The other night, I was watching Class of 1984 with a group of friends (including three TSL writers), and I we started discussing what our high schools were known for. When I was a student there, my high school was probably best known for the fact that Jessica Simpson attended the school in the 90s. She didn’t graduate because she left Texas for Hollywood but that was still our claim to fame. It’s interesting because people didn’t care that was my school was also named one of the best high schools in America and that it had an acclaimed drama department. But they definitely cared that Jessica Simpson dropped out before I was even old enough to attend.
(Is it a good thing when your school is best known for a student who dropped out and went on to become a success with G.E.D.?)
Today’s song of the day was inspired by that conversation. Here’s Jessica Simpson, covering These Boots Are Made For Walkin’.
(Yes, I know that no cover can compare to Nancy Sinatra’s other but I didn’t go to Nancy Sinatra’s high school. Plus, I’m a Southern girl with a closet full of boots. I relate to this version.)
You keep sayin’ you’ve got somethin’ for me Somethin’ you call love but confess You’ve been a’messin’ where you shouldn’t ‘ve been a’messin’ And now someone else is getting all your best
These boots are made for walkin’ And that’s just what they’ll do One of these days these boots are gonna walk all over you Ya
You keep lyin’ when you oughta be truthin’ And you keep losing when you oughta not bet You keep samin’ when you oughta be a’changin’ Now what’s right is right but you ain’t been right yet
These boots are made for walkin’ And that’s just what they’ll do One of these days these boots are gonna walk all over you
You keep playin’ where you shouldn’t be playin’ And you keep thinkin’ that you’ll never get burnt (ha) I just found me a brand new box of matches, yeah And what he knows you ain’t had time to learn
These boots are made for walkin’ And that’s just what they’ll do One of these days these boots are gonna walk all over you
Rip (J. Richey Nash) is a veteran baseball player who started strong and then become mediocre, kind of like this film. He had his chance in the majors but then he injured his knee and now, he plays in the minors. One game, he comes close to hitting the cycle, just missing out on his chance to hit a home run. Immediately afterwards, he told that he’s been released to make room for some young players. That’s baseball. Players come and players go. I thought I’d never get over Elvis Andrus leaving the Rangers and I never did. When Andrus retired last year, he signed a one-day contract with the Rangers so he could retire as a Ranger. We love you, Elvis!
Rip goes back to his small town, where he’s still a big deal because he used to be a pro baseball player. His father (Bruce Dern) is in the hospital but Rip still resents the pressure his father put him under while he was growing up. It’s all really predictable.
I liked the baseball scenes at the start of the game, even though Rip’s batting stance seemed all wrong. They still captured the excitement of watching a good game and they reminded me that, even though football and basketball may get all the attention, baseball truly is the nation’s pastime. Baseball is Americana and I’ll always love it. But once the movie stopped being about baseball and became about Rip being a jerk to everyone in his hometown, I got bored with it. Bruce Dern was good but everyone else was forgettable.
The important thing? Only a month to go until spring training!
As some of our regular readers undoubtedly know, I am involved in a few weekly live tweets on twitter. I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of #MondayActionMovie! Every week, we get together. We watch a movie. We tweet our way through it.
Tonight, for #ScarySocial, I will be hosting 1982’s Mortuary, starring Bill Paxton!
If you want to join us on Saturday night, just hop onto twitter, start the film at 9 pm et, and use the #ScarySocial hashtag! The film is available on Prime and Tubi! I’ll be there co-hosting and I imagine some other members of the TSL Crew will be there as well. It’s a friendly group and welcoming of newcomers so don’t be shy!
Diliverance (1972,dir by John Boorman, DP: Vilmos Zsigmond)
Today’s scene that I love comes from John Boorman’s 1972 film, Deliverance. For the longest time, I thought that this scene was improvised and the kid with the banjo just happened to be hanging out around the set. That makes for a nice story but I have recently read that this scene was actually scripted and the kid, while a local, was hired ahead-of-time to show up and play the banjo.
4 (or more) Shots From 4 (or more) Films is just what it says it is, 4 (or more) shots from 4 (or more) of our favorite films. As opposed to the reviews and recaps that we usually post, 4 (or more) Shots From 4 (or more) Films lets the visuals do the talking.
Today, the Shattered Lens wishes a happy 92nd birthday to British director John Boorman.
Boorman is one of those great director who sometimes doesn’t seem to get as much credit as he deserves. An undeniably idiosyncratic director, Boorman easily moved from genre to genre and who brought his own individual style to each of his films. Sometimes, critics and audiences responded to that vision and sometimes, they didn’t. And yet even Boorman’s so-called failures have come to be appreciated over the years. Zardoz is a cult classic. Even The Exorcist II: The Heretic is not quite the disaster that some insist. If nothing else, it’s one of the strangest studio productions to ever be released.
At his best, Boorman is one of the most influential directors of all time. How many neo-noirs have ripped off the look and the feel of Point Blank? The ending of Deliverance has been imitated by a countless number of horror films and, indeed, every backwoods thriller owes a debt to Boorman’s film about four businessmen spending a weekend canoeing. Excalibur is one of the most elegiac of all the Arthurian films while Hope and Glory retains its power to make audiences both laugh and cry with its portrayal of life on the British homefront during World War II. Meanwhile, films like The General and The Emerald Forest gave underrated characters actors like Powers Boothe and Brendan Gleeson a chance to shine.
So today, in honor of the career and the legacy of John Boorman, here are….
8 Shots from 8 John Boorman Films
Point Blank (1967, directed by John Boorman, DP: Philip H. Lathrop)
Deliverance (1972, directed by John Boorman, DP: Vilmos Zsigmond)
Zardoz (1974, directed by John Boorman, DP: Geoffrey Unsworth)
The Exorcist II: The Heretic (1977, dir by John Boorman, DP: William A. Fraker)
Excalibur (1981, dir by John Boorman, DP: Alex Thomson)
The Emerald Forest (1985, dir by John Boorman. DP: Philippe Rousselot)
Hope and Glory (1987, dir by John Boorman, DP: Philippe Rousselot)
The General (1998, dir by John Boorman, DP: Seamus Deasy)
Today is the 121st birthday of one of the great actors of Hollywood’s Golden Age, the one and only Cary Grant. For those of us who love to watch older films, Grant is usually the epitome of old-fashioned movie star charisma. He was an actor who could do it all, from screwball comedy to tear-jerking melodrama to exciting thrillers. What one usually hears about Cary Grant is that he was an actor who was taken for granted because he made everything seem so effortless.
And yet, there was a darkness to Grant’s best performances. Like Jimmy Stewart, he was an actor whose affable screen presence often hinted at inner turmoil. And, much as in the case of Stewart, Alfred Hitchcock was a director who immediately understood that. He cast Grant in some of his best films, usually playing a character with a secret or two to hide. One of my favorite “darker” Grant performances and films is 1946’s Notorious.
Directed by Alfred Hitchcock, Notorious opens with T.R. Devlin (Cary Grant) meeting and, it is implied, seducing Alicia Huberman (Ingrid Bergman). Alicia, at the time, was attempting to drink away her sorrow over her father being convicted of treason for his pro-Nazi activities during World War II. As the daughter of an American Nazi with a reputation for drinking too much and being promiscuous, Alicia is indeed notorious. That’s something that Devlin uses to his advantage the next morning when he informs that hangover Alicia that he is an American intelligence agent and that he is investigating the activities of a group of Nazi sympathizers who fled to South America at the end of the war. He wants Alicia, as the daughter of a known sympathizer, to infiltrate their operations.
Reluctantly, Alicia agrees and, while they wait for to learn the exact details of her assignment, they fall in love. Devlin is not happy when his superiors inform him that they want Alicia to approach and seduce Alex Sebastian (Claude Rains), a friend of her father’s who now lives in Brazil with his domineering mother (Leopoldine Konstantin). Alicia is even less happy when Devlin tells her of the assignment, especially as she knows that the weak-willed Sebastian has always been in love with her. She assumes that Devlin only pretended to love her.
After Devlin arranges for Alicia to be at the local riding club at the same time as Alex, Alex meets her and immediately brings her to the mansion that he shares with his mother. Alex is an interesting character. When we first meet him, he hardly seems like a Nazi sympathizer. His happiness when he sees Alicia and the apparent sincerity of his love for her stands in contrast to the often cold, manipulative, and harsh Devlin. Sebastian invites Alicia to move into his mansion and soon, Alicia tells Devlin that he can add Sebastian to “my list of playmates.” When Sebastian asks Alicia to marry him, Devlin tells Alicia to do what she wants. Alicia married Sebastian though she loves Devlin but she soon discovers just how for Sebastian and his mother will go to protect themselves and their Nazi conspirators.
Notorious is famous for its 2 and a half kissing scene between Devlin and Alicia, filmed at a time when the production code specifically stated that kisses could only last for three seconds. Hitchcock handled this by interrupting the kiss every three seconds and then having his two stars get back to it. Both Cary Grant and Ingrid Bergman said the scene was awkward to shoot, specifically because they had to keep finding reasons to split apart without splitting too far apart but the effect onscreen is amazingly romantic and probably about as erotic as 1940s studio production could be. In that scene, you have no doubt that Devlin and Alicia share a passion that Alex, even though he is in love with Alicia, could never understand. Grant and Bergman have an amazing chemistry in this scene and really the entire film.
As played by Cary Grant, Devlin is not always likable in Notorious. He can be cold and manipulative and judgmental but, in the end, we never doubt his love for Alicia. Alex also loves Alicia but he ultimately puts himself (and his mother) first. As for Alicia, she is someone who has been unfairly branded by both the activities of her father and her past reputation and anyone who has ever come to work or gone to school on a Monday morning and heard the snickering that goes along with the rumors about what she did during the weekend will immediately relate to Alicia. Alicia is told that the mission is a way to redeem herself but the film suggests that no redemption is necessary. If anything, it’s Devlin who needs to redeem himself for the way he previously manipulated and judged her. Devlin and his superiors are trying to stop a group of Nazi sympathizers from graining power in South America and their mission is an important one. (That sentiment would be even more true from audience watching in 1946, just a year after the end of World War II). But the important of their mission doesn’t change the fact that the people involved are human beings with very real and very fragile emotions.
Notorious features some of Hitchcock’s best set pieces, from the famous kissing scene to another scene involving the key to a wine cellar. Grant, Bergman, and Rains give three of their best performances in this intelligent thriller. (Watching, one can see why Ian Fleming suggested Cary Grant as a possible James Bond.) I first saw Notorious in a film class in college. At first, the class was a bit hesitant about a black-and-white movie from 1946 but, by the end, there were cheers as Devlin rushed to save Alicia. Notorious is a timeless classic.
Notorious (1946, dir by Alfred Hitchcock, DP: Ted Tetzlaff)
There was a time in my life, before I could drive, when I would beg my parents to stop at the video store every time we went to the neighboring town of Conway, Arkansas. The town I grew up in was too small to have more than just a gas station, so this movie buff had to take advantage of every trip to town. One night when we were headed home, my parents relented to my repeated requests, so we stopped off at Budget Video. I wanted to choose all the movies, but unfortunately mom and dad would also let my brother and sister choose movies from time to time as well. On this particular night, my brother wanted to rent THE UNTOUCHABLES (1987). I don’t remember what I was wanting, but I do remember that it was not THE UNTOUCHABLES. I probably pouted a little bit, but we ended up taking THE UNTOUCHABLES home with us. We turned it on that night, and I’ll gladly admit that I was 100% wrong. THE UNTOUCHABLES immediately became one of my favorite films. Great job, bro!
It’s 1930 and Prohibition is the law of the land in the United States of America. Treasury agent Eliot Ness (Kevin Costner) has been given the seemingly impossible task of bringing down notorious gangster Al Capone (Robert De Niro), who supplies booze to nearly all of Chicago. Capone doesn’t just supply the booze, he rules Chicago with an iron fist; and if you’re a local business who doesn’t want to buy his product, he just may blow your ass up! Ness’ job is made especially difficult due to the rampant corruption in Chicago, where everyone from the Mayor, to the judges, lawyers, and law enforcement officers are all on Capone’s payroll, making it pretty much impossible to trust anyone. In a complete stroke of luck, Ness encounters the honest Irish American policeman James Malone (Sean Connery) and asks him to join him in bringing down Capone. With Malone, Ness has found that honest and badass cop who’s not afraid to go up against Capone and his goons. Knowing that most of the police force is already compromised, the two men head to the police academy to try to find another honest cop. This turns out to be another great move as they come upon an Italian American trainee named George Stone (Andy Garcia), who’s a prodigy with a gun. Their last, and greatest move in this humble CPA’s opinion, comes when they accept accountant Oscar Wallace (Charles Martin Smith) to their team. Wallace is convinced that the key to bringing down Capone is trying to build a tax evasion case against him. He’s initially laughed at, but it’s soon apparent that this accountant knows his debits and credits, and his expertise may be just what’s needed to end Capone’s reign of terror once and for all.
I’ve always considered THE UNTOUCHABLES to be a near perfect film. One of the main reasons I find the film so perfect is the direction of Brian De Palma. I’ve been a fan of his “style” for so long, with films like DRESSED TO KILL (1980) and BLOW OUT (1981), but I think he just nails the material here. There are so many great scenes, but the “Union Station” sequence has to be one of the most perfectly choreographed sequences of all time. The building of the tension, the slow-motion shootout when the bad guys arrive, and finally the badass resolution all prove what an absolute master De Palma could be with the right material. De Palma claims that he made up the series of shots as he was filming the scenes at the train station, making the final product that much more impressive. And this all plays out against the background of a “lullaby theme” composed by the legendary Ennio Morricone (THE GOOD, THE BAD, AND THE UGLY). This is what “cinema” is all about.
THE UNTOUCHABLES has an amazing cast of actors to bring its “based on real events” story to life. Kevin Costner was just beginning to emerge as a movie star when this movie was made back in 1987. Especially as a younger actor, Costner was good at projecting both a certain innocence, tempered with the willingness to do what it takes to get the job done once his family and friends are put in danger. And what can you say about actors like Sean Connery and Robert De Niro?!! Connery is so charismatic, wise, and tough as the beat cop who shows Eliot Ness how to beat Capone… ”he sends one of yours to the hospital, you send one of his to the morgue!” He’s a beat cop because he’s incorruptible, and Connery projects that stubborn honesty perfectly. I’m so glad that Connery won an Oscar for this performance, as it would be the only time he would ever be nominated for an Academy Award. He’s amazing in this role, even if his accent is Scottish rather than Irish (a notable controversy at the time). Connery may have won the Oscar, but Robert De Niro matches him scene for scene. His ability to make Capone both charismatic and evil in equal measure is an example of what makes De Niro special as an actor. So many actors phone in these types of broad performances, but not De Niro. I also just think it’s cool that De Niro admitted that his performance was heavily influenced by Rod Steiger’s in 1959’s AL CAPONE. I love Steiger and consider this a wonderful tribute. Throw in a young Andy Garcia, the always underrated Charles Martin Smith, and a creepy Billy Drago as Frank Nitti, and you have one of the better casts ever assembled. I especially became a fan of Garcia based on his performance in THE UNTOUCHABLES.
The last person I want to mention is the screenwriter, David Mamet. His screenplay is another perfect element of THE UNTOUCHABLES. The same man who has directed his own films like HOUSE OF GAMES (1987), HOMICIDE (1991), THE SPANISH PRISONER (1997), and SPARTAN (2004) knows how to write a great screenplay. There are so many amazing moments, from the “baseball bat” sequence to the “Stone recruitment” scene, and even Ness’ “he’s in the car” line about Frank Nitti, it’s a muscular screenplay full of big-time moments of audience satisfaction.
At the end of the day, THE UNTOUCHABLES is just a great movie. I still periodically thank my brother for picking it out that fateful day in the late 80’s, and it will always be one of my very favorites. It’s one of those movies that I recommend with zero reservations!
Check out the trailer below, and if you’re smart, you’ll watch one of the great movies of the 1980’s, Brian De Palma’s THE UNTOUCHABLES.
This video stars and was directed by Exene’s son, Henry Mortensen and co-stars her niece, Carolyn Allen. The video was shot in Cannery Row in Monterey, California.
Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Fridays, I will be reviewing Friday the 13th: The Series, a show which ran in syndication from 1987 to 1990. The entire series can be found on YouTube!
This week, Micki is faced with a moral dilemma.
Episode 2.24 “The Shaman’s Apprentice”
(Dir by William Fruet, originally aired on May 29th, 1989)
Micki’s friend, Blair (Isabelle Mejias) is in the hospital. She’s been having serious chest pains and, as Micki puts it, she’s too young to be suffering from them. Blair finds out that she has a sarcoma and the doctors are not giving her much chance to live. Dr. Lamar (James B. Douglas), the arrogant head of surgery at the local hospital, doesn’t seem to really care whether Blair lives or dies. All he cares about is taking care of the wealthy patients who might be moved to donate some of their money to the hospital.
However, Blair has found a reason for hope. There is a Native American doctor named John Whitecloud (Paul Sanchez). He has his own clinic, one that is funded by a rich man who Dr. Lamar said couldn’t be saved. Dr. Lamar hates Whitecloud, largely because Lamar is a racist who views Whitecloud’s “shamanistic” techniques with scorn. However, Whitecloud appears to be capable of saving anyone. Of course, the doctors and the nurses who have failed to treat Whitecloud with respect have a habit of mysteriously dying, usually right before Whitecloud manages to save a terminal patient.
Whitecloud does indeed have an objects that Jack and Ryan are interested in retrieving. It’s not a cursed antique. Instead, it’s a rattle that Whitecloud stole from his grandfather, Spotted Owl (Gordon Tootoosis). Whitecloud is using the rattle to cure his patients but, for every cure, he also has to use it to kill someone else. Whitecloud even uses it to kill Spotted Owl, though Whitecloud seems to feel bad about doing it. When Jack realizes that Whitecloud’s next target is going to be Dr. Lamar, he and Ryan are determined to stop him….
….except, as Micki points out, stopping Whitecloud will mean that her friend Blair will die. Why, Micki wonders, should Lamar get to live while Blair dies? Micki argues that they should at least let Whitecloud cure Blair but Jack gently explains that it doesn’t work that way. Jack says that their job is not to play God.
Long story short: The spirit of Spotted Owl shows up to drag Whitecloud into the afterlife. Jack gives the rattle back to the tribe, despite Ryan feeling that it should be in the vault. (“It’s not ours to take,” Jack explains in that reasonable and reassuring way of his.) Micki is angry and depressed that Blair is probably going to die. Blair stands on a street corner and stares at Whitecloud’s now empty clinic. Roll the end credits!
Wow, that was depressing! But it was really the only way the episode could end and I respect the fact that the show had the courage and the integrity to stay true to itself and end on such a down note. Not many shows would have had the courage to resist coming up with some sudden, miracle solution. This episode had some really cheap looking special effects and some not-so-great acting from some of the guest stars but Chris Wiggins, Robey, and John D. LeMay were as strong as always. This episode was especially an effective showcase for Chris Wiggins, who played Jack with just the right amount of weary gravitas. This was a depressing episode but it was a good one.
Through the Shattered Lens 