Meg Tilly | Through the Shattered Lens

Norman Bates is back!

No, I don’t mean Freddie Highmore from Bates Motel or Vince Vaughn from the odd Psycho remake that I keep seeing on Showtime. No, I’m talking about the original Norman Bates, Anthony Perkins!

First released in 1983, Psycho II is a direct sequel to the classic shocker from Alfred Hitchcock. The film opens with a replay of the original film’s famous shower scene and then immediately jumps forward 22 years. Having been found not guilty by reason of insanity, Norman Bates has been in a mental institution ever since he was arrested for the murders of Marion Crane and Milton Arborgast. However, Norman’s psychiatrist, Dr. Raymond (Robert Loggia, who was considered for the role of Sam Loomis in the original film), now feels that Norman has been cured and is no longer a danger to himself or others. A judge agrees. Marion Crane’s sister, Lila Loomis (Vera Miles, reprising her role from the original) does not. She presents the judge with a petition demanding that Norman not be released. When the judge ignores her, Lila yells that Norman will murder again!

Now free, Norman returns to the Bates Motel and discovers that it’s now being run by the sleazy Warren Toomey (Dennis Franz). When Norman finds various party favors in the motel rooms and asks Warren what they are, Warren laughs and says, “They’re drugs, Norman.” Norman’s not too happy about that. As Dr. Raymond tells him, the world has changed considerably over the past two decades.

However, Norman has other issues to deal with. For the most part, most of the people in town are not happy that their most famous resident has returned. Emma Spool (Claudia Bryar) gets Norman a job at a local diner because, in her words, she believes in forgiveness and second chances. Norman gets to know the new waitress, Mary Samuels (Meg Tilly) and, when Mary tells him that she’s had a fight with her boyfriend, he invites her to stay at the hotel until she can get things together.

From the minute that he returns home, Norman is struggling to keep it together. When he first reenters his former house, he hears his mother’s voice but he tells himself that she’s not really there. But if his mother isn’t there, then who keeps calling him on the phone and yelling at him about the state of the motel? Who keeps taunting him about his awkward (yet rather sweet) relationship with Mary? And when two teenagers are attacked after breaking into the house, who else could it possibly be but Norman’s mother?

I was really surprised by Psycho II, which turned out to be a really entertaining little movie, an effective thriller with a healthy dash of dark humor. It’s a very plot-heavy film, with almost every scene introducing a new twist to the story. With the exception of the sleazy Warren Toomey, no one in this film turns out to be who you initially expected them to be, including Norman. Meg Tilly does a good job in the somewhat oddly written role of Mary Samuels and even manages to make an awkward line like “Norman, you’re as mad as a hatter” sound natural. Not surprisingly, the film is dominated by Perkins’s performance as Norman Bates and what a great performance it is. The best moments are the ones where Norman awkwardly tries to fit back in with society, nervously laughing at his own jokes and struggling to maintain eye contact with whoever he’s talking to. You really can’t help but feel sorry for him, especially as the film progresses.

Wisely, Psycho II set out to establish it own identity as a film, as opposed to just trying to duplicate the shocks of Psycho. (There is a shower scene that’s filmed similarly to the one from the first scene, with a key difference that I won’t spoil.) It’s what a sequel should be, not a remake but a continuation of the original’s story. This is definitely a film that’s far better than you may expect.

There are certain films that truly are “You just had to be there” films. These are the movies that were apparently loved by contemporary audiences but, when viewed today, it’s difficult to see just what exactly everyone was getting so excited about. Sometimes, this is because the film itself was so influential and has been copied by so many other films that the original has had its power diluted. And then, sometimes, it’s just a case that the film was never that good to begin with.

I’m guessing that The Big Chill must be one of those “you just had to be there” type of films. First released in 1983, The Big Chill was nominated for best picture. If you look the film up over at the imdb, you’ll find lots of comments from people who absolutely adore this film. However, when I watched the film as a part of TCM’s 31 Days of Oscar, I have to admit that my reaction can be best summed in one word.

Meh.

Now, don’t get me wrong. I’m not saying that The Big Chill was a bad film. To be honest, it was neither memorably bad nor remarkably good. Instead, it just was. Overall, the performances were good, the direction was shallow, and the screenplay was occasionally good and occasionally shallow but mostly, it was the epitome of serviceable.

At the start of The Big Chill, Alex is dead. With the exception of a scene where his corpse is being prepared for burial, Alex never actually appears on screen. (Originally, Kevin Costner was cast to play the role in a flashback but director Lawrence Kasdan cut the scene.) What little we learn about Alex, we learn from listening to the other characters in the film talk about him. For instance, Alex was apparently brilliant but troubled. He attended the University of Michigan in the 1960s and was close to 7 other politically radical students. While everyone else was busy selling out their ideals, Alex stayed true to his and, as a result, he ended up spending his life depressed and poor. Alex ultimately ended up committing suicide, an act that leads to his 7 friends reuniting for his funeral.

Opening with Alex’s funeral and taking place over one long weekend, The Big Chill follows Alex’s friends as they try to figure out why Alex committed suicide and debate whether or not they’ve sold out their college ideals. They also spend a lot of time listening to the music of the youth, getting high, watching a football game, and washing dishes.

(Interestingly enough, they spend the weekend in the exact same house where Alex committed suicide. Which, to be honest, I would think would be kind of creepy.)

There’s Harold (Kevin Kline) and Sarah (Glenn Close), who are the unofficial grown ups of the group. It was at their vacation home that Alex committed suicide and, over the course of the film, we find out that Alex and Sarah had a brief affair. Harold owns a company that makes running shoes and, to at least one friend’s horror, is now good friends with the local police. Sarah, meanwhile, splits her time between crying in the shower and smiling beatifically at her friends.

(Incidentally, throughout the film, Kevin Kline speaks in one of the least convincing southern accents that I’ve ever heard…)

Meg (Mary Kay Place) is a former public defender who, after deciding that all of her poverty-stricken clients really were scum, has now become a real estate attorney. Meg wants a baby and is hoping that one of the men at the funeral might be willing to impregnate her. Meg is a chain smoker so good luck, unborn child. Before Alex killed himself, she had an argument with him. (“That’s probably why he killed himself,” someone suggests.)

I liked Karen (JoBeth Williams) because she’s prettier than Meg and less condescending than Sarah. She’s unhappily married to an advertising executive named Richard (Dan Galloway). As they drive to the cemetery, Richard tells Karen that he can’t believe her famous friends all turned out to be so boring. Karen is unhappy in her marriage and, after Richard returns home and leaves her in South Carolina for the weekend, decides that she wants a divorce.

That’s good news for Sam (Tom Berenger), an actor who is best known for playing private detective J.T. Lancer on television. Sam is upset that nobody takes him or his career seriously. Meg was hoping that Sam would be the father of her baby but, instead, Sam is more interested in Karen.

And then there’s Nick (William Hurt), who is a former radio psychologist-turned-drug dealer. Nick was wounded in Vietnam and is impotent as a result. In case you somehow forget that fact, don’t worry. Nick brings it up every few minutes.

Michael (Jeff Goldblum) was my favorite among the men because he’s at least willing to admit that he’s a self-centered jerk. Michael is a former underground journalist who now works for People Magazine. Nobody seems to like Michael and yet, he’s still invited to stay over the weekend. Personally, I like to think that he does so just to get on everyone’s nerves. Good for him.

And finally, there’s Chloe (Meg Tillis), who was Alex’s much younger girlfriend and who doesn’t seem to be impressed with any of Alex’s friends (with the exception, of course, of impotent old Nick).

I have to admit that I probably would have responded more to The Big Chill if it was actually about my generation, as opposed to being about my grandparents. Someday, someone my age will make a movie about a bunch of college friends reunited for a funeral and it will be filled with my music and my cultural references and I’ll think it’s brilliant. And then, a 30 years later, some snotty little film reviewer will watch and probably say, “Meh. Old people.”

Such is life.

http://www.youtube.com/watch?v=O19k-YtwXTg