Love On The Shattered Lens: An Officer and a Gentleman (dir by Taylor Hackford)


Almost everyone knows that one scene from the 1982 film, An Officer and a Gentleman.  You can probably guess which scene it is that I’m talking about.  It’s been parodied and imitated in so many other shows and movies that it’s one of those pop cultural moments that everyone has “seen” even they haven’t actually watched it.  It’s the scene where….

I AIN’T GOT NOWHERE ELSE TO GO!

What?

I AIN’T GOT NOWHERE ELSE TO GO!

I know, Mayo, I’m getting to that!  Let me tell everyone about the iconic factory scene first, okay?

I AIN’T GOT NOWHERE ELSE TO GO!

Uhmmm …. right.  Where was I?  Oh yeah, it’s the scene where Debra Winger is working in a factory and a youngish Richard Gere suddenly shows up and he’s wearing a white uniform and he picks her up and carries her out of the factory while all of her coworkers cheer.  Meanwhile, that Up Where We Belong song starts to play on the soundtrack.  Even though, up until recently, I had never actually sat down and watched An Officer and a Gentleman, I certainly knew that scene.

Last Friday, I noticed that I had An Officer and a Gentleman saved on the DVR and I thought to myself, “Well, I might as well go ahead and watch it and find out what else happens in the movie.”  Add to that, I only had three hours of recording space left on the DVR so I figured I could watch the movie and then delete it and free up some space….

I AIN’T GOT NOWHERE ELSE TO GO!

Goddammit, Mayo, be quiet!  I’m getting to it!

Anyway, I watched the film and I discovered that it’s actually about a lot more than just Richard Gere getting Debra Winger fired from her job at the factory.  It’s also about how Zack Mayo (the character played by Richard Gere) hopes to make something of himself by graduating from Aviation Officer Candidate School so that he can become not only a Navy pilot but also an officer and a gentleman.  His father (Robert Loggia) is an alcoholic, his mother committed suicide when Mayo was a child and Mayo …. well, I’ll let him tell you himself.

I AIN’T GOT NOWHERE ELSE TO GO!

That’s right.  Mayo has not got anywhere else to go.

I AIN’T GOT NOWHERE ELSE TO GO!

Ain’t is not a word, Mayo.

As you may have already guessed, we know that Mayo doesn’t have anywhere else to go because there’s a scene where he continually yells, “I ain’t got nowhere else to go!” over and over again.  He yells it after being forced to do a thousand push-ups and sit-ups by his drill sergeant, Foley (Louis Gossett, Jr.)  Foley thinks that Mayo doesn’t have the right attitude to be either an officer or a gentleman.  Mayo is determined to prove him wrong.

I AIN’T GOT–

Oh give it a rest, Mayo!

Debra Winger plays Paula.  Paula is a townie.  She lives in a dilapidated house with her parents.  Her friend, Lynette (Lisa Blount), dreams of marrying a Naval officer and getting to travel the world.  Lynette gets involved with Mayo’s friend, Sid Worley (David Keith).  Foley warns both Sid and Mayo to stay away from the townie girls because they’re not to be trusted.  That turns out to be true in Lynette’s case but Paula’s love provides Mayo with the strength that he needs to believe in something more than just himself.

I AIN’T–

Yes, you do have some place to go, Mayo!  That’s the point of the whole goddamn movie!

Anyway, watching An Officer and a Gentleman, I was kind of surprised to discover that it’s actually two movies in one.  It’s a traditional army training film, one in which Richard Gere is whipped into shape by a tough drill sergeant.  It’s also a film about life in an economically depressed small town, where the only hope of escape comes from marrying the right aviation officer candidate.  As a military film it’s predictable if occasionally effective.  As a film about small town life, it’s surprisingly poignant.  An Officer And A Gentleman doesn’t pull any punches when it comes to depicting just how little life in the town has to offer to people like Paula and Lynette.  They have spent their entire lives being told they can either work in a factory for minimum wage and get drunk on the weekend or they can land a man who will hopefully take them away from all that and give them something more to look forward to than cirrhosis of the liver.  Lynette has accepted that as being her only option.  While Paula dreams of escape, she dreams of escaping on her terms.  She may fall in love with Mayo but she’s not going to pretend to be someone that she’s not just to keep him around.

Though he’s evolved into a good character actor, Richard Gere was remarkably blank-faced when he was younger and his performance as Mayo alternates between being bland and shrill.  However, Debra Winger brings a welcome edge to her role.  She plays Paula as someone who knows she’s stuck in a dead end existence.  She’s not happy about it but, at the same time, she’s not going to surrender her principles in order to escape.  She holds onto her ideals, even though she appears to be stuck in a crappy situation and that’s something that Mayo learns from her.  In the end, Paula saves Mayo just as surely as the Navy does.  And, just as Paula saves Mayo, Winger saves the movie.

I AIN’T GOT NOWHERE ELSE TO GO!

Oh, shut the Hell up, Mayo.  Go pick up Paula and carry her off to a better life….

Scenes That I Love: Vampire Lucy Makes Her Presence Known In Horror of Dracula


Today is the 116th anniversary of the birth of the British director, Terence Fisher.

Though Fisher had a long career as both an editor and a director and he worked in almost every genre, he achieved immortality with the horror films that he directed for Hammer Films.  Fisher’s horror films took the monsters that had previously been made famous by Universal Studios and resurrected them with a pop art spin.  Regardless of whether the subject matter was Frankenstein, the Mummy, Dracula, or some other fearsome creature, Fisher brought a vibrant splash of color to their stories.  (Often that color was blood red.)  At a time when American horror films were still hobbled by the production code and tended to hide their themes under several heavy layers of subtext, Terence Fisher brought Hammer’s stories to life with explicit violence and unapologetic sexuality.  When Christopher Lee’s Dracula stared at a victim with lustful eyes, there was little doubt about what was actually happening.  Once Fisher started working for Hammer, he never left the horror genre.  Personally, I would have liked to have seen what he could have done with a Bond film.

Today’s scene that I love comes from one of the first of the Fisher-directed Hammer horror films, 1958’s Horror of Dracula.  (In the UK, it was simply know as Dracula.)  Christopher Lee may not appear in this scene but it’s still one of the creepiest moments in the film.  In this scene, Lucy (Carol Marsh) returns from the dead and, sporting a new set of fangs, attempts to get her former maid’s daughter, Tania, to come for a walk with her.  Thanks to both Fisher’s direction and Marsh’s unforgettable performance, this is a scene that sticks with you even after the film ends.   Whenever I see Lucy peeking out from behind that tree and calling out to little Tania, my mind flashes back to when I was in the 1st grade and a police officer stopped by the classroom to ask if we all knew what to do if an adult who we didn’t know tried to get us to go off with them.  This scene definitely gives off stranger danger vibes and it’s all the more creepy as a result.

 

4 Shots From 4 Paul Morrissey Films: Chelsea Girls, Trash, Blood For Dracula, Mixed Blood


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

Today, the Shattered Lens wishes a happy 82nd birthday to the one and only Paul Morrissey!

Though he may not be as well known as some of his contemporaries, Paul Morrissey is one of the godfathers of independent film.  He first came to notice as a collaborator of Andy Warhol’s.  Morrisey’s first films were shot at the Factory and starred the members of Warhol’s entourage.  At a time when the indie film scene barely even existed, Morrissey was making boldly transgressive films and distributing them largely on his own.  In fact, it could probably be argued that, if not for Paul Morrissey, the American independent film scene would never have grown into the impressive artistic and financial force that it is today.

There’s always been some debate over how much influence Warhol had over Morrissey’s films.  Morrissey has always said that Warhol had next to nothing to do with the films, beyond occasionally taking a producer’s or a co-director’s credit.  Others have disagreed.  What can be said for sure is that, even after Warhol retreated from directly involving himself in the cinematic arts, Morrissey continued to make fiercely independent films.

Paul Morrissey made films about outsiders.  While other directors were telling stories about the middle and upper classes, Morrissey was making movies about junkies, prostitutes, and people simply trying to make it from one day to another.  His films also frequently satirized classic Hollywood genres.  In fact, his two best-known films, Flesh for Frankenstein and Blood for Dracula, not only satirized the old Universal horror films but also the Marxist-themed films being made in Europe.  A devout Catholic and a political conservative, Morrissey took a particular delight in tweaking the left-wing assumptions of the counterculture.  Who can forget Joe Dallesandro’s gloriously shallow revolutionary in Blood for Dracula?

Here are….

4 Shots From 4 Paul Morrissey Films

Chelsea Girls (1966, dir by Paul Morrissey and Andy Warhol)

Trash (1970, dir by Paul Morrissey)

Blood For Dracula (1974, dir by Paul Morrissey)

Mixed Blood (1984, dir by Paul Morrissey)

Weekly Reading Round-Up : 02/16/2020 – 02/22/2020


Ryan C. (fourcolorapocalypse)'s avatarRyan C.'s Four Color Apocalypse

Once in awhile, you have one of those weeks that reminds you why you love going to the comic shop on Wednesday — assuming, that is, that you actually do go to the comic shop on Wednesday. If you do, here are some things that you may have picked up. If you don’t, here are some things that you may (or may not, your call) want to pick up next time you’re there —

Going back to the Marvel Zombies rip-off well, writer Tom Taylor revisits his breakout hit concept of last year (one of the few to come from DC in recent memory) with DCeased : Unkillables #1, the debut intstallment of a three-part series that shows what the villains got up to while the heroes were all (okay, mostly) getting either wiped out or fucked by Darkseid’s infamous Anti-Life Equation being unleashed on Earth and turning everyone affected…

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Music Video of the Day: Hungry by Lita Ford (1990, directed by Jesse Dylan)


Here are the lyrics to Lita Ford’s Hungry:

My nylons are melting down my legs 
Your heart is pounding at my throat 
I can’t catch my breath 
I lost it when your fingertips 
Ran down my back and up my neck 
Your kiss makes me feel like this 
I’m so hungry for your sex 
I’m so hungry for your sex 
I got an appetite for love tonight 
I wanna taste your sweet thing 
I wanna feel the sting of your sex, of your sex 
My body all painted lipstick red 
We ripped the sheets right off the bed 
My fingernails left fiery trails 
Across your back, oh, tell me baby 
How’d you like that little pussycat scratch 
I’m so hungry for your sex 
I’m so hungry for your sex 
I got an appetite for love tonight 
I wanna taste your sweet thing 
I wanna feel the sting of your sex, of your sex 
I’m so hungry for your sex 
I’m so hungry for your sex 
I’m so hungry for your sex 
I got an appetite for love tonight 
I wanna taste your sweet thing 
I wanna feel the sting of your sex, of your sex 
I’m so hungry for your… 

I’m not sure how you go from those lyrics to Alice in Wonderland, though Wonderland in this video is portrayed as being a very dark place.  While Alice explores, Lita Ford writhes in a shallow pool of water.  How it all links up is anyone’s guess.

This video was directed by Jesse Dylan, who also did videos for Lenny Kravitz and 3rd Bass.

Enjoy!

Mardi Gras Film Review: Lady Behave! (dir by Lloyd Corrigan)


The 1938 film, Lady Behave!, begins with a woman named Clarice (Patricia Farr) getting ready to go out and celebrate Mardi Gras.  Even though Clarice invites her older sister, Paula (Sally Eilers), to come with her, Paula refuses.  Paula has work to do at home.  It’s pretty obvious that this is the way that it’s always been between the two sisters.  Clarice has fun while Paula stays home and waits for her to return.

Fortunately, Clarice does return in the morning.  As she tells Paula, she had a great time during Mardi Gras.  In fact, she had such a great time that she ended up getting married!  She married a wealthy northerner named Stephen Cormack (Neil Hamilton).  The only problem is that Clarice is already married!  She’s totally forgotten that she only recently became the wife of a dissolute playboy named Michael Andrews (Joseph Schildkraut).  By getting married a second time, Clarice has committed bigamy!  She could go to prison for 10 years!

Whatever is Paula to do?

Well, what if she arranges for Clarice to leave the country?

What if she tries to bribe Michael into accepting an annulment?

What if Paula goes up to New York and pretends to be Clarice (because, after all, Stephen was pretty drunk when he married her)?

What is she does all three!?

Of course, when Paula goes up to New York, she discovers that Stephen is out of the country.  She moves into his mansion, where she discovers that his two children — Patricia (Marcia Mae Jones) and Hank (George Ernest) — are convinced that she’s just a gold digger who only wants to steal their father’s money (and, it should be noted, also their inheritance).  When Michael shows up at Stephen’s mansion, he explains to Paula that he needs $10,000 for a horse and he’ll only agree to an annulment if he gets the money.  However, when he meets Patricia and Hank, he tells them that if they pay him $30,000, he’ll help to break up the marriage between Stephen and Paula (who, of course, everyone but Michael thinks is actually Clarice).

Eventually, Stephen shows up and he assumes that Paula actually is Clarice.  Paula and Stephen quickly fall in love and it turns out that Stephen is very serious about his new marriage.  He even wants to take Paula on a honeymoon.  Of course, he thinks Paula is Clarice and Paula is freaking out because they’re not actually married but she wishes that they were.  But, if they did actually get married, Stephen would be guilty of bigamy and then he’d have to leave the country like Clarice and….

Yes, this is one of those somewhat busy screwball comedies where almost every action is motivated by a misunderstanding and where all of the dialogue is extremely snappy.  To be honest, it’s all a bit too hyper.  Though the film originally had a running time of 70 minutes, most of the existing prints are only 57 minutes long.  This film has a lot of plot for only 57 minutes and it’s often difficult to keep track of what’s happening from one scene to the next.  That wouldn’t be a problem if this film starred someone like William Powell and Carole Lombard (or, for that matter, Cary Grant and Myrna Loy) but instead, this film features Sally Eilers and Neil Hamilton, who are likable performers but not quite likable enough to carry the film over it’s rough edges.

On the plus side, Joseph Schildkraut has some very funny scenes as the flamboyant Michael.  And Marcia Mae Jones and George Ernest both do a great work as Stephen’s paranoid children.  They consistently made me laugh.  Otherwise, Lady Behave! is a bit too frantic for its own good.

Comedy’s Dirtiest Dozen (1988, directed by Lenny Wong)


If you ever wanted to see Tim Allen snap, “Fuck you!” at a room full of yuppies, Comedy’s Dirtiest Dozen might be for you.

Comedy’s Dirtiest Dozen was a stand-up comedy concert film, featuring 12 comedians who all “worked blue.”  In the 80s, that meant a lot of cursing and a lot of jokes about oral sex and setting farts on fire.  Some of the jokes are funny but, as far as being dirty, not a single comic on the stage comes anywhere as close to being as filthy as Bob Saget was in The Aristocrats.  Today, Comedy’s Dirtiest Dozen is best-known for featuring early appearances from not only Tim Allen but also Chris Rock, Jackie Martling, and Bill Hicks.  The audience goes crazy when Hicks is introduced and Hicks does his trademark act, pacing the stage while smoking a cigarette and encouraging everyone to not shoot the John Lennons of the world but instead the assholes who sit at a stoplight with their right turn signal blinking.  At the time that this film was shot, Chris Rock was all of 21 but he already knew how to take over and control a stage.  Rock effortlessly goes from talking about little old white ladies dialing 9-1 whenever they see him on the street to the Jesse Jackson presidential campaign to the difficulty of living at home with a mother who regularly throws away his dirty magazines.

Some of the jokes are funnier than others.  When you’re watching 12 comedians making jokes from the vantage point of 32 years in the future, it is to be expected that the end results might seem uneven.  Since this was filmed in 1988, there’s a lot of dated jokes about cocaine, AIDS, the Olympics, and Ronald Reagan.  The jokes that seem to work the best are the ones about men being immature and women getting sick of them, which just proves that universal truths never go out of fashion.

It seems like whenever you watch a comedy concert film from the 80s, you have to ask yourself whether or not these comedians would be able to perform on a college campus today.  (Chris Rock, for instance, has said that he refuses to perform on campus because students are too sensitive.)  Bill Hicks would get kicked off stage for daring to light up a cigarette and Jackie Martling would probably cause a riot.  As for the rest of the performers, their acts in this film are frequently more profane than controversial.  For the most part, though, they’re still funny and that’s the important thing.

Love On The Shattered Lens: No Lost Cause (dir by Ashley Raymer-Brown and Rachael Yeager)


I’d like to start this review by quoting one of my favorite episode of King of the Hill.

Church Hopping, which aired during King of the Hill‘s 10th season, found Hank and his family searching for a new church after the reverend of their old church blows off Hank’s suggestion that seating should be assigned.  Peggy wants the family to start attending the new mega-church but Hank worries that it might be too big for him.  However, after the Hills have tried out every other church in town and found them to be not quite right for their needs, Peggy tells Hanks that they only have two options — go to the new megachurch or “live the empty barren existence of secular humanism.”  Hank finally agrees to give the megachurch a try.

At first, Hank loves the place.  He appreciates that the church broadcasts Cowboys games on Sunday.  He gets along with all of the members.  But, quickly, the church starts to dominate every aspect of his life.  As he feared, it is simply too big for him.  As he tells his nephew-in-law, Lucky, “My old church wouldn’t pay attention to me and my new church won’t leave me alone.”  When Hank announces that he will no longer be attending church and will instead look for some other way to worship, Peggy brings the church’s pastor to the house to counsel him.

After struggling for a bit to explain why he’s not comfortable at the megachurch, Hank finally exclaims, “No offense, but your church just keeps coming at you.”

Luckily, things work out in the end.  The Hills return to their old church and are spared from secular humanism.  It’s heart-warming in the way that the best episodes of King of Hill often were.  And that line about the church has always stuck with me.

I have to admit that, as I watched the 2011 film No Lost Cause, I found myself thinking about Hank’s lament.  No Lost Cause is about a young college student named Beth Ann Collins (Caitlyn Waltermire) who is paralyzed as the result of a car accident.  Making matters even worse for Beth Ann is that, after her accident, she finds herself living with her father, a farmer named Billy (Brian Douglas Baker).

Billy is an outspoken Christian.

Beth Ann is a bitter agnostic.  (This is one of those films where it’s pretty much taken for granted that all nonbelievers are bitter about something.)

Together …. THEY SOLVE CRIMES!

No, actually, they fight a lot.  Beth Ann does not want Billy in her life and she’s not amused when he keeps insisting that she comes to church with him.  Billy is not happy when Beth Ann announces that she just wants to stay in her bedroom and work on vaguely defined college work.  I know that the film expected us to automatically sympathize with Billy but I have to admit that I was on Beth Ann’s side the entire time.  It’s not just that Beth Ann had every right to be angry about her situation.  It’s also that Billy’s church just keeps coming at her.

Billy tells Beth Ann that they’re going to the church potluck.  While everyone else eats, Beth Ann sits in a corner and does some ill-defined term paper work.  Nick (Nils Hamilton) approaches her and asks why she’s at the potluck if she’s not going to eat.  And I’m just like, “BECAUSE HER DAD MADE HER COME!  Now leave her alone and let her write her paper!”

(I also have to admit that, by the end of the whole potluck scene, I was yelling at the characters in the film, “Say ‘potluck’ one more time!  GO ON, I DARE YOU!”  Seriously, potluck is just an annoying word.)

Later, at the house, Beth Ann is again trying to get work on her paper done when Billy shows up and announces that he’s invited the entire church over for dinner.  Suddenly, the house is full of people and while Beth Ann sits in a corner and tries to do her work, people keep sitting down at the table with her and talking to her.  Beth Ann has no desire to speak to anyone and actually does have some important work to do but that doesn’t matter to the members of Billy’s church.  They just keep coming at her.

“Seriously,” I found myself yelling at the screen, “leave Beth Ann alone!  She doesn’t want to talk to you!”

(I may have been projecting because it seems like whenever I’m in the middle of doing something important, I get interrupted.)

Anyway, the film gets off to a pretty rough start but it does get better.  Beth Ann does eventually grow comfortable about living with Billy and she even falls in love with Nick.  It’s predictable but occasionally sweet and Caitlyn Watermire gives a good and sympathetic performance as Beth Ann.  Unfortunately, the film also has Beth Ann suddenly regain the ability to walk, with the suggestion being that it’s all due to her newly found faith but that only forces the audience to wonder about all of the faithful who have a better attitude than Beth Ann but still don’t get healed.  It’s hard not to feel that the film would have been more effective if it had focused on Beth Ann coming to terms with being in the wheelchair as opposed to falling back on a miracle.

As a love story, No Lost Cause works a bit better than you might expect.  Caitlyn Watermire and Nils Hamilton have a likable chemistry and you do hope find yourself hoping the best for them, even if Nick does come across as a bit pushy about the whole potluck thing.  This is one of those film’s that will probably be best appreciated by people who already share the film’s view of the world but, as far as religious-themed films are concerned, No Lost Cause is better acted than most and it features some nice shots of the countryside.  That said, it’s still hard to watch the film without feeling that Beth Ann occasionally deserves some time to herself.

4 Shots From 4 Luis Buñuel Films: Illusions Travels By Streetcar, The Exterminating Angel, Simon of the Desert, Belle de Jour


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

Today is the 120th birthday of the great Spanish surrealist filmmaker, Luis Bunuel!  Continuing the tradition that we’ve just started here at the Shattered Lens, that means that it is now time for….

4 Shots From 4 Luis Buñuel Films

(This post, I should add, was a true pleasure to put together because Luis Buñuel is truly one of the most visually inspiring directors of all time.  If you haven’t seen a Luis Buñuel film, 2020 is the perfect year to discover him!)

Illusion Travels By Streetcar (1954, dir by Luis Buñuel)

The Exterminating Angel (1962, dir by Luis Buñuel)

Simon of the Desert (1965, dir by Luis Buñuel)

Belle de Jour (1967, dir by Luis Buñuel)