Back to School Part II #10: Grease (dir by Randal Kleiser)

Posted on August 25, 2016 by Lisa Marie Bowman

When it comes to reviewing Grease on this site, the film and I have a long and twisted history. There have been several times when I was tempted to review Grease but one thing has always stopped me:

I absolutely hate this film.

Grease is one of my least favorite films and, to be honest, just thinking about it causes me pain. Just about everyone that I know loves Grease. They love the songs. They love the music. They love the performances. They want to see it on stage. They want to see it on the big screen. They watch every time it pops up on AMC.

Growing up as a theater nerd means being surrounded by people who love Grease. I cannot begin to count the number of times that I forced to watch this movie in school. So many theater teachers seemed to feel that showing Grease in class was some sort of reward but, for me, it was pure torture. And the fact that I was usually the only one who disliked the film made the experience all the more unbearable.

Back in 2014, when I was doing the first set of Back To School reviews, I was planning on reviewing Grease. But I just could not bring myself to voluntarily relive the film. Instead of putting myself through that misery, I decided to watch and review Rock ‘n’ Roll High School instead. It was the right decision and I stand by it.

Jump forward two years and here I am doing Back to School again. And again, for some reason, I had put Grease down as a film to review. It’s just a movie, right? And yet, after I finished writing my excellent review of Animal House, I again found myself dreading the idea of having to even think about Grease.

So, I said, “Fuck this,” and I promptly erased Grease from the list and I replaced it with Skatetown USA. Then I watched Skatetown and I’m glad that I did because that was an experience that I can’t wait to write about! And yet, I still had this nagging voice in the back of my mind.

“You’re going to have to review Grease at some point,” it said, “If not now, when?”

The voice had a point. However, I was soon reminded that there was an even more important reason to review Grease. A little further down on my list of Back to School films to review was a little film called Grease 2. How could I possibly review Grease 2 if I hadn’t already reviewed Grease? My OCD would not allow it!

And so, here I am, reviewing Grease.

Grease, of course, is a musical about teenagers in 1958. Danny (John Travolta) is in love with Sandy (Olivia Newton-John) and Sandy is in love with Danny. But Danny’s a greaser and Sandy’s Australian! Will they be able to work it out, despite coming from different worlds? Of course they will! Danny’s willing to dress up like a jock in order to impress Sandy while Sandy’s willing to wear black leather to impress Danny! Yay! They go together! And they’ve got a flying car, too! YAY!

And then Satan arrived…

Of course, there’s other subplots as well. For instance, Frenchy (Didi Conn) nearly drops out of school but she’s visited by Satan (Frankie Avalon) and he manages to change her mind. And Rizzo (Stockard Channing) might be pregnant because Kenickie (Jeff Conaway) hasn’t bought any new condoms since the 8th grade. Comparing the sensitive way that teen pregnancy was handled on a show like Degrassi: The Next Generation with the way it’s handled in Grease is enough to make you want to sing “O Canada” every day for the rest of your life.

Here’s what I do like about Grease: Stockard Channing is great as Rizzo, though it’s hard not to feel that she deserves better than a doofus boyfriend like Kenickie and a boring bestie like Sandy. I also like You’re The One That I Want. That’s a fun song.

But as for the rest of the movie … BLEH! I mean, it is so BORING! It takes them forever to get to You’re The One That I Want. Olivia Newton-John is so wholesome that she literally makes you want to tear your hair out while John Travolta pretty much acts on auto pilot. As for the supporting cast, most of them appeared in the stage production of Grease and they still seem to be giving stage performances as opposed to film performances. They’re still projecting their lines to the back of the house. Worst of all, it’s obvious that director Randal Kleiser had no idea how to film a musical because the dance numbers are so ineptly staged and framed that, half the time, you can’t even see what anyone’s doing with their feet. If you can’t see the feet, it defeats the whole purpose of having an elaborate dance number in the first place!

So, no, I don’t like Grease.

Sorry, everyone.

However, I’m sure I’ll enjoy Grease 2….

Love you, Canada!

Shattered Politics #42: Blue Sunshine (dir by Jeff Lieberman)

Posted on January 27, 2015 by Lisa Marie Bowman

(I wrote an earlier version of this review for HorrorCritic.Com.)

Occasionally, on twitter, I would take part in the Drive-In Mob live tweet session. Every Thursday night, a group of exploitation, grindhouse, and horror film fans gog together and watched the same film and, via twitter, provided their own running commentary track. It was always terrific fun and a good opportunity to discover some films that you might have otherwise missed. It was through the Drive-In Mob that I first discovered a low-budget cult classic from 1978, Blue Sunshine.

Blue Sunshine (directed by the underrated horror director Jeff Lieberman) opens in the late 1970s. Across California, people are suddenly going bald and turning psychotic. At a party, singer Frannie Scott (played by Richard Crystal) has a nervous breakdown when another reveler playfully pulls off his wig and reveals Frannie to be hairless. Frannie responds by tossing half of the guests into the fireplace and then running out into the night. He’s pursued by his best friend Jerry Zipkin (played by future director Zalman King) but when Frannie is accidentally killed while running away, Jerry finds himself accused of being a murderer. Even as the police pursue him, Jerry starts his own investigation. He quickly discovers that there’s an epidemic of bald people suddenly murdering those closest to them. The one thing that these people have in common: they all attended Stanford University in the late 1960s and they all used a powerful form of LSD known as “blue sunshine.” Now, ten years later, they’re all having the worst flashback imaginable.

And, perhaps most dangerously, the campus drug dealer, spoiled rich kid Edward Fleming (Mark Goddard), is on the verge of being elected to the U.S. Congress. Not only it is possible that Edward may have taken the acid himself but Edward and his campaign manager have their own reasons to try to make sure that Jerry never reveals the truth behind Blue Sunshine.

Blue Sunshine is probably one of the best of the old grindhouse films, a film that embraces the conventions of both the horror and the political thriller genres while, at the same time, neatly subverting our expectations. Director Jeff Lieberman emphasizes atmosphere over easy shocks and the film’s cast does a pretty good job of making us wonder who is normal and who has dropped the blue sunshine. Wisely, Lieberman doesn’t resort to giving us any easy villains in this film. Much like the best horror films, the monsters in Blue Sunshine are as much victims as victimizers. I especially sympathized by one poor woman who was driven to rip off her wig by the sound of two particularly obnoxious children chanting, “We want Dr. Pepper!” over and over again. Seriously, that’s enough to drive anyone crazy.

Blue Sunshine is one of those wonderfully odd little cult films that makes me thankful that I own a DVD player. First released in 1978, Blue Sunshine mixes psychological horror with political conspiracy and the end result is an unusually intelligent B-movie that remains relevant even when seen today. Blue Sunshine was originally released on DVD by Synapse Entertainment and it has since been re-released by the New Video Group. I own the Synapse edition, which features a very entertaining director’s commentary with Jeff Lieberman as well as a bonus CD of the film’s haunting and atmospheric score.

Shattered Politics #19: To Kill A Mockingbird (dir by Robert Mulligan)

Posted on January 20, 2015 by Lisa Marie Bowman

So, I guess I should explain why I’m including the classic 1962 film (and best picture nominee), To Kill A Mockingbird, in this series of reviews of films about politicians. After all, while To Kill A Mockingbird dealt with the issue of racism in Alabama in a surprisingly honest manner, it doesn’t feature any elected officials. Nobody shows up playing Gov. Benjamin J. Miller or President Franklin Roosevelt. Instead, this film is about a wise lawyer named Atticus (Gregory Peck), an innocent man named Tom (Brock Peters), a girl named Scout (Mary Badham) and her older brother Jem (Philip Alford), and a mysterious recluse named Boo (Robert Duvall).

However, if you’ve read Harper Lee’s wonderful novel, then you know that Atticus is not just the smartest man in Maycomb, Alabama. He’s also a member of the Alabama state legislature and his political career is a fairly important subplot in the book, with him occasionally having to leave home so he can go down to Montgomery and help to write the budget. (Incidentally, Harper Lee’s father actually was a member of the Alabama House of Representatives.)

In the film, no mention of Atticus being a member of the state legislature is made but I still choose to believe that he was. Because, as played by Gregory Peck, Atticus Finch is exactly the type of man who you would want to think of as serving in government. He’s wise, compassionate, and firm. For much of To Kill A Mockingbird, he is literally the only sane adult in Maycomb. He’s the only attorney willing to defend Tom Robinson when Tom is accused of raping a white girl. When a mob shows up to lynch Tom, Atticus is the only adult willing to stand up to them. (Fortunately, Jem also runs up and shames the mob by reminding them that she goes to school with their children.) And, in court, it is Atticus who proves that Tom is innocent.

When Tom is still convicted, what makes it all the more devastating is that wise and compassionate Atticus doesn’t seem to be surprised as all. If even Atticus feels that there is no hope for a black man to get a fair trial from an all-white jury, the film seems to be saying, then there truly is no hope.

Of course, the film is not just about Atticus. It’s about Scout and Jem and their friend Dill (John Megna) and how the three of them grow up and learn the truth about their world. Watching them from behind the closed doors of his house is the mysterious and reclusive Boo Radley. When Boo shows up towards the end of the film, I always find tears in my mismatched eyes. Boo is played, in his film debut, by Robert Duvall. Duvall doesn’t say a word but he still makes an incredible impression as the shy and withdrawn Boo.

So, I may be cheating a lot by including To Kill A Mockingbird in this series of reviews. Oh well. Who am I to turn down a chance to rewatch it? To Kill A Mockingbird is just a great film.