Insomnia File #27: Remember My Name (dir by Alan Rudolph)


What’s an Insomnia File? You know how some times you just can’t get any sleep and, at about three in the morning, you’ll find yourself watching whatever you can find on cable? This feature is all about those insomnia-inspired discoveries!

If you were having trouble sleeping last Tuesday, around one in the morning, you could have turned over to TCM and watched Remember My Name, an odd and sometimes frustrating little thriller from 1978.

Remember My Name opens with Emily (Geraldine Chaplin) showing up in a small town in California.  From the minute we first see and hear Emily, something seems to be off about her.  She views the world through suspicious eyes.  Whenever anyone talks to her, you’re never quite sure whether she’s going be friendly or if she’s going to lash out.  When she speaks, there’s something weird about her vocal inflection, as if she’s always struggling to figure out what she’s supposed to say.  She seems to be separated from the world, almost as if she’s walking through a living dream and only talking to figments of her imagination.  There’s nothing about her that feels at all authentic.

She moves into a small apartment and enters into a relationship with her handyman (Moses Gunn), a relationship that seems to be largely defined by her refusal to open up about herself.  She gets a job at a grocery story that’s managed by a Mr. Nudd (Jeff Goldblum).  Mr. Nudd mentions something about Emily knowing his mother.  Apparently, they met in prison.

Soon, Emily is stalking a construction worker named Neil Curry (Anthony Perkins).  When Neil spots her, he calls out her name and Emily runs away.  And yet, Neil doesn’t bother to tell his wife, Barbara (Berry Berenson), about Emily.  Soon, Emily is even breaking into the Curry home, silently shadowing Barbara as she walks through the house.

I described Remember My Name as being a thriller and I guess that, technically it is.  There are a few moments of tension, especially when Emily is stalking Barbara.  However, the film itself is directed in a detached manner by Alan Rudolph.  Rudolph was a protegé of director Robert Altman (who also produced Remember My Name) and Rudolph’s approach is very Altmanesque, often to the detriment of the film.  (Chaplin and Jeff Goldblum had both appeared in several Altman films, most famously in Nashville.)  Though the film is dominated by Chaplin and Perkins, it’s still very much an ensemble film and the action plays out in a deceptively casual, almost random manner.  It tries so hard to be Altmanesque that Remember My Name gets a bit frustrating, to be honest.  Chaplin gives such a good and memorable performance and she works very hard to make Emily a character who is both frightening and, at times, surprisingly sympathetic but, for the most part, Rudolph’s technique makes it difficult to get emotionally involved in any of the action unfolding on-screen.  Rudolph observes the action but refuses to comment on it.  As a result, Remember My Name is occasionally intriguing but, just as often, it’s rather boring.  Just like real life, I suppose.  And, just like real life, it’s not for everyone.

That said, it was interesting to see Anthony Perkins playing a role other than a knife-wielding inn manager.  Without resorting to any of the familiar tics or the neurotic speech patterns that typecast him forever as Norman Bates, Perkins plays Neil as just being a regular, blue collar guy and he actually does a pretty good job.  Watching the film, I got the feeling that this was perhaps Perkins’s attempt to change his image.  (Whenever Neil appears shirtless, both the film and Perkins seem to be saying, Check out this physique!  Would someone only capable of playing a psycho have abs like this?)  Neil’s wife, Barbara, was played Perkins’s wife, Berry Berenson.  Neither one of them is with us any longer.  Perkins died of AIDS in 1990 while Berry Berenson was on one of the planes that flew into the World Trade Center on 9-11.  They both did good work in this film, as did Chaplin and Goldblum and, really, the entire cast.  It’s just a pity that the film itself isn’t as good as the performances. 

Previous Insomnia Files:

  1. Story of Mankind
  2. Stag
  3. Love Is A Gun
  4. Nina Takes A Lover
  5. Black Ice
  6. Frogs For Snakes
  7. Fair Game
  8. From The Hip
  9. Born Killers
  10. Eye For An Eye
  11. Summer Catch
  12. Beyond the Law
  13. Spring Broke
  14. Promise
  15. George Wallace
  16. Kill The Messenger
  17. The Suburbans
  18. Only The Strong
  19. Great Expectations
  20. Casual Sex?
  21. Truth
  22. Insomina
  23. Death Do Us Part
  24. A Star is Born
  25. The Winning Season
  26. Rabbit Run

A Movie A Day #193: The O.J. Simpson Story (1995, directed by Alan Smithee)


Long before O.J.: Made In America

Before The People vs. O.J. Simpson

Before American Tragedy

Before today’s live, televised parole hearing…

There was The O.J. Simpson Story.

In 1994, shortly after O.J. Simpson was charged with the murders of Nicole Brown Simpson and Ron Goldman, Fox rushed The O.J. Simpson Story into production.  It was one of many “true life” stories that showed up as television movies during the 90s.  There was a movie about Woody Allen and Mia Farrow’s divorce.  There was a movie about David Koresh and the Branch Davidians, which actually aired while the siege in Waco was still ongoing.  There were three movies about Amy Fisher.  So, of course, O.J. would get a movie.

Though the movie was produced in 1994, it was not allowed to air in 1995 so that it would not prejudice any of the jurors in the case.  (After all, they might have done something crazy like ignore all of the DNA evidence and let O.J. go free.)  I think the legal authorities may have been giving The O.J. Simpson Story too much credit.  There were many bad made-for-TV movies made in the 90s but The O.J. Simpson Story may very well be the worst.  The only thing it could prejudice some against is television.

Opening with the discovery of the murders in Brentwood, The O.J. Simpson Story mixes scenes of O.J. (played by Bobby Hosea, who shows not a hint of O.J.s famous charisma) talking to the police and his lawyer, Bob Shapiro (Bruce Weitz, slightly more credible than John Travolta was in The People vs. O.J. Simpson) with flashbacks to O.J.’s youth, first marriage, and his relationship with Nicole (blandly played by Jessica Tuck, who, beyond the color of her hair, looked nothing like Nicole).  The film also devotes some time to O.J.’s friendship with A.C. Cowlings, who, as a young man, is played by Terrence Howard.

Several of the famous incidents of the case are wanly recreated.  The famous bronco chase is there, of course.  O.J. is shown beating Nicole in the infamous 1989 incident, which the movie suggests was triggered by Nicole telling O.J. that he would never win an Oscar for appearing in The Naked Gun.  But, since the movie was rushed into production before the trial even began, it is remarkable how much is left out.  There’s no Mark Furhman finding the black glove.  There’s no Kate Kaelin, Faye Resnick, Johnnie Cochran, or even Marcia Clark.  Because the movie was made before the trial had even begun, it does not even take a stand on whether or not O.J.’s guilty.  Narratively, it is an incomplete movie and evidence of why movies that claim to tell true stories should not be rushed into production before the story itself has been completed.

As for the film’s dialogue, when O.J. first meets Nicole, he asks her, “Any problem with going out with a brother?”

“Yeah,” Nicole says with a smile, “I’m in the Ku Klux Klan.”

Not surprisingly, The O.J. Simpson Story was directed by Alan Smithee, which was the pseudonym used by directors who felt that their movie has been so butchered by outside interference that they should not even be credited with the final result.  The O.J. Simpson Story is one of the worst Smithee films that I have ever seen.  Compared to The O.J. Simpson Story, Smithee’s work on Let’s Get Harry was Oscar-worthy.

As for the real life O.J. Simpson, earlier today, he was granted parole from the Nevada Parole Board.  He will be released from prison on October 1st.  He has said that he hope to be allowed to move to Florida after being released.  The real-life O.J. Simpson story continues.

When it comes to the long saga of O.J. Simpson, it seems appropriate to give the last word to MAD Magazine:

Music Video of the Day: Edge Of A Broken Heart by Vixen (1988, dir. ???)


Sometimes there’s no info. Sometimes there’s a bunch of info. This time around, just about everything is condensed into a VH1 show from 2004.

I only have a couple of things to add.

  • The video is that standard stage performance mixed with behind-the-scenes stuff that Wayne Isham is credited with creating.
  • Richard Marx is the guy who turns around and looks surprised. He co-produced their debut album and wrote this song.
  • If you listened to the video above, then you heard mention of an earlier band called Madam X. I will find a Madam X video.
  • The band still plays today, but Jan Kuehnemund–the first person they talked to–passed away in 2013.

Enjoy!