October True Crime: To Catch A Killer (dir by Eric Till)


Brian Dennehy was one of the great American character actors.

Rugged and exuding a sense of weariness, as if he were someone who had seen it all, Brian Dennehy cut a uniquely American figure. He was one of those actors who could play a New York fireman as easily as he could play a Tennessee farmer. He had those eyes that said, “Don’t mess with me,” but also the manner that made you feel everyone was welcome in his house as long as they didn’t think they were better than anyone else. He was one of those actors who could be both likable and intimidating. He was perfectly cast as Sheriff Teasle in First Blood because, even if he was a bit too hard on John Rambo when he first picked him up, it was still easy to see that Teasle didn’t mean to be a jerk. He was just doing his job. He thought he was keeping his town safe. Dennehy was just as credible playing a benevolent alien in Cocoon, a western outlaw in Silverado, or a burned-out cop in F/X. When Dennehy played a hero, you felt safe whenever he was onscreen. When he played a bad guy, he was absolutely terrifying.

Dennehy played one of the worst of the real-life bad guys in the 1992 television film To Catch a Killer. He plays John Wayne Gacy, a contractor considered a pillar of his community in the suburbs of Chicago. He runs a successful business. He hires young men who really need the money. He has a big smile. He’s involved in local politics and even has a framed picture of himself with President Jimmy Carter’s wife. In his spare time, he dresses up like a clown and entertains the children at the local hospital. He uses the name Pogo and paints sharp points at the corners of his mouth, giving him a somewhat sinister appearance. Everyone seems to like him. Of course, most people don’t know that Gacy is an ex-con who did time for sexually assaulting a 15-year-old boy in Iowa. This film takes place in the late ’70s, before anyone could just hop online and look up public records.

To Catch a Killer follows Detective Joe Kozenczak (Michael Riley) as he investigates the disappearance of a young man last seen being offered a job by Gacy. Joe suspects Gacy from the start, but he’s continually told that Gacy is a pillar of the community. What makes this film so effective is that Brian Dennehy plays Gacy as someone so arrogant he barely bothers to hide his guilt, but also as someone with such a victim complex that he won’t stop whining about being suspected of doing something he definitely did. The scene where Gacy demonstrates a handcuff trick is frightening because Gacy seems so desperate for companionship, and so goofy, even while he’s preparing to murder someone. Personally, I prefer it when Dennehy is playing a good guy (or, at the very least, a misguided bad guy like in First Blood), but that doesn’t change the fact that he was frighteningly believable as John Wayne Gacy. Dennehy was Emmy-nominated for his performance here.

As for the real John Wayne Gacy, he killed at least 33 people before he was apprehended in 1978. (It’s thought that the actual number is much higher.) He was executed in 1994, two years after this film aired. Reportedly, his last words were, “Kiss my ass.”

Shattered Politics #48: The Kidnapping of the President (dir by George Mendeluk)


Kidnapping_of_the_president

Agency was not the only Canadian film to be made about American politics in 1980.  There was also The Kidnapping of the President, a low-budget political thriller that, because it has since slipped into the public domain, can currently be found in a few dozen DVD box sets.  In fact, you may very well own a copy of The Kidnapping of the President without even realizing it!

Don’t worry if you do.  The Kidnapping of the President is a fairly harmless little film.

U.S. President Adam Scott (Hal Holbrook) is visiting Toronto when he gets handcuffed to a South American revolutionary named Roberto Assanti (Miguel Fernandes).  Assanti locks President Scott in an armored car that is wired with explosives and then demands a hundred million in diamonds and two planes.  (Though the film never explicitly states it, I imagine that Assanti was primarily motivated by jealousy over the fact that Che is on a million t-shirts while Assanti remains fairly unknown.)  It’s up to secret service agent Jerry O’Connor (William Shatner) to negotiate with Assanti and rescue the President!  Meanwhile, the ethically compromised Vice President (Van Johnson) is left as acting President in Washington and struggles to keep things calm while his ambitious wife (Ava Gardner) plots for a brighter future.

Overall, the Kidnapping of the President is okay for what it is.  It’s neither exceptionally good nor memorably bad.  It just sort of is.  Hal Holbrook is always well-cast as a President and William Shatner gives a typical Shatner performance, which is either a good or a bad thing depending on how you feel about William Shatner.  And, for that matter, Miguel Fernandes is a properly unlikable villain though he never really seems to have the charisma necessary to make him believable as the dynamic leader that he’s supposed to be.

Probably the most interesting thing about The Kidnapping of the President is that it doesn’t try to pass Montreal off for being a location in the United States.  Instead, the film was not only filmed in but is actually set in Toronto as well.  When Jerry attempts to deal with the local authorities, that means that he ends up talking to a bunch of very polite men in red uniforms.

But what’s strange about this is that the people of Toronto are so excited about the arrival of the President.  You half expect to hear one extra say, “I never thought I’d live long enough to see the day that a leader that I can’t vote for and who has next to nothing to do with my everyday life would come to visit Toronto.”

Don’t get me wrong.  If you follow me on twitter, then you know that I am unashamed to declare my love for all things Canadian.  And obviously, as neighbors, Canada and the United States do have a close relationship.  But would people in Toronto really be that excited to see the President?

If so, I think we really owe the people of Canada an apology for not knowing more about their government.  At the very least, we should definitely invite Stephen Harper over for lunch.

Shattered Politics #47: Agency (dir by George Kaczender)


Agency

“Who are the other two lugs on this poster? And who’s the dame? Baby, I just don’t give a damn…” Robert Mitchum in Agency.

Like a lot of writers who occasionally have issues when it comes to balancing ambition with time management, I’ve discovered that it helps if I listen to music while I write.  For instance, while writing the majority of the reviews for Shattered Politics, I’ve been listening to Big Data’s Dangerous.

And that choice of music has actually turned out to be extremely appropriate.  No, not just because it’s dangerous to write about politics.  But also because the official music video for Dangerous deals with advertising and, more specifically, how sex and violence are used to sell everything from shoes to politicians.

Now, I don’t know about you but, whenever I see that video, I feel like I’m ready to put on a sports bra, running shorts, and of course my Big Data running shoes so that I can take control and headbutt my way through life!  A good commercial can do that.  (And don’t even get me started on what I’m going to do to the next person I see eating a hot dog…)

Interestingly enough, the 47th film that I’m reviewing for Shattered Politics also deals with the power of advertising.  First released in 1980, Agency stars Robert Mitchum as Ted Quinn, the mysterious new owner of a major ad company.  Out of all of the old school movie stars, Robert Mitchum is one of my favorites because he was not only a great actor but he was also a very honest one.  If he didn’t give a damn about a role, he wasn’t going to try to fool the audience otherwise.  Instead, he was going to deliver his lines and kind of smirk with his eyes, his way of subliminally asking the audience, “Are you actually watching this shit?”  And while this may have led to Mitchum giving several performances that were unworthy of his talent, it also means that if you see Robert Mitchum actually invested in a role than that means the film must be something really special.

Unfortunately, Agency is not one of those “something really special” films.  And Mitchum’s bored performance reflects that fact.

"Just try to make me care." Robert Mitchum in Agency.

“Just try to make me care.” Robert Mitchum in Agency.

Anyway, under Ted Quinn’s leadership, the ad agency is doing commercials for all the usual clients.  The movie starts with one of those commercials — a leather-themed, disco-scored short film extolling the virtues of No Sweat deodorant.  And then there’s also the big chocolate energy drink commercial.  However, copywriter Sam Goldstein (Saul Rubinek) suspects that Ted might have sinister motives.  After a right-wing  candidate comes out of nowhere to win a seat in the U.S. Senate, Sam suspects that the deodorant commercial may have contained subliminal messages…

That’s right!  It’s exactly like that episode of Saved By The Bell where Zack Morris brainwashed Mr. Belding by giving him that subliminally-spiked tape of the Beach Boys.

Well, before you can say “Zack Morris is a blonde Tom Cruise,” Sam has been murdered and it’s up to Sam’s best friend, Philip Morgan (Lee Majors), to reveal the truth about Ted’s sinister agenda…

Like many U.S.-set thrillers from the 1980s, Agency was actually a Canadian film.  Montreal stands in for an unnamed American city where it frequently snows and the supporting cast is full of actors with noticeable Canadian accents.  Mind you, that’s not a complaint.  I love Canada, I love Canadians, and I especially love Canuxploitation films.

That said, Agency is probably one of the least interesting Canadian thrillers that I’ve ever sat through.  (I should add, of course, that I saw Agency on a very low-quality DVD that was released by Miracle Pictures.  And I really do have to say that this was absolutely one of the worst transfers that I’ve ever seen.  It appears that the DVD was copied from an old VHS tape.)  It’s not so much that it’s a terrible film as much as it’s just not a very interesting one.  With the exception of Rubinek, the actors go through the motions with little enthusiasm and the story plods along.  Maybe back in 1980, the whole idea of subliminal advertising seemed exciting and relevant.  But seen today, it just all seems incredibly silly.

So, in the end, Agency did not make me want to headbutt my way through life.

Sorry.

(I still love you, Canada!)

(And you too, Robert Mitchum!)

"Baby, I just don't give a damn."  Robert Mitchum in Agency.

“Baby, I just don’t give a damn.” Robert Mitchum in Agency.