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 birthday to the legendary cinematographer, Dante Spinotti! It’s time for….
4 Shots From 4 Dante Spinotti Films
Manhunter (1986, dir by Michael Mann, DP: Dante Spinotti)
Heat (1995, dir by Michael Mann, DP: Dante Spinotti)
L.A. Confidential (1997, dir by Curtis Hanson, DP: Dante Spinotti)
Public Enemies (2009, dir by Michael Mann, DP: Dante Spinotti)
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, in honor the birthday of the late great Curtis Hanson, it’s time for….
4 Shots From 4 Curtis Hanson Films
The Bedroom Window (1987, dir by Curtis Hanson, DP: Gilbert Taylor)
L.A. Confidential (1997, dir by Curtis Hanson, DP: Dante Spinotti)
Wonder Boys (2000, dir by Curtis Hanson, DP: Dante Spinotti)
8 Mile (2002, dir by Curtis Hanson, DP: Rodrigo Prieto)
As the saying goes, everyone has to start somewhere and, for Curtis Hanson, that somewhere was with 1973’s Sweet Kill.
Curtis Hanson, of course, would go on to become one of Hollywood’s top genre directors, directing films like The River Wild, Bad Influence, Wonder Boys, The Hand That Rocks The Cradle, 8 Mile, and the Oscar-nominated L.A. Confidential. But, in the early 70s, he was just one of the many recent film school grads who approached Roger Corman for a job.
Having previously worked on the script for the Corman-produced Dunwich Horror, Hanson approached Roger and told him that he had an idea for a Psycho-inspired movie about a female serial killer. Corman replied that he would help finance the film if Hanson made the killer into a man. Hanson did so but Corman still ended up only putting up a third of the film’s budget as opposed to the two/thirds that he had originally offered. Hanson ended up convincing his parents to take out a mortgage on their home to help finance the movie.
Hanson shot the film in 1971. Corman said that the film showed promise but that it needed more nudity and a better title if it was going to be successful. Corman re-edited the film and additional nude scenes were shot and inserted into the film. Despite this, Sweet Kill was a box office disappointment when it was originally released. Corman re-titled the film Kisses For Eddie but it didn’t help at the box office. Finally, the film was released under a third title, The Arousers. Despite a lurid ad campaign built around “the arousers,” the film once again failed at the box office. It wouldn’t be until years later, when Hanson started to achieve some mainstream success, that Sweet Kill would be rediscovered.
After all of the drama that went into post-production, it would be nice to be able to report that Sweet Kill was some sort of overlooked masterpiece but, to be honest, it’s pretty bad. The film stars Tab Hunter as Eddie Collins. When Eddie was a kid, he used to hide in the closet and watch as his mother lounged around her bedroom in lingerie. Now that Eddie is a grown-up and working as a high school gym coach, he is still so haunted by his mother that he’s impotent. As a result, Eddie spends his time breaking into apartments, stealing underwear, and having a prostitute dress up like his mother so that he can undress her while sobbing. After a chance meeting with a hippie girl leads to Eddie once again failing to get it up, he shoves the girl hard enough to kill her. The film implies that this act of violence leads to Eddie getting aroused for the first time and soon, Eddie is killing people and …. well, that’s pretty much the whole movie. There’s not really a plot, beyond Eddie looking confused and trying to keep his sympathetic neighbor from finding out that he’s a serial killer.
Sweet Kill has gotten some attention because of the casting of former teen idol Tab Hunter in the role of psycho Eddie. Tab Hunter has the right blonde look for Eddie, who is basically a homicidal beach bum, but otherwise, Hunter’s performance is fairly dull. Watching the film, it’s obvious that he wasn’t particularly comfortable with the role of Eddie and, as such, he sleepwalks through the performance. (Ironically, Eddie was based on Norman Bates, who was played by Hunter’s former partner, Anthony Perkins.) There are a few creepy moments where Hunter stares off into the distance with a blank look on his face but otherwise, this isn’t a particularly memorable performance nor is Sweet Kill a particularly interesting film.
That said, Curtis Hanson went on to have quite a career so, on that level, Sweet Kill‘s bland badness is inspiring. If the director of Sweet Kill could still go on to direct and produce some of the best films of the past 50 years, there’s hope for everyone looking to achieve their dreams. Don’t let one failure get you down.
Normally, today would be April Fool’s Day but this year, I don’t think anyone’s in the mood for any of that. To quote today’s music video of the day, things have changed.
Bob Dylan wrote this song for a really good movie called Wonder Boys. (The movie’s good and the Michael Chabon novel that it’s based on is even better.) Dylan went on to win an Oscar for this song and I can still remember the night that he performed it at the Oscars. On the night of the ceremony, he was in Australia so both his performance of the song and his acceptance speech was live streamed into the Shrine Auditorium. The entire performance was a close-up of Dylan, without any camera movements or cuts to the audience. It was eerie but effective and appropriate because Bob Dylan is an artist who has always tried to control his own image.
This video was directed by the late Curtis Hanson, who also directed Wonder Boys.
The Bedroom Window opens with quite a quandary. Sylvia (Isabelle Huppert) has just witnessed a woman named Denise (Elizabeth McGovern) being attacked by a serial rapist/killer named Carl (Brad Greenquist). The problem is that the window that Sylvia’s standing at is located in the bedroom of Terry Lambert (Steve Guttenberg). Sylvia is having an extramarital affair with Terry and she knows that there’s no way to tell the police what she saw without also exposing the affair. Terry decides that he’ll go to the police and tell them what Sylvia witnessed but he will claim to have seen it himself.
Terry does well enough with the police that Carl gets arrested but, at Carl’s trial, Terry’s testimony falls apart when he is revealed to be so near-sighted that there was no way he could have seen what happened from his bedroom window. Carl is not only acquitted but has now figured out that Sylvia was the one who witnessed him attacking Denise. When the killings start up again, Terry becomes the number one suspect.
An underrated and overlooked thriller, The Bedroom Window was directed by the late and missed Curtis Hanson. It’s not a perfect film. Terry does an excessive amount of stupid things over the course of the movie. But Hanson did a good job creating suspense and he got good performances from his entire cast. Steve Guttenberg may seem like a strange choice to play the lead in a Hitchcockian thriller but he actually gives a credible performance and the fact that he is not a traditional hero creates some suspense. Brad Greenquist is chilling as the killer and keep an eye out for the great Wallace Shawn in the role of Carl’s weaselly attorney.
On Tuesday I was shocked and saddened by the news that filmmaker Curtis Hanson had died of a heart attack. Hanson was a great director but he was also an underrated one. In a career that spanned 45 years, he only directed 16 films. He was a genre director, one who often seemed to be more interested in being a storyteller than an auteur. However, I would hold his body of work against almost any other director in Hollywood. L.A. Confidential inspired me to learn more about film noir and whenever I need to be reminded why I wanted to become a writer, I watch Wonder Boys.
These 4 shots come from 4 films directed by Curtis Hanson. Rest in peace and thank you for the movies.
4 Shots From 4 Films
The Bedroom Window (1987, directed by Curtis Hanson)
L.A. Confidential (1997, directed by Curtis Hanson)
Though it may seem like a lifetime ago, it’s only been 6 weeks since I started on my latest series of reviews. I am currently in the process of reviewing, in chronological order, 126 cinematic melodramas. I started with the 1927 classic Sunrise and now, 82 reviews later, I have finally reached the 1990s.
(Of course, when I started this series of reviews, I somehow managed to convince myself that it would only take me 3 weeks to review 126 films. Instead, it looks like it’s going to take two months. So, I was only off by 5 weeks.)
Let’s start the 90s by taking a quick look at a 1990 film called Bad Influence. I have to admit that, when I made out my list of films to review, Bad Influence was not even on my radar. I was planning on launching my look at the 90s with a review of Ghost. But then I saw The Avengers: Age of Ultron and I was so taken with James Spader’s performance as Ultron that I decided to add a few James Spader films to Embracing the Melodrama.
In Bad Influence, James Spader is cast somewhat against type. He plays Michael, who has a good job and is engaged to marry the wealthy and overbearing Ruth (who, I was surprised to learn from the end credits, was played by a pre-Desperate Housewives Marcia Cross). Michael should be happy but instead, he feels oddly dissatisfied with his life. He’s shy and meek and spends all of his time trying to do the right thing and conform to the petty demands of society.
One day, as he’s sitting in a bar, Michael makes the mistake of trying to flirt with a woman who is obviously having a bad day. When the woman’s boyfriend shows up, he tells Michael to leave. When Michael mutters that it’s a free country, the man responds by grabbing Michael. However, before the fight can go any further, handsome and charming Alex (played, somewhat inevitably, by Rob Lowe) pops up out of nowhere, smashes a bottle, and scares the man off.
Michael and Alex become fast friends, with Michael viewing the extroverted and confident Alex as being everything that he wants to be. (Meanwhile, Alex seems to appreciate the fact that Michael has money and a nice apartment.) Under the influence of Alex, Michael starts to stand up for himself and even manages to get a big promotion at work. At the same time, he also ends up cheating on his fiancée (while Alex films them) , helping Alex hold up a series of convenience stores, and beating up an obnoxious co-worker.
Ultimately, Bad Influence is a lot of sordid fun. It’s a bit like Fight Club, minus the satire and the big identity twist. (Michael and Alex are differently separate characters.) Director Curtis Hanson (who is perhaps best known for L.A. Confidential) brings a lot of style to the film’s tawdry fun and keeps the action moving quickly enough that you don’t have too much time to obsess over what doesn’t make sense.
Finally, James Spader and Rob Lowe are just a lot of fun to watch. Spader turns Michael into a sympathetic protagonist and Rob Lowe seems to be having a blast going full psycho in his role.
Bad Influence is a well-made B-movie and it’s a lot of fun. You can watch it below!
Originally, my 32nd entry in my Back To School series was going to be Made In Britain, a film about a 16 year-old Neo-Nazi played by Tim Roth. And, while I still suggest that you track down and watch Made In Britain (mostly for Roth’s amazing performance in the lead), I have to admit that, as I rewatched it, I found myself really struggling to find a way to fit it into the Back to School theme. Made in Britain is a good film about a juvenile delinquent but it just didn’t seem like it was right for this series. Maybe I’ll revisit it when I do my long-threatened series of “Europe Is As Messed Up As America” series of film reviews.
Instead, I decided to close out the 1983 portion of this series by taking a look at Losin’ It. Along with Risky Business and All The Right Moves, Losin’ It is one of the three films released in 1983 that starred Tom Cruise as a high school senior who is obsessed with losing his virginity. Much as in Risky Business, Cruise’s initial plan is to hire a prostitute. And much like in All The Right Moves …. well, actually Losin’ It doesn’t have much in common with All The Right Moves beyond the presence of Cruise. For that matter, it doesn’t really have much in common with Risky Business either. Whereas All The Right Moves was a coming-of-age drama and Risky Business was a satire on capitalism, Losin’ It is pretty much a straight comedy.
And an amazingly generic one at that!
Set in 1965 and featuring a soundtrack that appears to exist solely to remind you that the film is set in 1965, Losin’ It tells the story of four teenage boys who go down to Tijuana, hoping to get laid. There’s Woody (Tom Cruise), who is the nice guy who smiles all the time. There’s Spider (played by future director John Stockwell), who we’re told doesn’t have to pay for it but wants to go down to Tijuana so he can see a “donkey show.” (If you don’t know what a donkey show is, I’m sure it can be looked up on Wikipedia.) And then there’s Dave (Jackie Earle Haley), who is short, loud-mouthed, and idolizes Frank Sinatra to the extent that he even wears a Sinatra-style fedora. Tagging along is Dave’s younger brother Wendell (John P. Navin, Jr.), who is too young to get into any Mexican brothels but is hoping to buy some fireworks that he can then sell at school.
Anyway, they may think that they’re just going to Mexico but it soon turns out that they’re on a collision course with wackiness! Dave and Wendell end up being held hostage in an auto junkyard. Spider gets in a fight with a bunch of Marines and ends up in a Mexican jail. And Woody — well, listen, we all know that there’s no way fresh-faced, All-American Tom Cruise is going to lose his virginity in a dirty old brothel! Instead, he ends up pursuing a tentative romance with Kathy (Shelley Long), a newlywed who has come down to Tijuana to get a quickie divorce.
(Do they still give out quickie divorces in Tijuana or is that just something that happens in the movies? I’m just asking for future reference…)
Anyway, of the Tom Cruise Must Get Laid Trilogy, Losin’ It is easily the most generic and forgettable but that doesn’t necessarily mean that it’s a terrible movie. Curtis Hanson keeps the action moving at a steady pace (and, if that sounds like faint praise, just try sitting through a film with an unsteady pace) and the cast is likable. Tom Cruise is the one who gets all of the attention on the back of the DVD and he’s likable enough but really, if I had been alive and a film critic in 1983, I probably would have picked the handsome and charismatic John Stockwell as the one most likely to become a star.
Instead, 31 years later, Tom Cruise is the star (albeit a fading one) and John Stockwell is the one directing movies about life on the beach.
It’s a strange world.
Jackie Earle Haley, John Stockwell, and Tom Cruise
The Bedroom Window opens with quite a quandary. Sylvia (Isabelle Huppert) has just witnessed a woman named Denise (Elizabeth McGovern) being attacked by a serial rapist/killer named Carl (Brad Greenquist). The problem is that the window that Sylvia’s standing at is located in the bedroom of Terry Lambert (Steve Guttenberg). Sylvia is having an extramarital affair with Terry and she knows that there’s no way to tell the police what she saw without also exposing the affair. Terry decides that he’ll go to the police and tell them what Sylvia witnessed but he will claim to have seen it himself.
Through the Shattered Lens 