Bird (1988, directed by Clint Eastwood)


Forest Whitaker stars as the legendary saxophonist Charlie “Bird” Parker.  The film, which is structured around flashbacks and time jumps and features some of the most beautifully-done transitions that I’ve ever seen, follows Parker as he plays his saxophone, challenges the jazz purists who his own individual style, and looks for work in both America and France.  Along the way, we watch as he befriends and learns from Dizzy Gillespie (Samuel Wright), mentors a young trumpet player named Red Rodney (Michael Zelniker), and has a complex relationship with a white jazz lover named Chan Parker (Diane Venora).  Throughout his life, Charlie Parker struggles with his addiction to heroin and alcohol, occasionally getting clean to just then fall back into his habit.  To its credit, the film avoids most of the biopic cliches when it comes to portraying Parker’s addiction.  Parker accepts that he’s an addict, just as he accepts that he has a talent that is destined to revolutionize American music.

Director Clint Eastwood has always been a fan of jazz and he actually saw Charlie Parker perform when he was a young man.  His love of jazz had been present in almost every modern-era film that he has directed, staring with Play Misty For Me’s lengthy trip to the Monterey Jazz Festival.  Bird was a passion project for Eastwood, the first film that Eastwood directed without also appearing in.  (Eastwood doesn’t star in his second directorial effort, Breezy, but he does have a brief and silent cameo as a man standing on pier.)  Eastwood takes a nonlinear approach to telling the story, eschewing the traditional bopic format and instead putting the focus on Parker’s music.  Eastwood was able to get several never bef0re-released recordings of Parker performing and, when Whitaker is blowing into his saxophone in the film, we’re actually hearing Parker.  Eastwood’s direction captures the smoky atmosphere of the jazz clubs where Parker and Gillespie made their name while the nonlinear style reflects the feeling of just letting a song take you to wherever it’s going.  This is a movie about jazz that plays out like a jazz improvisation.

Forest Whitaker gives an amiable and charismatic performance as Charlie Parker, playing him as someone who has found both an escape and peace in his music, even as he physically struggles with the ravages of his drug addiction.  Whitaker won the Best Actor at Cannes for his performance in Bird.  Eastwood received the Golden Globe for Best Director.  Bird feels like it was labor of love for both of them.  Bird may not have set the box office on fire when it was originally released but it remains one of the best jazz films.

Playing With Fire (1985, directed by Ivan Nagy)


David Phillips (Gary Coleman) is a teenager who sets fires when he gets upset.  He has many reasons to be upset.  His parents (Ron O’Neal and Cicely Tyson) are getting divorced and are constantly fighting.  His teachers at school are always getting on his back.  He has to take care of his younger siblings and his dog.  He can’t even get the bigger kids in school to let him play basketball with them.  At first, David just plays with his lighter but, after he accidentally sets his mother’s coat on fire, David discovers that he likes to watch things burn.  David and his mother both claim it’s just coincidence that David is always nearby whenever a fire breaks out but Fire Chief Walker (Yaphet Kotto) knows what’s really going on.  After David nearly burns down his house, Walker tries to reach him before it’s too late.

This isn’t really meant to be a horror film  but it’s shot like one, with plenty of scenes of Gary Coleman staring at a burning fire with a possessed-look in his eyes.  The movie tries to make David sympathetic but the scene where he threatens his own dog with a lighter suggests that David has more problems than just his parents splitting up.  This was Gary Coleman’s first dramatic role.  I think it may have also been his only dramatic role.  It’s not that he’s not convincing as a really angry kid.  It’s just that he’s Gary Coleman so, no matter how much the movie tries, it still comes across as being a special episode of Diff’rent Strokes where Arnold becomes a pyromaniac.  Coleman tries to play up the drama of the situation but it’s hard not to laugh whenever he looks shocked at one of the fires that he has just started.  Every scene seems like it should end with Conrad Bain showing up with the cops.

For years, this movie was next to impossible to find but finally, someone found an old VHS tape in their garage and uploaded the movie to both YouTube and the Internet Archive, ensuring the world will never forget the time that Gary Coleman played with fire.

One final note: the director is better known for eventually becoming business partners with notorious Hollywood madam, Heidi Fleiss.

Bubba’s Revenge: Dark Night of the Scarecrow (1981, directed by Frank De Felitta)


Dude, this movie.

Charles Durning plays Otis P. Hazelrigg, a postman in a small town who has an unhealthy interest in a ten year-old girl named Marylee (Tanya Crowe).  When Marylee is mauled and nearly killed by a dog, Otis decides that she was attacked by Bubba Ritter (Larry Drake), a mentally challenged man who has the mind of a child.  With Otis and his redneck friends looking to lynch him, Bubba’s mother disguises him as a scarecrow and tells him to stand out in a field and not move.  When Otis and his friends discover Bubba hiding, they all shoot him until he’s dead.  Otis puts a pitchfork in Bubba’s hands and tells the police that Bubba was attacking them and they didn’t have any choice but to shoot him.

Otis thinks that he’s gotten away with murder but he’s wrong.  After Marylee sings a song in the same field where Bubba was killed, Otis’s friends start dying.  One is suffocated in a grain silo.  Another falls into a thresher.  Before each one dies, they report seeing a scarecrow on their property.  Otis thinks that Bubba’s mother is behind the murders but what if Bubba has actually come back to life?

Dark Night of the Scarecrow will mess up your mind, give you bad dreams, and leave you with a lifelong phobia o scarecrows.  It’s that scary.  I remember that they used to frequently show this movie on TV when I was  growing up and even the commercials were scary.  (The part of the movie that always messed with me were the shots of Bubba’s frightened eyes darting around underneath the scarecrow mask.)  Scarecrows are naturally creepy and the movie’s atmosphere is unsettling but the most frightening thing about Dark Night of the Scarecrow is Otis and the redneck lynch mob that he puts together.  Otis is a thoroughly loathsome character and Charles Durning goes all out playing him.  Otis is a civil servant, which gives him some prestige in the town but he uses that prestige to bully Bubba and harass Marylee.  His concern with Marylee especially feels wrong and the movie does not shy away from the subtext of his interest.  The scarecrow might frighten you but you will absolutely loathe Otis and everyone who follows him.

Dark Night of the Scarecrow was made for television but it’s just as good as any theatrical release.   It is also might be the first movie to feature a killer scarecrow.  Several have been made in the years since but Dark Night of the Scarecrow was the first and it’s still the best.

A Movie A Day #294: Ghost In the Machine (1993, directed by Rachel Talaly)


Karl (Ted Marcoux) is a serial killer who works in an electronics store and who steals address books and uses them to pick his victims.  His latest stolen address book belongs to Terry (Karen Allen).  Before Karl can start killing Terry’s family and friends, he is killed in a car accident.  Because there is a lightning storm going on at the same time, the dead Karl is able to transfer his evil soul into the electrical grid.  Traveling from appliance to appliance, Karl starts to kill all of Terry’s friends and co-workers.  A microwave oven.  A hand dryer.  A dishwasher.  If it is electrical, Karl can use it to kill.  Fortunately, Terry knows a legendary hacker (Chris Mulkey) who can help her fight back.

Like Prison, Destroyer, and The Horror Show, Ghost in the Machine is another dumb movie about a psycho who gets his soul transformed into electricity.  Ghost In The Machine was also obviously influenced by The Lawnmower Man and the entire movie is full of early 90s paranoia about the internet and computers in general.  Rachel Talaly, who got her start with the Nightmare on Elm Street franchise and who has recently directed some of the best received episodes of Doctor Who, does a good job with the deaths but cannot do anything with the lousy script and unlikable characters.  Nearly everyone who dies is killed because they know Terry but that never seems to bother her.

I think every 90s kid, or at least every 90s male, watched Ghost In The Machine on HBO and had a crush on Shevonne Durkin.