack…..great writing that comes from a novel or even an original screenplay. This definitely was categorized as an independent film in its own right and William Hurt’s performance is nothing short of breathtaking. The soundtrack is also outstanding to the film and the lighting is another character all together. Let’s also not forget the noteworthy set design as well as the captivating cinematography within stark interiors. Box office price: $12.00.

The sweeping trailer to KISS OF THE SPIDER WOMAN

RAN- A captivating film that everyone should not only view on the big screen, but everyone should have this in their DVD / Blu-Ray collection as well. So pleased you brought this film to the fore-front Jer. Now, looking back on Kurosawa’s work, this is nowhere near in the ballpark of his films that were made 20+ years earlier (“Ikiru”, “Seven Samurai”, “Rashomon” and “The Bad Sleep Well”), but “Ran” does have enough happening to make the Criterion Collection – and that really says something. The performances are strong, the sets are fitting and the score is perfect for the battle scenes as it weaves both traditional Japanese and Western sounds together to form the right emotion. Similar to some of the themes in other films / movies we’re discussing this week (“Back to the Future”, “Cocoon”, etc.), this film speaks about the fear of growing old. The cinematography and special effects are tremendous and the film moves and flows right through without really missing a beat. I recommend this one. Box office price: $11.00.

MAD MAX BEYOND........- Could not stand the film when it was released and it simply worsens over time. Tina Turner and Mel Gibson? Never. Box office price: $ Free Entry $

WEIRD SCIENCE- I am going to receive some feedback here I am sure of it, but here it goes. I did not care for this movie when I saw it in the theaters the summer I turned 15. Even the title track was nowhere near the caliber of songs being released by Oingo Boingo at the time. We discussed John Hughes in the past and I continue to say that most (not all) of his films were forgetful, poorly written and just plain dull. What was the point of “Weird Science” afterall? Two horny kids and some chick running around the screen inside of a plot that is not only far- fetched, but just plain juvenile. It is a simple and mindless teeny-bopper film from the 1980’s and it fits with just about everything else from that decade in respect to film. Box office price: $0.75

THE GOONIES- Annoying kids running all over the screen trying to find a lost treasure…..and on and on and on. This may well have been not only one of the most overrated movies of all time, but quite possibly one of the most mindless. Box office price: $0.01 - got a penny anyone?

EUROPEAN VACATION- Without a doubt, this was the best of the series in my opinion. Still, let’s not go overboard about the “Vacation” films, but we will use this one comparatively speaking as it will certainly come out ahead that way as “Vegas Vacation” was the ultimate trash in respect. The appearance of Eric Idle (Monty Python) was a real bonus in the movie and who could forget the family’s trip through Germany? Oh, and the Griswolds visit to Stonehenge as they completely dismantle it in a matter of seconds…a regular riot! I must say that this movie is one of my guilty pleasures on screen, and not just from 1985, but encompassing all movies. For laughs, this one really works. Box office price: $7.00

The one and only Chevy Chase in EUROPEAN VACATION

RAMBO II – Johnny Chazz will pass here…..Box office price: $0.50

FRIGHT NIGHT – Some merits here and probably worth re-visiting again on Netflix. I am pretty “vampired-out”, but let’s be fair to the time and place when this was released. Additionally, the cast is pretty dismal. Box office price: $2.00

JER: Let it be known to our readers that Johnny Chazz has now adopted the use of his "Box- Office Price" to help illustrate his value of the film in question... I am both surprised and taken back from some of your comments. Some choices I was sure you were going to blast right out of the water were ones you gave acceptance to…others couldn’t stand a chance in the wrath that is JC’s review!

I am pleased to announce that Kurosawa’s RAN is, indeed, in my DVD collection….but I do have it marked on my “Blu- Ray Wish List” for future purchase.

If anything, we can both agree on the awful taste left behind from MAD MAX: BEYOND THUNDERDOME… director George Miller (WITCHES OF EASTWICK) should have stopped at the awesome entry that was THE ROAD WARRIOR.

Let me get this straight…you were 15 and you did not like WEIRD SCIENCE and question the story of two horny boys who create a beautiful woman??? I think you might have been created from a stack of Wall Street Journals and a stick of chewing gum, Mr. Johnny Chazz! As per your words and I quote, “What was the point of “Weird Science” afterall?” … um, how about that we were all horny teens looking for a little risqué fun from a PG-13 film that we could watch without mom tagging along?

I can admit that I wasn’t a huge fan of THE GOONIES the very first time I saw it back in ’85…but I do remember growing into it once it came out on VHS. I know I went in with high expectations and I felt it didn’t deliver. I can now say that I thoroughly enjoy watching it at least once in a great while and find it entertaining and fun!

Your review of EUROPEAN VACATION certainly caught me by surprise! A movie that would have been ripped to shreds is deemed by you as being a “guilty pleasure’??? Who are you and what have you done to Johnny Chazz???

This topic was done out of good fun and a summer filled with great memories and looked upon with high anticipation as week after week would pass, only awaiting what would come out next!

SO, the subject gets thrown back to you, readers... what has been your best overall Summer film.... past or present? What memories are stirred from the thoughts of seeing it in theaters? How old were you? Were you around during the Summer of 1985 and what did you think of our list? We always look forward to your comments and thoughts and we will always reply back so check back with us!

CINEMA: COUNTERPOINT will be taking a couple of weeks off for the Holidays, but make sure you check back with us on WEDNESDAY JULY 11th, 2012 for JOHNNY CHAZZ' newest movie/ film topic!!! Enjoy!!!

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