I’m truly devastated to hear the David Lynch, one of the few true visionaries of our age, has passed away. His death was not totally unexpected. He had recently opened up about his health difficulties. But it’s still hard to believe that David Lynch is no longer with us. He was 78 years old and he was one of the best. I’m sure we all have much more to write and share about him in the future. For now, I’m still coming to terms with the news.
From What Did Jack Do?
They Live (1988, dir by John Carpenter, DP: Gary B. Kibbe)
Today, we continue to wish John Carpenter a truly happy birthday! Needless to say, today’s scene that I love comes from a Carpenter film, 1988’s They Live. Though They Live was apparently not a huge box office success when it was first released, it’s a film that feels more relevant with each passing day. Carpenter is often described as being a great horror director but, with this film and The Thing, he shows that he’s a master of capturing cinematic paranoia.
There’s definitely a reason why They Live continues to find new fans over 30 years since it was originally released. Who hasn’t experienced that secret message of “OBEY!”
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, the Shattered Lens wishes a happy 77th birthday to one of this site’s favorite filmmakers and a patron saint of the independent spirit, the great John Carpenter!
In honor of the man and his legacy, here are….
6 Shots From 6 John Carpenter Films
Halloween (1978, dir by John Carpenter, DP: Dean Cudney)
The Fog (1980, dir by John Carpenter, DP: Dean Cudney)
Escape From New York (1981, dir by John Carpenter, DP: Dean Cundey)
The Thing (1982, dir by John Carpenter, DP: Dean Cundey)
Prince of Darkness (1987, dir by John Carpenter, DP: Gary B. Kibbe)
They Live (1988, dir by John Carpenter, DP: Gary B. Kibbe)
It’s always interesting to compare American films about the UK with the films made by the people who actually live there.
American films about the UK are all about meeting quirky people, visiting clean and brightly-lit castles, maybe falling in love with a member of royalty, and perhaps discovering that your father is actually a member of Parliament played by Colin Firth. If the action moves out of London or into Scotland or Wales, one cab be assured that it will involve an American having car trouble outside of a goat farm and then meeting an eccentric but handsome veterinarian. If the film takes place in Scotland, the veterinarian and his randy father will wear a kilt. The same thing will happen if the film is set in Wales because most Americans don’t know the difference between Scotland and Wales.
Films about the UK that are actually made in the UK tend to be visually moody and full of people dealing with economic uncertainty while living in depressingly tiny flats. The cities are often portrayed as being covered in graffiti and no one, not even the film’s hero, is ever particularly happy. British films about the UK are full of melancholy, rainy atmosphere and are often as violent as American films about the UK are quirky.
Dead Before They Wake takes place and was filmed in some of the darkest corners of Glasgow. Nathan Shepka plays Alex, a nightclub bouncer who occasionally takes on other jobs. He’s someone who knows how to handle himself in a fight and he often returns to his small and cramped home with split knuckles and a bruised face. At the same time, he’s also a loving son whose deaf and very ill father is in a retirement community. (His father encourages Alex to settle down and get married.) Outside of his father, the only person with whom he has an regular contact is Gemma (Grace Cordell), a teacher who moonlights as a stripper to make extra money. (That said, she still finds herself receiving an eviction notice.) Alex pays Gemma to have sex with him but it’s obvious that there’s something more to their relationship than just a transaction. They’re two people lost in an increasingly dark world.
Alex is approached by a shabby but well-intentioned attorney named Evan (Sylvester McCoy). Evan hires Alex to track down a 14 year-old girl who Evan believes has been abducted by a sex trafficking ring. The girl’s mother is a heroin addict. The girl’s father is a government official. Alex reluctantly takes the job and he soon manages to link the girl’s disappearance to a low-rent operation run by Amar (Manjot Sumal). Amar is someone who is very protective of his own teenage daughter but who has no problem with the idea of abducting girls who are the same age or younger and forcing them to work in his makeshift brothel. While Alex tries to find a way to infiltrate Amar’s operation, a mysterious man named Holden (Patrick Bergin) watches from the shadows.
Though the plot may remind some of Taken, Dead Before They Wake is far more thoughtful than any Liam Neeson’s admittedly entertaining thrillers. Alex is not a former secret agent with a precise set of skills. He’s just a tough guy who knows how to throw (and take) a punch and his investigation of Amar’s operation pushes him over the edge not because he’s trying to rescue a family member but because Alex is a human being who cannot believe or forgive the amount of depravity that he discovers during his investigation. Throughout the film, there are hints that Amar’s operation is actually fairly small-scale when compared to some of the others. A meeting with a representative of a national syndicate brings to mind the scandals of the late British DJ Jimmy Savile, who may not be well-known in the States but who, in the UK, became a symbol of depravity when it was revealed, after his death, that he was a prolific pedophile and sex abuser whose actions were largely ignored and sometimes even covered up by the British establishment.
Throughout Dead Before They Wake, there are scenes and details that establish that the film is more than just a revenge flick. Gemma’s struggle to survive financially is handled with sensitivity and Grace Cordell gives an authentic performance in the role. The scene where she tries to hide her growing fear upon learning that a picture of her dancing has appeared online and been seen by at least one of her students is wonderfully-acted. The film contrasts Alex’s small flat with the large home that is owned by Amar and the film opens with a disturbing scene that shows just how exactly Amar kidnaps the girls who he then gets hooked on drugs and forces to work for him. Dead Before They Wake is about much more than just action.
Dead Before They Wake does have its flaws. Towards the end of the film, we’re expected to believe that one character overlooked something so obvious that it momentarily makes it difficult for us to suspend our disbelief. But, for the most part, this is a disturbing and effective thriller, one that concludes on a proper note of Scottish melancholy.
I love watching movies that are filmed in my home state of Arkansas. We’ve had our share of big stars show up in the Natural State. Burt Reynolds, Billy Bob Thornton, Bill Paxton, Robert De Niro, Dennis Quaid, Matthew McConaughey, Tom Cruise and Andy Griffith have all filmed really good movies here. Martin Scorsese directed one of his very first movies in southern Arkansas. It’s going to be fun revisiting some of my favorite Arkansas movies and sharing them with you!
I live out in the country in Saline County, Arkansas. Back in 1996, Billy Bob Thornton wrote, directed and starred in a little film made right here called SLING BLADE (1996). It’s one of my favorite movies. Here’s a picture of our son and daughter sitting at the same table at Garry’s Drive-In Diner where Billy Bob Thornton and John Ritter sat in the movie.
Thornton stars as Karl Childers, a developmentally disabled man who was abused as a child by his parents and the other children in the community. At the age of 12, he murdered his mom and her teenage lover Jessie Dixon with a sling blade. After 30 years in the mental hospital, the state decides he’s no longer dangerous, so they give him his stack of books and send him on his way. Karl has no clue of how to get on with his life, but the administrator of the hospital (James Hampton) helps him get a job as a small engine mechanic in his hometown. Hanging out at the laundromat one day, Karl meets a boy named Frank (Lucas Black) and helps him carry his bags of clothes back to his house. The two become friends and start hanging out a lot together. Frank introduces Karl to his mom, Linda (Natalie Canerday), and her gay best friend and boss, Vaughan (John Ritter). Karl also meets Linda’s abusive and alcoholic boyfriend, Doyle (Dwight Yoakam). Karl grows to love Frank and Linda. When he witnesses a drunk Doyle’s abusive and threatening behavior towards Frank and Linda one night, Karl starts thinking that Doyle may really hurt his friends someday. He decides he’s going to make sure that can never happen.
First and foremost, I love SLING BLADE because of Billy Bob Thornton’s performance as Karl Childers. He had been developing the character of Karl for many years before the movie was made. He loved pulling “Karl” out when he was just hanging out and goofing around with his friends. He based his character on bits and pieces of so many different people in his life. As a native Arkansan, many of the words he says and the way he says them reminds me of different people I’ve known over the years. His opening monologue where he describes the murders of his mother and the young Jessie Dixon is a masterpiece in and of itself. Thornton created a truly unique character, and that’s extremely rare these days. It’s a performance for the ages and continues to inspire terrible imitations to this day!
The remainder of the cast in SLING BLADE is so good and natural. Lucas Black is phenomenal as Frank. Billy Bob Thornton has been asked how he got such a great performance from the then 12-year-old boy from Alabama. He says he didn’t get that performance; that’s just the kind of actor Lucas Black is. The relationship between Karl and Frank is the key to the film working, and Black is perfect. Natalie Canerday is excellent as Frank’s mom, Linda. She’s from Russellville, Arkansas, so her accent is authentic, and she just blends perfectly into the film. John Ritter provides a very solid supporting performance as Linda’s gay friend who cares deeply for her and Frank. Thornton was part of the cast of Ritter’s early 90’s sitcom with Markie Post called HEARTS AFIRE. He actually wrote this screenplay while working on the show. The two were great friends off camera and Ritter actually worried that he wouldn’t be able to give a serious performance opposite Thornton’s portrayal of Karl. And then there’s country music superstar Dwight Yoakam as the abusive bully Doyle Hargraves. He’s simply great in the film. He doesn’t just portray Doyle as a monster either. There are many people in this world like Doyle Hargraves, and Yoakam is able to capture that. Director Jim Jarmusch has a memorable cameo in the film. He sells Karl his “french fried potaters.” And the great Robert Duvall even makes a short appearance in the film as Karl’s dad. Duvall was over in the Memphis area filming his own movie A FAMILY THING, which was written by Thornton. He just made the 2 hour drive over for the day and filmed his scene.
Every scene filmed in SLING BLADE is filmed here in Benton and Saline County. The opening and closing scenes between Thornton and actor J.T. Walsh at the “nervous hospital” were filmed at the old Benton Services Center, which is now a psychiatric nursing home just outside of Benton. I’ve driven by the location of the home where Linda and Frank lived. I drive by the laundromat where Karl meets Frank every time I go eat at Garry’s Sling Blade Drive-in. I’ve driven out to the bridge over the Saline River that is prominently featured in the film (see picture below). Heck, I even went to college at the University of Central Arkansas with one of the young ladies who interview Karl at the beginning of the film. I love this movie, and I’m so proud that it was filmed in my backyard.
SLING BLADE is an incredible film with a truly unique character at its center. The film is at times funny, heartbreaking, violent, slow, awkward, dramatic, and thrilling. It’s a resounding success for Billy Bob Thornton as a director, actor, and writer, even winning him an Oscar for his screenplay. I give this film my highest recommendation.
I’ve included the trailer for SLING BLADE below:
Past reviews in the #ArkansasMovies series include:
1988’s Mississippi Burning opens on a lonely Mississippi backroad in 1964. A car is pulled over by the police. Inside the car are three young men, one black and two white. Judging from their nervous expressions and the sound of the people who stopped them and the fact that they’re in Mississippi during the 60s, we can guess what is about to happen to the people in the car.
With the three men, who were civil rights activists who were involved in voter registration efforts, officially considered to be missing, the FBI sends down two agents to find out what happened. The two agents are Alan Ward (Willem DaFoe) and Rupert Anderson (Gene Hackman). Ward is a Northerner who does things by the book and who resents having to deal with lax Southern law enforcement. He is serious-minded and, just in case we need a reminder of how serious he is, he wears bar-rimmed glasses that make him look like the world’s most fearsome IRS agent. Anderson is from Mississippi. He’s a talkative good ol’ boy who was a sheriff before he joined the FBI. “You know what has four eyes but can’t see?” Anderson asks, “Mississippi.” It’s a tense partnership, as Ward sometimes disapproves of Anderson’s methods and Anderson thinks that Ward doesn’t understand how things work in Mississippi.
From the first minute we meet local law enforcement, we know that they’re the killers. Just the fact that one of them are played by Brad Dourif is evidence enough. However, no one in town is willing to say a word against the police or their cronies. The white citizens are either too intimidated or they agree with what happened to the three civil rights workers. (The three men are often referred to as being “outside agitators.”) The black townspeople live in fear of the Klan and have no reason to trust the word of white FBI agents like Ward and Anderson.
Ward and Anderson investigate the case, hoping that they can find some bit of evidence that will prove the guilt of Sheriff Stuckey (Gailard Sartain), Deputy Pell (Brad Dourif), KKK leader Clayton Townley (Stephen Tobolowsky), and maybe even the town’s mayor (R. Lee Ermey). One advantage that the FBI has is that the murderers are incredibly stupid. Another is that Deputy Pell’s abused wife (Frances McDormand, giving the film’s best performance) might be persuaded to testify against her husband.
Mississippi Burning is an example of both powerful filmmaking and problematic history. Like Ridley Scott, director Alan Parker got his start making commercials and he brought the same sensibility to his movies. He knew what audiences wanted to see and he made sure to give it to them. Mississippi Burning looks fantastic and is full of memorable performances. (Both McDormand and Hackman received Oscar nominations). The action moves quickly and the villains are so hateful that watching them end up getting humiliated really does bring about a sort of emotional release.
At the same time, this is a film about the Civil Rights era that presents the FBI as being the heroes. And while it’s true that the FBI did investigate the real-life murders that inspired this film, Mississippi Burning leaves out the fact that the FBI was just a rigorous in harassing and wire tapping Martin Luther King as they were in keeping an eye on the leaders of the Klan. It’s a film about racism in which the heroes are as white as the villains. Gene Hackman gives a good performance as Rupert Anderson but the film never really delves all that deeply into Anderson’s feelings about racism in the South. We’re told that he was a sheriff in Mississippi but we never learn much about what type of sheriff Anderson was. He’s opposed to the Klan but, historically, the same can be said of many segregationists in the 60s, many of whom felt the Klan’s activities brought unwanted federal attention to what was happening in their home states. By not delving into Anderson’s own history as a member of Mississippi law enforcement or the FBI’s own more problematic history when it comes to the civil rights movement, the film provides viewers with the escape of viewing the bad guys as being aberrations as opposed to being the norm in 1964. In the end, Mississippi Burning is an effective thriller with strong heroes and hateful villains. Just don’t watch it for historical accuracy.
Mississippi Burning was nominated for Best Picture but it lost to Rain Man.
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 is all about letting the visuals do the talking.
Since I reviewed a film that takes place in 1963 this morning, I’m going to use today’s edition of 4 Shots From 4 Films to pay further homage to that pivotal year. It’s time for….
4 Shots From 4 1963 Films
From Russia With Love (1963, dir by Terence Young, DP: Ted Moore)
Black Sabbath (1963, dir by Mario Bava, DP: Ubaldo Terzano)
Hud (1963, dir by Martin Ritt, DP: James Wong Howe)
Cleopatra (1963, dir by Joseph L. Mankiewicz, DP: Leon Shamroy)
Laws of Man opens with two U.S. marshals driving through the desert of Utah. Tommy Morton (Jackson Rathbone) is young and impulsive, a Korean war vet who is quick to open fire. Frank Fenton (Jacob Keohane) is older and more cautious. He also served in the military, though his service was during World War II. Frank is haunted by flashbacks to a particularly gruesome battle. Tommy and Frank may spend most of their time wearing black suits in the desert but neither one breaks a sweat.
The year is 1963. Kennedy is in the White House. The communists are on the move. And Tommy and Frank are busy executing arrest warrants in the most desolate part of the country. An attempt to arrest Mormon cult leader Crash Mooncalf (Ricard Brake) leads to a bloody shootout that leaves Mooncalf and his followers dead. Their next assignment leads them to a small town in Nevada, where Bill Bonney (Dermot Mulroney) and his violent family is suspected of killing local ranchers and stealing their land.
From the minute that Tommy and Frank arrive in Nevada, something feels off. They stay at a cheap motel, where Tommy picks up a woman named Dinah (Ashley Gallegos) and Frank spends his time talking to a bartender named Callie (Kelly Lynn Reiter). An old rancher named Don Burgess (Forrie J. Smith) shows off his gun and says that he would rather suffer a violent death than give up his land. A traveling preacher named Cassidy Whitaker (Harvey Keitel) approaches Frank in the parking lot and starts talking about sin and redemption. Meanwhile, FBI agent Galen Armstong (Keith Carradine) appears to be curiously unconcerned with the Bonneys and their reign of violence. As for the sheriff (Graham Greene), he spending his time sitting outside a burned-out ranch house. The charred bodies of the owners are still inside, seated around the dinner table.
An attempt to arrest Bill Bonney at his home leads to a violent shootout, one in which no one is killed but Bill is still not happy about having a bunch of bullet holes in his roof. Tommy and Frank attempt to serve the arrest warrant, just to discover that it’s not going to be as easy as they thought. Frank, whose World War II flashbacks are getting more and more intense, wants to leave town. Tommy, however, is obsessed with discovering what exactly everyone is hiding.
And, through it all, people who know their history will notice that the film is taking place in November of 1963 and the 22nd is rapidly approaching….
Laws of Man gets off to a strong start but begins to meander about halfway through. Luckily, the film’s final third features a wonderfully insane twist that recaptures the viewer’s attention. No matter what you may think is going on in the film, it can’t prepare you for just how weird things eventually get. Laws of Man is an entertaining film, one that is occasionally a bit too self-consciously quirky for its own good but which ultimately works. Jackson Rathbone and Jacob Keohane both give strong performances in the lead roles and the familiar faces in the film’s supporting cast all do their best to bring the film’s often surreal world to life. Dermot Mulroney and Keith Carradine give especially strong performance while Harvey Keitel appears to be having fun as the offbeat preacher.
Laws of Man managed to truly take me by surprise. For fans of paranoid cinema, it’s definitely worth making time for.
Katharine Hepburn was famous for both her relationship with Spencer Tracy and the films that she made with him. They were such frequent co-stars and so associated with each other that “Hepburn-Tracy” became a film genre in and of itself, one that promised a bit of comedy, a bit of drama, and some sharp-witted romance. That said, I have to admit that one of my favorite of Katharine Hepburn’s film is one that she made not with Spencer Tracy but instead with Fred MacMurray. Alice Adams is a Tracy-Hepburn film without Tracy.
First released in 1935 and based on a novel by Booth Tarkington (who was quite a big deal back in the day even if, like Arrowsmith‘s Sinclair Lewis, he’s somewhat forgotten today), Alice Adams stars Hepburn as the title character. Alice is the daughter of Virgil Adams (Fred Stone) and his wife, who is only referred to as being Mrs. Adams (Anne Shoemaker). Virgil is a sickly man who has worked as a clerk at a glue factory for several years. Despite living in a rather large house and having a maid named Malena (Hatti McDaniel), the Adams family is not wealthy. However, Mrs. Adams desperately wants the family to be rich and Alice carries herself with the airs of a wealthy woman, despite the fact that everyone in town knows that she’s not. Alice love her family and is loyal to them, even if her younger brother (Frank Albertson, who later played Sam “Hee Haw” Wainwright in It’s A Wonderful Life) appears to be addicted to gambling and her mother is constantly browbeating her father for not being more ambitious. Her family may embarrass her but we know she wouldn’t trade them for all the money in the world. That’s why we like Alice, even if she does sometimes act like a snob.
However, when Alice meets and falls for the wealthy Arthur Russell (Fred MacMurray), she lies about her social background and tries to present herself as being just as rich as him. When she invites Arthur and his parents to her house for a dinner party, she frantically tries to keep up the charade of being wealthy. Meanwhile, Virgil finds himself wrongly accused of stealing from his boss (Charley Grapewin) and, as a result, the family’s financial future is put in jeopardy.
Alice Adams is a mix of screwball comedy and social drama. On the one hand, Alice’s desperate attempts to throw the perfect party are frequently very funny. Katharine Hepburn was always at her best when she played a flighty character and the contrast between Alice’s sophisticated airs and Alice’s actual personality makes me laugh every time that I watch the film. At the same time, there’s a definite undercurrent of melancholy to the film. Alice and her mother are both so desperate to be rich that they’ve both been blinded to just how wonderful their lives really are. Alice may like Arthur and Arthur definitely likes Alice but one never forgets that a part of Alice’s attraction to Arthur is that Arthur can give her the life to which she aspires.
Alice Adams features one of Hepburn’s best performances and it’s a rare Hepburn performance to which anyone watching should be able to relate. At some point in our lives, we’ve all felt like Alice. We’ve all been Alice, even if we don’t want to admit it. Fred MacMurray’s natural likability serves him well as Arthur. He comes across like a genuinely nice guy and we definitely want him and Alice to end up together.
Alice Adams was nominated for Best Picture but it lost to a much bigger production, Mutiny on the Bounty. Bette Davis beat Katharine Hepburn for Best Actress. Davis later said that she felt Hepburn should have won.
Today is Faye Dunaway’s birthday and today’s song of the day is The Happening, which was the theme song of Dunaway’s first movie, 1966’s The Happening! Faye played a hippie who, with George Maharis and Michael Parks, kidnapped Anthony Quinn. The film wasn’t a hit but the song was.
Here are The Supremes with The Happening.
Hey, life, look at me
I can see the reality
‘Cause when you shook me, took me out of my world
I woke up
Suddenly I just woke up to the happening
When you find that you left the future behind
‘Cause when you got a tender love
You don’t take care of
Then you better beware of the happening
One day you’re up, then you turn around
You find your world is tumbling down
It happened to me, and it can happen to you
I was sure, I felt secure
Until love took a detour
Yeah, riding high on top of the world
It happened, suddenly it just happened
I saw my dreams fall apart
When love walked away from my heart
And when you lose that precious love you need
To guide you
Something happens inside you, the happening
Now I see life for what it is
It’s not all dreams, ooh, it’s not all bliss
It happened to me and it can happen to you
Once
Ooh, and then it happened
Ooh, and then it happened
Ooh, and then it happened
Ooh, and then it happened
Is it real, is it fake
Is this game of life a mistake?
‘Cause when I lost the love I thought was mine
For certain, suddenly I started hurting
I saw the light too late
When that fickle finger of fate
Yeah, came and broke my pretty balloon
I woke up
Suddenly I just woke up to the happening
So sure, I felt secure
Until love took a detour
‘Cause when you got a tender love you don’t
Take care of, then you better beware of
Songwriters: Alex Mungo / David Taylor / Jasper John Nielson Stainthorpe / Mark Robert Tiplady / Rob Downes / Stephen Wren
Through the Shattered Lens 