Gorky Park (1983, directed by Michael Apted)


Earlier today, I saw that the writer Martin Cruz Smith has died.  He was 82 years old and was best known for a series of detective novels about Arkady Renko, a Russian police detective.  Starting with 1981’s Gorky Park, Smith’s novels not only dealt with Renko’s adventures but also provided a look at contemporary Russia, as it went from being controlled by the communists to being controlled by Putin.  Renko was a cynical observer whose cases often exposed the corruption of the Russian elite, regardless of who was in charge.

The first of Smith’s Renko novels was turned into a movie in 1983.  Gorky Park stars William Hurt as Renko.  Renko investigates the discovery of three dead bodies at a ice skating rink in Moscow.  One of the victims in an American whose brother (Brian Dennehy) is a tough New York cop who has come to Russia to investigate his disappearance.  Renko’s investigation leads him to an American businessman (Lee Marvin) who is smuggling sables out of Russia and who is also a KGB asset.  Joanna Pacula plays a woman whose hope to escape from Russia leads to her getting caught up in the murders and the subsequent investigation.

Gorky Park‘s mystery is easily solved.  Just by casting Lee Marvin in the role, it is automatically clear who is responsible for the murders and it doesn’t take long for Renko to figure it out either.  Instead, the movie is about how Renko’s investigation exposes the corruption of the Russian state, with the KGB first protecting Lee Marvin’s businessman when he’s considered to be an asset and then expecting Renko to assassinate him once it becomes obvious that his activities are becoming a liability.  The subdued William Hurt and the brash Brian Dennehy make for an compelling investigative team while the underappreciated Joanna Pacula gives an outstanding performance as a woman who is so desperate to escape the oppression of the Soviet Union that she’ll risk everything.  (Even though the murderer is an American businessman, the Soviet Union still banned Gorky Park as both a book and a film.)  Gorky Park’s snowy cinematography and Michael Apted’s measured direction captures the chilly paranoia of Smith’s story and the bleak depiction of a society where national pride mixes with healthy a dose of fear.

Upon release, Gorky Park was a box office disappointment, which meant that there would be no further adventures of William Hurt’s Renko on the big screen.  Martin Cruz Smith continued to write, ultimately publishing ten novels about his unconventional hero.

Jennifer Lopez has had ENOUGH (2002)! 


This morning I got up to make coffee for me and my wife. When I came back to our room, she had started the movie ENOUGH (2002) with Jennifer Lopez on the new projector that she bought me for Christmas. I’m not that big of a fan of Lopez, but I decided I’d go ahead and sit down to sip on my coffee prior to starting my day. I ended up watching the whole movie! 

Jennifer Lopez plays Slim, a waitress in a diner in L.A., who meets a rich guy named Mitch Hiller (Billy Campbell) who impresses her when he gets rid of this rude jerk (Noah Wyle) trying to hit on her. Mitch and Slim get along famously, eventually getting married and having a cute little girl named Gracie. Everything seems perfect in their little world. Unfortunately, things aren’t what they seem, and one night Slim checks her husband’s pager. She calls the number and discovers Mitch has been cheating on her. When she confronts him about the affair, his entire countenance changes, and he begins beating the crap out of her. After the altercation, and before heading out to continue his affair, Mitch warns Slim not to leave because he refuses to live without her. With the help of her friend Ginny (Juliette Lewis) and a couple of others, Slim takes Gracie and they escape from Mitch. With all his money and connections, Mitch is able to track her down no matter where she goes. Feeling like she has no other options, Slim turns to her wealthy, estranged father, Jupiter (Fred Ward). He provides her the funds she needs to set up a new life and identity. Unfortunately, that damn Mitch tracks her down again. Narrowly escaping, Slim decides that she’s done running. She sends Gracie away with Ginny and begins training rigorously in self defense techniques. This time she’s taking the fight to Mitch with plans to end this shit once and for all. 

If you’re looking for a realistic drama about the effects of spousal abuse on the family unit and then across the larger society, ENOUGH is not the movie for you. This movie is more for the Charles Bronson crowd, where the bad guys are truly evil and the audience is in complete agreement with their need to perish. This is a formula that continues to work even if you have to completely suspend your disbelief. For example:

-Is it realistic that Mitch would be able to conceal what a complete and total asshole he is for many years from Slim, but then one night turn out to practically be the sidekick of Satan?

-Is it realistic that Mitch would be able track Slim and Gracie down time and time again, no matter where she goes across the country, even after she uses her Dad’s resources to change her identity?

-Is it realistic that Slim would be able to get enough self defense training in a short period of time to be able to confront the extremely fit Mitch at the end and kick his ass? 

While the setup is probably not the most realistic, we have to see images of Mitch beating up Slim on multiple occasions, even trying to kill her at one point. We also see him knock little Gracie to the ground and hurt her. We see him terrorizing her and anyone who tries to help her. This audience member just wanted to see Mitch pay.

I don’t really have any close connections to the main actors in ENOUGH, but they all do their jobs well enough to keep me involved. I have always been a fan of its director, Michael Apted. He’s made a few movies that I really like in CLASS ACTION (1991) with Gene Hackman, THUNDERHEART (1992) with Val Kilmer, and BLINK (1993) with Madeleine Stowe. He’s a more than competent director who knows how to get a reaction from his audience. This certainly may not reflect his best work, but he still handles the material in a professional manner. 

My final word on ENOUGH… I enjoyed the film in the same way I like the 3 piece combo at KFC, which I really do enjoy. I know it’s probably not the best stuff out there, but the classic formula still works, and I’m satisfied when it’s all gone! 

See the trailer for ENOUGH below:

Cleaning Out The DVR: Class Action (dir by Michael Apted)


Sometimes, it takes a really good actor to give a really bad performance.

That’s what I found myself considering tonight as I watched the 1991 film, Class Action. I recorded this film off of Starz a few months ago, mostly due to the fact that I usually enjoy legal dramas. Class Action is about a father and a daughter, both of whom are attorneys, who find themselves facing each other in court. Gene Hackman plays Jedediah Ward Tucker while Mary Elizabeth Mastrantonio played Maggie, his daughter.

From the very first scenes, Jed Tucker is portrayed as being a firebrand, a crusader who stands up for the little guy against big corporate interests. (“Jed Ward is a great man!” one his clients exclaims while the other lawyers nod along in agreement.) Tucker is flamboyant, loud, perpetually outraged, in love with attention, and determined to make the world a better place. This is the type of role that would probably encourage any actor to overact just a bit. However, when you cast someone like Gene Hackman in the role, the performance becomes a masterclass in overacting. Gene Hackman was never a particularly subtle actor to begin with and casting him as Jed Tucker guarantees about two hours of Hackman bellowing, smirking, occasionally flirting, and basically coming across less like Gene Hackman and more like someone doing a particularly antic impersonation of Gene Hackman. Hackman goes so over overboard in the role that it becomes rather fascinating to watch. You watch and you ask yourself, “How much louder can he get? He much more obviously can he telegraph his intentions? Just how Gene Hackmanish is Gene Hackman going to get in this film?” Don’t get me wrong, Gene Hackman was a great actor. (He famously retired in 2004, after the indignity of appearing in Welcome to Mooseport.) One need only watch Bonnie and Clyde, The French Connection, Unforgiven, and The Royal Tennenbaums to see that Gene Hackman was a great actor. But sometimes, it takes a great actor to give a memorably bad performance.

Gene Hackman’s performance, as overbaked as it may be, is actually the only interesting thing about Class Action. It’s a well-made but ultimately rather silly mix legal maneuvering and family drama. Jed was a terrible father so Maggie becomes a corporate attorney in order to spite him. Class Action so embraces the idea that all professional women are motivated by daddy issues that even Aaron Sorkin would probably look at it and say, “Whoa, that’s really demeaning.” At one point, Maggie says to her father, “Have you ever considered that I might be a good attorney?,” just to have her father smirk and say that’s only because he’s her father. Jed’s response is to be expected, as he’s kind of an arrogant windbag. The problem is that the movie itself doesn’t seem to be willing to consider that Maggie could be a good attorney.

The other problem, of course, is that Class Action makes its good guys and its bad guys so painfully obvious that it’s hard to take any of the conflicts seriously. Of course, the big corporate law firm is going to be evil and of course, Jed Ward’s associates are going to be saints even if Jed isn’t. Laurence Fishburne plays Jed’s protégée and he gets stuck with all of the worst lines. Far more entertaining is future U.S. Senator and presidential contender Fred Dalton Thompson, playing a doctor who explains why it actually costs less for a car company to settle a lawsuit than to fix a design flaw.

Class Action is a forgettable film, not so much terrible as just bland. That said, if you want to hear some vintage Gene Hackman-style yelling, this might be the film for you.

A Movie A Day #339: Continental Divide (1981, directed by Michael Apted)


Ernie Souchak (John Belushi) is a reporter in Chicago.  He specializes in stories about municipal corruption and Mafia power plays.  Needless to say, living in Chicago, that keeps him busy.  Literally everyone in the city knows him.  Even the two muggers who try to steal his wallet recognize him and share inside information about which street gang is about to make a big move.  From a modern day vantage point, it seems strange to see everyone so excited about meeting a newspaper columnist but this movie was made in 1981, long before an army of bloggers put journalists like Ernie Souchak out of business.

Souchak’s gotten in trouble with the mob so his editor (Allen Garfield) sends him out of Chicago for his own protection.  Chain-smoking city boy Ernie Souchak finds himself in the Rocky Mountains, assigned to track down and get a story on Dr. Nell Porter (Blair Brown).  Dr. Porter has spent the last few years researching and protecting bald eagles.  She doesn’t like reporters but Souchak wins her over.  Despite being two very different people, Nell and Souchak fall in love.  But can a city boy and a country girl stay together, especially when there are people in Chicago who want Souchak dead?

A strange movie, Continental Divide was meant to be an updated version of the romantic comedies that Spencer Tracy and Katharine Hepburn used to make and Blair Brown was even made up to look like a young Hepburn.  It was one of the first films to be produced by Steven Spielberg, who has always been better at picking material as a director than a producer.  It was directed by Michael Apted, a great documentarian who has never shown himself to have much affinity for comedy.  It was written by Lawrence Kasdan, who specialized in homages to classic film genres and who, after this movie, made it a point to direct the majority of his scripts.  And it starred John Belushi, in his only romantic film lead.

Belushi, of course, is the main reason why anyone would want to see this movie.  It was his second-to-last movie, coming out between the popular success of The Blues Brothers and the infamous failure of NeighborsContinental Divide gives Belushi a chance to play a character, instead of just a version of his own wild persona.  The legend has always been that Continental Divide showed the actor that Belushi could have become if not for his tragic death.  The truth is that Belushi frequently looks uncomfortable and it is often evident that he is having to reign back his natural instincts.  Belushi’s best scenes are the ones where Souchak is walking around Chicago and hustling everyone that he meets.  In those scenes, he’s confident and in control and it’s easy to get swept up in his life.  His scenes with Blair Brown, where he has to be sincere and serious, are far more awkward.  Belushi has enough good scenes in Continental Divide to make you regret the performances that we never got but, at the same time, it’s evident that he still had room to grow as an actor.

If Belushi hadn’t died and had instead gone on to make several more movies (and hopefully beat his drug addiction at the same time), Continental Divide would probably be forgotten.  Instead, it now exists as a hint of what could have been.

So You Want To Be A Rock’n’Roll Star: The Idolmaker, Breaking Glass, That’ll Be The Day, Stardust


So, you want to be a rock and roll star?  Then listen now to what I say: just get an electric guitar and take some time and learn how to play.  And when your hair’s combed right and your pants fit tight, it’s gonna be all right.

If you need any more help, try watching these four films:

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The Idolmaker (1980, directed by Taylor Hackford)

The Idolmaker is a movie that asks the question, “What does it take to be a star?  Who is more interesting, the Svengalis or the Trilbys?”  The year is 1959 and Vinny Vacari (Ray Sharkey, who won a Golden Globe for his performance but don’t let that dissuade you from seeing the movie) is a local kid from New Jersey who dreams of being a star.  He has got the talent.  He has got the ambition and he has got the media savvy.  He also has a receding hairline and a face like a porcupine.

Realizing that someone who looks like him is never going to make hundreds of teenage girls all scream at once, Vinny instead becomes a starmaker.  With the help of his girlfriend, teen mag editor Brenda (Tovah Feldshuh) and a little payola, he turns saxophone player Tomaso DeLorussa into teen idol Tommy Dee.  When Tommy Dee becomes a star and leaves his mentor, Vinny takes a shy waiter named Guido (Peter Gallagher) and turns him into a Neil Diamond-style crooner named Cesare.  Destined to always be  abandoned by the stars that he creates, Vinny continually ends up back in the same Jersey dive, performing his own songs with piano accompaniment.

The Idolmaker is a nostalgic look at rock and roll in the years between Elvis’s induction into the Army and the British invasion.  The Idolmaker has some slow spots but Ray Sharkey is great in the role of Vinny and the film’s look at what goes on behind the scenes of stardom is always interesting.  In the movie’s best scene, Tommy performs in front of an audience of screaming teenagers while Vinny mimics his exact moments backstage.

Vinny was based on real-life rock promoter and manager, Bob Marcucci.  Marcucci was responsible for launching the careers of both Frankie Avalon and Fabian Forte.  Marcucci served as an executive producer on The Idolmaker, which probably explains why this is the rare rock film in which the manager is more sympathetic than the musicians.

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Breaking Glass (1980, directed by Brian Gibson)

At the same time that The Idolmaker was providing American audiences with a look at life behind-the-scenes of music stardom, Breaking Glass was doing the same thing for British audiences.

In Breaking Glass, the idolmaker is Danny (Phil Daniels, who also starred in Quadrophenia) and his star is an angry New Wave singer named Kate (Hazel O’Connor).  Danny first spots Kate while she is putting up flyers promoting herself and her band and talks her into allowing him to mange her.  At first, Kate refuses to compromise either her beliefs or her lyrics but that is before she starts to get famous.  The bigger a star she becomes, the more distant she becomes from Danny and her old life and the less control she has over what her music says.  While her new fans scare her by all trying to dress and look like her, Kate’s old fans accuse her of selling out.

http://www.youtube.com/watch?v=8ALdL8oV_sY

As a performer, Hazel O’Connor can be an acquired taste and how you feel about Breaking Glass will depend on how much tolerance you have for her and her music.  (She wrote and composed all of the songs here.)  Breaking Glass does provide an interesting look at post-punk London and Jonathan Pryce gives a good performance as a sax player with a heroin addiction.

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That’ll Be The Day (1973, directed by Claude Whatham)

Real-life teen idol David Essex plays Jim MacClaine, a teenager in 1958 who blows off his university exams and runs away to the Isle of Wright.  He goes from renting deckchairs at a resort to being a barman to working as a carny.  He lives in squalor, has lots of sex, and constantly listens to rock and roll.  Eventually, when he has no other choice, he does return home and works in his mother’s shop.  He gets married and has a son but still finds himself tempted to abandon his family (just as his father previously abandoned him) and pursue his dreams of stardom.

David Essex and Ringo Starr

Based loosely on the early life of John Lennon, the tough and gritty That’ll Be The Day is more of a British kitchen sink character study than a traditional rock and roll film but rock fans will still find the film interesting because of its great soundtrack of late 50s rock and roll and a cast that is full of musical luminaries who actually lived through and survived the era.  Billy Fury and the Who’s Keith Moon both appear in small roles.  Mike, Jim’s mentor and best friend, is played by Ringo Starr who, of all the Beatles, was always the best actor.

That’ll Be The Day ends on a downbeat note but it does leave the story open for a sequel.

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Stardust (1974, directed by Michael Apted)

Stardust continues the story of Jim MacClaine.  Jim hires his old friend Mike (Adam Faith, replacing Ringo Starr) to manage a band that he is in, The Straycats (which includes Keith Moon, playing a far more prominent role here than in That’ll Be the Day).  With the help of Mike’s business savvy, The Stray Cats find early success and are signed to a record deal by eccentric Texas millionaire, Porter Lee Austin (Larry Hagman, playing an early version of J.R. Ewing).

When he becomes the breakout star of the group, Jim starts to overindulge in drugs, groupies, and everything that goes with being a superstar.  Having alienated both Mike and the rest of the group, Jim ends up as a recluse living in a Spanish castle.  Even worse, he gives into his own ego and writes a rock opera, Dea Sancta, which is reminiscent of the absolute worst of progressive rock.  Watching Jim perform Dea Sancta, you understand why, just a few years later, Johnny Rotten would be wearing a homemade “Pink Floyd Sucks” t-shirt.

Stardust works best as a sad-eyed look back at the lost promise of the 1960s and its music.  Watch the movie and then ask yourself, “So, do you really want to be a rock and roll star?”

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