Scenes That I Love: Norman and Arborgast Talk In Psycho


When it comes to Psycho, everyone always talk about the first half of the film, in which Marion Crane steals the money, gets interrogated by the highway patrolman, meets Norman Bates, and eventually takes that fateful shower.

Those are all great scenes that are wonderfully acted and directed.  But they’re also the scenes that always get shared whenever anyone shares something about Psycho.  So, for today’s scene that I love, I’m sharing a scene from the 2nd half of the film.  In this scene, Milton Arborgast (Martin Balsam) attempts to question Norman (Anthony Perkins, of course!) about whether or not Marion came by the motel.  Detective Arborgast thinks that Norman is hiding something.  Norman thinks that he can out talk the detective.

This scene is a master class in great acting.  Balsam and Perkins are like two tennis players, just knocking the ball back and forth without missing a beat.  What I love is that both men are pretending as if they’re having a friendly conversation, whereas they both know that they’re not.  Of course, when audience saw this movie for the first time (before the famous ending became common knowledge), they probably thought that Norman was trying to protect Arborgast from his mother.

Anyway, here’s the scene.  It’s Arborgast vs. Bates, Balsam vs. Perkins, and it’s rather brilliant:

Film Review: Al Capone (dir by Richard Wilson)


The year is 1919 and a brutish young man named Al (played by Rod Steiger) has just arrived in Chicago.  He’s got a new job, working for the city’s top mobster, Johnny Torrio (Nehemiah Persoff).  Torrio is the second-in-command to Big Jim Colosimo (Joe De Santis) and is impressed enough by the young Al to take him under his wing.

It’s an exciting time to be a gangster in Chicago because prohibition is about to become the law of the land.  Alcohol is about to become illegal, which means that there will soon be an unregulated underground of people smuggling booze into the United States and selling it in speakeasies across the land.  Those speakeasies are going to be need men to watch the door and to toss out troublemakers and it turns out that’s a perfect job for someone who isn’t afraid of violence.

Someone like Al, for instance.

It’s while Al is working as bouncer that he receives a long and deep gash across his face.  When the wound heals, it leaves him with the scar that will come to define him for the rest of his life.  As much as he hates the nickname “Scarface,” it’s what Al Capone will be known as.

The 1959 film, Al Capone, follows Capone as he works his way up the ladder of the Chicago underworld until he eventually finds himself sitting atop an empire of corruption and crime.  Along the way Capone kills the majority of his rivals and finds the time to fall in love with Maureen Flannery (Fay Spain), the widow of one of his victims.

Well, perhaps love is the wrong word.  As played by Rod Steiger, Al Capone isn’t really capable of loving anyone but himself.  This film does not provide us with the superslick or diabolically clever Capone that has appeared in other gangster movies.  Instead, Steiger plays Capone as almost being a caged animal.  Capone comes to power through violence and betrayal and he uses the same techniques to hold onto power.  The film suggests that the secret of his success was his complete lack of conscience but that the same arrogant stupidity that makes him so fearsome also leaves him doomed to failure.  There’s really nothing subtle about Steiger’s performance but then again, there was probably nothing subtle about Al Capone, either.  Steiger’s tendency to overact every moment works well in the role of a man who constantly seems to be striking out at anyone who makes the mistake of getting too close to him.

Though many films had featured characters based on Capone, Al Capone was the first biographical film to actually be made about the infamous leader of the Chicago Outfit.  (Up until the mid-50s, the Hollywood Production Code expressly forbade anyone from portraying a “real” gangster in a movie.)  With the exception of the character of Maureen Flannery (who was a heavily fictionalized stand-in for Capone’s then-living widow), Al Capone is fairly faithful to the know facts of Capone’s life.  The film not only includes most of Capone’s violent acts (i.e., the St. Valentine’s Day Massacre) but it also explores both how Capone was protected by Chicago’s corrupt political establishment and how prohibition actually enabled the activities that it was meant to prevent.  Director Richard Wilson directs in a semi-documentary style and the film’s harsh black-and-white images capture the idea of a shadowy world hidden away from “respectable” society.  It’s a fast-paced film and fans of classic character acting will be happy to see James Gregory as an honest cop and Martin Balsam as a not-at-all honest reporter.

If you’re looking to put together a quick cinematic history lesson about the origins of the Mafia before you watch Martin Scorsese’s The Irishman later this year, Al Capone is a worthwhile addition to your curriculum.

Happy Birthday Charles Bronson!: THE STONE KILLER (Columbia 1973)


cracked rear viewer

Charles Buchinsky was born November 3, 1921 in the coal-country town of Ehrenfield, PA to a Lithuanian immigrant father and second-generation mother. He didn’t learn to speak English until he was a teen, and joined the Air Force at age 23, serving honorably in WWII. Returning home, young Charles was bitten by the acting bug and made his way to Hollywood, changing his last name to ‘Bronson’ in the early fifties. Charles Bronson spent decades toiling in supporting parts before becoming a name-above-the-title star in Europe.

By the 1970’s, Bronson had begun his long run as an action star. THE STONE KILLER capitalizes on the popularity of Cop and Mafia movies of the era, with Our Man Bronson as Lou Torrey, a Dirty Harry-type who shoots first and asks questions later. After he kills a 17-year-old gunman in the pre-credits opening, Torrey is raked over the coals by the New…

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Bronson’s Old: Death Wish 3 (1985, directed by Michael Winner)


To quote Roger Murtaugh, “I’m too old for this shit.”

It has been ten years since Paul Kersey (Charles Bronson) left New York City and the place has gone to Hell.  It’s no longer just muggers that you have look out for.  Now, there are roving street gangs of directionless teenagers, terrorizing the elderly and forcing them to live like prisoners in their own apartment building.

One street corner now looks like a war zone, controlled by spiky-haired, face-painting punks who look like something from a Mad Max movie.  Manny Fraker (Gavan O’Herlihy) rules this street corner, supported by a gang that worships him as if he was some sort of god.  Manny thinks that he is immortal but he’s just targeted the wrong person.  The gang may think that Charley (Francis Drake) is just a defenseless old man but what they don’t know is that, when Charley served in Korea, his best friend was Paul Kersey.

The past few years have been busy for Paul.  He’s killed muggers and rapists in Los Angeles, Chicago, and Kansas City and now he’s returned to New York City, to visit his old friend Charley.  Paul arrives at Charley’s apartment just in time to witness Fraker’s gang murdering him.  The gang flees and when the police arrive, they take Paul into custody.

While public defender Kathryn Davis (Deborah Raffin) tries to figure out why Paul is being held in jail, Paul has a conversation with Lt. Shriker (Ed Lauter).  Shriker remembers Paul as being the New York vigilante and he has a proposition for him.  Paul can kill as many members of Fraker’s gang as he wants, as long as he allows the police to take the credit and reports everything that he discovers to Shriker.  Paul agrees.

In the neighborhood, Paul starts to put Fraker and his gang (one of whom is played by pre-Bill and Ted Alex Winter) in their place.  In a scene borrowed from Brian Garfield’s original Death Wish novel, he uses a used car as bait to gun down two aspiring car thieves.  When Paul gets a new gun, he tests it out on a depraved mugger known as the Giggler.  Though some might call him a serial killer, Paul is soon a hero to the entire neighborhood.  Though Charley may be gone, Paul befriends the other residents of the apartment.  He shows the elderly Kaprovs how to catch anyone trying to climb through their window.  He protects Maria Rodriguez (Marina Sirtis) from the gang.  Best of all, he befriend Bennett Miller (Martin Balsam), a World War II vet who still remembers how to load a machine gun.

(Balsam and Bronson previously co-starred in The Stone Killer, though in that one Bronson was a cop and Balsam was on the other side of the law.)

He also finds time to pursue a relationship with Kathryn Davis.  This is one recurring element in the Death Wish franchise that has never made sense to me.  Paul always has a new girlfriend, despite the fact that almost every woman that he ever gets involved with ends up getting killed.  Paul also only seems to go out with women who would be upset to discover that they were dating a notorious vigilante.  In Death Wish II, he went out with a crusading journalist who was against the death penalty.  In Death Wish 3, he falls for a public defender whose job is to provide legal counsel to the very people that Paul is trying to kill.  After Death Wish 3, Paul would date yet another crusading journalist and, finally, the ex-wife of a notorious mobster.  Maybe Paul should just give up and concentrate on mourning his wife.

Michael Winner returned to direct Death Wish 3 and, this time around, he imagines New York City as being a post-apocalyptic wasteland, full of abandoned buildings and murderous scavengers.  Imagine A Clockwork Orange if Charles Bronson suddenly showed up to shoot Alex and the Droogs.  As played by Gavan O’Herlihy, Manny Fraker is the type of seemingly indestructible bad guy who can actually give Paul Kersey a challenge, something that was missing from the previous films.

The other thing that distinguishes Death Wish 3 is that it was one the only film in the franchise to directly confront an obvious truth.  Charles Bronson was 53 when the first Death Wish was released.  By the time he made Death Wish 3, he was 64 and decades older than the typical action star.  (As way of comparison, Clint Eastwood was 55 when Death Wish 3 was released and was already experimenting with less action-orientated roles.)  By partnering him with Martin Balsam and the other elderly residents of the neighborhood, Death Wish 3 not only acknowledged Bronson’s advanced age but also took advantage of it.  Death Wish 3 is a film where the old folks finally get to teach the young punks a thing or two.  If the other Death Wish films were about one man fighting a lonely war, Death Wish 3 is about a community refusing to be silenced.  The chance to put those kids in their place even seems to perk up Charles Bronson, who gives one of his best performances in Death Wish 3.

Death Wish 3 may have been roundly despised by the critics but it’s the best of the Death Wish sequels.  It made a fortune at the box office so naturally, another sequel would follow.

Tomorrow: Death Wish 4: The Crackdown!

A Movie A Day #356: The Delta Force (1986, directed by Menahem Golan)


Last year, at this time, I set a goal for myself.

I decided that, in 2017, I would review a movie a day and I nearly succeeded. I didn’t review a movie on the day Chris Cornell died.  I missed a few days in March due to a sinus infection.  Including the review that I’m posting below, I reviewed 356 movies in 2017.  According to the year-end stats, my most popular reviews were for Heavy Metal Parking Lot, Slaughter, Body Chemistry 3, Body Chemistry 4, and Beatlemania.

Since tomorrow will be the start of a new year, this is going to be the end of my A Movie A Day experiment.  In 2018, I’ll still be watching movies and posting reviews on this site but this is my final daily review.  For my final Movie A Day, I picked the greatest movie of all time, The Delta Force!

Produced by Cannon Films, The Delta Force starts in 1980, with a helicopter exploding in the desert.  America’s elite special missions force has been sent to Iran to rescue the men and women being held hostage in the embassy.  The mission is a disaster with the members of Delta Force barely escaping with their lives.  Captain Chuck Norris tells his commanding officer, Col. Lee Marvin, that he’s finished with letting cowardly politicians control their missions.  Chuck heads to Montana while Lee spends the next few years hitting on the bartender at his local watering hole.

In 1985, terrorists led by Robert Forster hijack an airplane and divert it to Beirut.  Among those being held hostage: Martin Balsam, Shelley Winters, Lainie Kazan, Susan Strasberg, Kim Delaney, and Bo Svenson.  The great George Kennedy plays a priest named O’Malley who, when the Jewish passengers are moved to a separate location, declares himself to be Jewish and demands to be taken too.  Jerry Lazarus is a hostage who spends the movie holding a Cabbage Patch doll that his daughter gave him for luck.  Former rat packer Joey Bishop plays a passenger who says, “Beirut was beautiful then.  Beautiful.”  Fassbinder favorite Hanna Schygulla is the stewardess who refuses to help the terrorists because, “I am German!”

In America, General Robert Vaughn activates The Delta Force to rescue the hostages and take out the terrorists.  As Lee Marvin prepares everyone (including Cannon favorite, Steve James and, in a nonspeaking role, Liam Neeson) to leave, the big question is whether Chuck Norris will come out of retirement for the mission.  Of course, he does.  Even better, he brings his motorcycle with him.

Anyone who has ever seen The Delta Force remembers Chuck’s motorcycle.  Not only did it look incredibly cool but it was also mounted with machine guns and it could fire missiles at cowardly terrorists.  It didn’t matter whether you agreed with the film’s politics were or whether you even liked the movie, everyone who watched The Delta Force wanted Chuck’s motorcycle.  As the old saying goes, “You may be cool but you’ll never be Chuck Norris firing a missile from a motorcycle cool.”

The Delta Force is really three different films.  One film, shot in the style of a disaster film, is about the hostages on the plane and their evil captors.  The second film is Lee Marvin (in his final movie role) preparing his men to storm the airplane.  The third movie is Chuck Norris chasing Robert Forster on his motorcycle.  Put those three movies together and you have the ultimate Cannon movie.  The Delta Force was even directed by Cannon’s head honcho, Menahem Golan.  (Years earlier, Golan also directed Operation Thunderbolt, an Israeli film about the raid on Entebbe, which features more than a few similarities to The Delta Force.  Golan received his first and only Oscar nomination when Operation Thunderbolt was nominated for Best Foreign Language Film.)

The Delta Force is also the ultimate 80s movie.  It opens with the Carter administration fucking everything up and it ends with the Reagan administration giving Lee Marvin and Chuck Norris the greenlight to blow up some terrorists.  There is not much nuance to be found in The Delta Force but it still feels good to watch Chuck beat the bad guys.  Top that off with a shameless score from Alan Silvestri and you have one of the greatest action movies of all time.

At the end of The Delta Force, as cans of Budweiser are being passed out to rescued hostages, an extra is clearly heard to shout, “Beer!  America!”  Then everyone sings America The Beautiful.

That says it all.

A Movie A Day #338: Raid on Entebbe (1977, directed by Irvin Kershner)


On June 27th, 1976, four terrorists hijacked an Air France flight and diverted it to Entebbe Airport in Uganda.  With the blessing of dictator Idi Amin and with the help of a deployment of Ugandan soldiers, the terrorists held all of the Israeli passengers hostage while allowing the non-Jewish passengers to leave.  The terrorists issued the usual set of demands.  The Israelis responded with Operation Thunderbolt, a daring July 4th raid on the airport that led to death of all the terrorists and the rescue of the hostages.  Three hostages were killed in the firefight and a fourth — Dora Bloch — was subsequently murdered in a Ugandan hospital by Idi Amin’s secret police.  Only one commando — Yonatan Netanyahu — was lost during the raid.  His younger brother, Benjamin, would later become Prime Minister of Israel.

Raid on Entebbe, a docudrama about the operation, was originally produced for NBC though it subsequently received an overseas theatrical release as well.  It’s an exciting tribute to the bravery of both the hostages and the commandos who rescued them.  Director Irvin Kershner directs in a documentary fashion and gets good performances from a cast full of familiar faces.  Charles Bronson, James Woods, Peter Finch, Martin Balsam, Stephen Macht, Horst Buchholz, Sylvia Sidney, Allan Arbus, Jack Warden, John Saxon, and Robert Loggia show up as politicians, commandos, terrorists, and hostages and all of them bring a sense of reality and humanity to their roles.

The film’s best performance comes from Yaphet Kotto, who plays Idi Amin as a strutting buffoon, quick to smile but always watching out for himself.  In the film, Amin often pays unannounced visits to the airport, where he lies and tells the hostages that he is doing his best to broker an agreement between the terrorists and Israel.  The hostages are forced to applaud Amin’s empty promises and Amin soaks it all up with a huge grin on his face.  Forest Whitaker may have won the Oscar for Last King of Scotland but, for me, Yaphet Kotto will always be the definitive Idi Amin.

Horror Film Review: Cape Fear (dir by Martin Scorsese)


And I beheld as Scorsese remade a classic movie and, Lo, there was De Niro, decorated in india ink and speaking in tongues…

In 1991, Martin Scorsese remade the 1962 horror thriller, Cape Fear.  Both versions deal with the same basic story but each tells it in a very different way.  If the original Cape Fear was straightforward and to the point, Martin Scorsese’s version is so stylized that occasionally, it’s tempting to suspect that Scorsese might be parodying himself.  Zoom shots, negative shots, sweeping camera movements, Scorsese’s Cape Fear is full of all of them.  When a storm rolls in for the film’s operatic finale, the red clouds look as if their on fire.  Hell is coming to North Carolina, the film appears to be announcing.

While the plot largely remains the same, there are a few significant changes to the characters involved:

In the first Cape Fear, Robert Mitchum’s Max Cady was an arrogant, swaggering brute.  In the remake, Robert De Niro’s Cady is still an arrogant, swaggering brute but he’s now also an evangelical who is tattooed with bible verses and who speaks in tongues.  Cape Fear‘s approach to Cady’s religion is so over-the-top that it almost makes Stephen King’s approach to religious characters seem subtle and nuanced.  De Niro also speaks in a broad Southern accent.  Occasionally, De Niro gets the accent right but most of the time, he sounds like he’s in a Vermont community theater production of Cat On A Hot Tin Roof.

In the first Cape Fear, Gregory Peck’s Sam Bowden was a lawyer who caught Max while Max was attacking a woman and who then testified against Max in court.  That’s not the case with the remake’s version of Sam Bowden.  Despite being played by Nick Nolte, the remake’s Sam Bowden is such a wimp that you can’t help but dislike him.  His wife (Jessica Lange) doesn’t trust him.  His teenage daughter (Juliette Lewis) resents him and his attempts to control her life.  In this version, Sam didn’t testify against Max in court.  Instead, Sam was Max’s lawyer and withheld evidence that could have secured Max’s acquittal.  What Sam didn’t realize is that Max would spend his time in prison studying the law and that Max would eventually figure out what Sam did.

As in the original film, Max shows up in North Carolina and proceeds to stalk the Bowdens.  Unlike Mitchum, who was all quiet menace, De Niro plays Max as being loud and obnoxious, the type who will sit in a theater, light a cigar, and intentionally laugh at the top of his lungs.  Max knows enough about the law that he knows exactly what he can get away with.  He poisons Sam’s dog.  He rapes Sam’s associate, Lori (played, in a heart-breaking performance, by Ileana Douglas).  In one of the film’s most unsettling scenes, he pretends to be the new drama teacher and toys with Sam’s daughter.

With the help of a private eye (Joe Don Baker), Sam tries to get Max out of his life.  Eventually, Sam pretends to be out-of-town, all as part of a ruse to get Max to break into his house so that he can be shot in self-defense.  It’s here that Nolte’s wimpy performance becomes an issue.  It’s impossible not to laugh at the sight of Sam, all hunched down and desperately trying to run from room to room without being spotted through any of the windows.

To a certain extent, I suspect that were meant to see Sam as being a rather pathetic figure.  Scorsese doesn’t really seem to have much sympathy for him or his dysfunctional family.  If anything, the film seems to argue that Sam has been a bad lawyer, a bad husband, and a bad father and Max has been sent as a type of divine retribution.  Only by defeating Max can Sam find forgiveness and hope to have the type of life that Gregory Peck enjoyed in the first movie.

Scorsese’s Cape Fear is an uneasy mishmash of styles.  Is it an art film, a religious allegory, a horror film, or just a generic thriller?  It doesn’t seem to be sure.  Cape Fear‘s a Scorsese film so, of course, it’s always going to be worth watching.  But there are times when the film definitely runs the risk of overdosing on style.  Sometimes, Scorsese seems to be trying too hard to remind everyone that he’s a legitimately great director and ends up getting so invested in the film’s visuals that he runs the risk of losing the story.  De Niro has some scenes in which he is genuinely chilling but then he has other scenes where he is basically just a live action cartoon character.  The same can be said of the film itself.  It’s always watchable.  At times, it’s rather frightening.  But other times, it’s just too cartoonish to be effective.

If anything, this remake proves that sometimes, it’s best to keep things simple.