4 Or More Shots From 4 Or More 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, we here at the Shattered Lens wish a happy 83rd birthday to the great director Walter Hill.
Walter Hill is one of those legendary figures who has a devoted cult of fans but it still seems like he’s never quite gotten all of the opportunities and the acclaim that he deserved. Perhaps because so many of his films are considered to be genre pieces, they were often not appreciated until a few years after they were first released. But for film lovers and film students, Walter Hill is one of the most important directors of the past 50 years.
Today, we celebrate with….
4 Shots From 4 Walter Hill Films
The Warriors (1979, directed by Walter Hill, DP: Andrew Laszlo)
Southern Comfort (1981, dir by Walter Hill, DP: Andrew Laszlo)
Streets of Fire (1984, dir by Walter Hill, DP: Andrew Laszlo)
Last Man Standing (1996, dir by Walter Hill, DP: Lloyd Ahern II)
Saturday Night, which presents what I assume to be a highly fictionalized account of the 90 minutes before the 1975 premiere of Saturday Night Live, did the impossible. It made me feel sorry for Chevy Chase.
Don’t get me wrong. As played by Cory Michael Smith, Chevy Chase is not presented as being a sympathetic character in Saturday Night. The film acknowledges his talent as a comedian and that he was the first star to come out of Saturday Night Live. But he’s still presented as being arrogant, self-centered, rude, and often deliberately self-destructive. The film portrays Chevy Chase in much the same way that most people describe him in real life. Chevy Chase has apparently always been a difficult person to work with and, I suppose to his credit, it doesn’t appear that Chevy himself has ever claimed anything different. But Saturday Night so piles on Chevy that even I felt it went a bit overboard. It’s one thing to present Chevy as being the arrogant jerk that he’s admitted to being. It’s another thing to fill the movie with moments in which people stop what they’re doing to tell Chevy that his career is going to start strong and then fade due to his bad behavior. At one point, the NBC executive played by Willem DaFoe comments that Chevy could host his own late night talk show. We’re all meant to laugh because eventually, Chevy Chase did host a late night talk show and it was such a disaster that it’s still, decades after its cancellation, held up as a prime example of a bad career move. But, in the context of the film, it feels a bit like overkill. It’s one thing to be honest about someone being a pain in the ass. It’s another thing to repeatedly kick someone while they’re down. Chevy, much like the NBC censor who is chanted down in the film’s cringiest moment, simply feels like too easy of a target.
Of course, Saturday Night is full of moments that are meant to comment more on the future than on whatever was going on in 1975. The whole point of the film is that Saturday Night Live, a show that the network has little faith in and which is being produced by a hyperactive visionary (Gabriel LaBelle as Lorne Michaels) who seems to be making it up as he goes along, is eventually going to become a cultural phenomenon. Every time someone tries to convince Lorne Michaels to cancel the premiere or to miss with the format, we’re meant to think to ourselves, “Little do they know that this show is going to be huge for several decades before eventually just becoming another predictable part of the media landscape.” The scenes of Garrett Morris (Lamorne Morris) wandering around the set and asking, “What is my purpose? Why am I here?” may not feel like something that would have happened in 1975 but they’re there because it’s something that people were asking about in 2024. Watching the film, it helps if you know something about the history of Saturday Night Live. It helps to know that Dan Aykryod (Dylan O’Brien), John Belushi (Matt Wood), and Gilda Radner (Ella Hunt) are going to carry the show after Chevy Chase leaves. It helps to know that Billy Crystal (Nicholas Podany) is going to become a Hollywood mainstay even after he gets dumped from the premiere for refusing to cut any material out of his act. It helps to know that the mellow, pot-smoking band leader is actually Paul Shaffer (Paul Rust). It helps to know that Lorne Michael and Dick Ebersol (Cooper Hoffman, giving one of the best performances in the film) are going to become powerful names in American television. The film may be set in 1975 but it’s actually about all the years to come.
It’s still an entertaining and well-made film, one that I enjoyed watching. Saturday Night manages to create the illusion of playing out in real time and director Jason Reitman captures the excitement of being backstage before opening night. It’s an excitement that everyone can relate to, whether their opening night was on television, Broadway, or just a community theater in their small college town. The backstage chaos of Saturday Night is wonderfully choreographed and, most importantly, it captures the feeling of being young, idealistic, and convinced that you can change the world. Reitman also gets good performances from his cast, with Cooper Hoffman, Dylan O’Brien, and Rachel Sennott (playing writer Rosie Shuster) as stand-outs. That said, the film is pretty much stolen by J.K. Simmons, who has a memorably lecherous cameo as Milton Berle and who provides Chevy Chase with a look at what waits for him in the future. If the film is never quite as poignant as it wants to be, that’s because Saturday Night Live is no longer the cultural powerhouse that it once was. If Saturday Night had been released just 18 years ago, before SNL became best-known as the place where Alec Baldwin hides out from bad publicity, it would probably be an Oscar front runner right now. Released today, it’s just makes one feel a little bit sad. The show that was built on never selling out eventually sold out.
After a couple of decades of toiling away in TV and supporting roles, Charles Bronson became a huge international film star in 1968 when he starred in the films FAREWELL, FRIEND (with Alain Delon), and Sergio Leone’s ONCE UPON A TIME IN THE WEST (with Henry Fonda). For the next 5 years, Bronson would star in successful international co-productions, before hitting it big in the United States with the influential 1974 blockbuster, DEATH WISH. From 1974 to 1977, Bronson had his pick of any role that he wanted. This was probably the most interesting time in his career as he truly tried to expand his range with films like the depression-era HARD TIMES (1975), the romantic comedy FROM NOON TILL THREE (1976), the Raymond Chandler-esque ST. IVES (1976), and the surreal western THE WHITE BUFFALO (1977). But after 1977’s TELEFON and a series of underwhelming box office returns in the states, Bronson’s star was on the wane. He wouldn’t have his next #1 box office hit until he joined forces with the infamous Cannon studios in 1982 for the sequel to his biggest hit and DEATH WISH II. Cannon Studios would provide Bronson with a guaranteed paycheck and a non-stop presence on cable TV and at the video store for the remainder of the decade. I call the films that Bronson made between 1977 and 1982 the in-betweens. They don’t really fit into his European phase (1968-1973), his post-DEATH WISH phase (1974-1977) or his Cannon phase (1982-1989). To be completely honest, it seemed his career was somewhat in limbo at this point, and the movies he made during these years are some of his least well-known.
One of the movies that Charles Bronson made during the in-between years was 1980’s BORDERLINE. In this film, he plays Jeb Maynard, a border patrolman and expert tracker who will stop at nothing to find the human smuggler responsible for killing his friend and fellow patrolman Scooter, played by Wilford Brimley. I like this lower-key Bronson film. Director Jerrold Freedman has made a more realistic film than a lot of the movies in Bronson’s filmography. Outside of the murder that gets the story going, and the final showdown with the lead smuggler (a young Ed Harris), most of the film is made up of good old-fashioned field work and investigation. Bronson even based much of his performance on the technical advice of legendary border patrolman Albert Taylor. Now that doesn’t mean there aren’t some solid, action-packed scenes during the movie. My favorites include a scene where an undercover Maynard goes into Mexico with the mother of a young Mexican boy who was accidentally killed at the same time as Maynard’s friend Scooter. Maynard poses as a family member of the woman in hopes of being smuggled across the border so he can see how the illegal immigrants are being brought in. When thieves intercept the group, all hell breaks loose, and Maynard and the woman must fight their way out. Another badass moment occurs when Bronson beats needed information out of one of the smugglers in a nasty bathroom. This last scene is especially enjoyable for us Bronson fans.
There are so many good actors in this film. Outside of Bronson, Brimley, and Ed Harris, the cast is filled out by other veterans like Bruno Kirby, Bert Remsen, Michael Lerner, John Ashton, and Charles Cyphers. On a side note, Ed Harris gets the “introducing” credit here, even though he had appeared in several TV shows, as well as the movie COMA with Michael Douglas. This was his first major role in a feature film though. I also want to throw out special mention to Karmin Murcelo. She’s not a household name, but she’s excellent as the mother of the young boy who gets killed with Wilford Brimley’s character, who then helps Bronson in his quest to find the killer. Her career extended over 3 decades, and it’s easy to see why based on this performance.
BORDERLINE may not be an explosive action film like some of Bronson’s other work, but it’s an effective drama with a good performance from the star. I think he embodies the character perfectly. It’s also just as relevant in 2025 as it was in 1980, and I give the film a solid recommendation.
You know, this is a good song by a good singer and good group of backing musicians. (The Wallflowers have had many personnel changes over the years, with Jakob remaining the one consistent member.) Jakob Dylan has always been a little overshadowed by his famous father and, while that’s understandable, it’s definitely a shame. Jakob is a talented artist in his own right and this video shows that.
That said, the main reason I like this video is because of Jakob emerging from the ocean with those big blue eyes. Hi, Jakob!
Through the Shattered Lens 