“Exec-produced by an ex-Monkee (Michael Nesmith) and directed by a onetime Oxford law student, ‘Repo Man’ was destined for weirdness.”–“Entertainment Weekly” in their 2003 list naming Repo Man one of the top 10 cult films of all time
DIRECTED BY: Alex Cox
FEATURING: Emilio Estevez, Harry Dean Stanton, , Tracey Walter, Olivia Barash, Zander Schloss, Fox Harris
PLOT: A scientist drives a Chevy Malibu through the desert with a mysterious cargo in his trunk that vaporizes people who try to look at it. Meanwhile, in southern California, young punk Otto, desperate for money, takes a job repossessing unpaid vehicles as a “repo man.” The two plotlines collide when the repo men discover a $20,000 bounty on the car, and the race is on between Otto and his pals, government agents, and rival repo men to repossess the vehicle, along with whatever resides in its trunk.
- Thinking it might make for an interesting story, writer/director Alex Cox rode with a repo man before conceiving this script.
- Former Monkee Michael Nesmith was executive producer of the film.
- Both Harry Dean Stanton and Alex Cox have both reported that they squabbled with each other through the film; in one incident, Stanton insisted on using a real baseball bat rather than a prop and almost struck a fellow actor. Some fans have speculated that some of Stanton’s scenes were rewritten and given to Sy Richardson due to this tension.
- In the originally planned ending, Los Angeles was vaporized in a mushroom cloud; executives at Universal Pictures vetoed the idea. Another proposed ending had Otto becoming a revolutionary in Latin America.
- Initially, Repo Man was shown in theaters for only a week, but when its punk soundtrack sold tens of thousands of copies the studio reconsidered and decided to give it a slightly expanded release. Still, far more fans came to the film via home video than caught it on the big screen.
- The version of the film shown on television included several scenes that didn’t make it into the theatrical release. (This “TV cut” is included as an extra on the Criterion Collection release).
- Cox wrote a script for a sequel to Repo Man that was never produced; in 2008 it was adapted into a graphic novel titled “Waldo’s Hawaiian Holiday.”
- Over Universal’s objections (they owned sequel rights), in 2009 Cox made a poorly-received, low budget green-screen “spiritual sequel” to Repo Man called Repo Chick.
INDELIBLE IMAGE: Repo Man is a film that’s better known for its dialogue than its imagery, but we’ll go with the vision of someone vaporizing when he opens the Chevy Malibu trunk, leaving behind a smoldering pair of boots (this scene happens more than once in the film). It’s one of Repo Man‘s few forays into cheesy special effects, but like every other seemingly inconsistent stylistic element of the movie, it feels right for this material, fitting into this consistently erratic and bizarre nightmare version of L.A.
WHAT MAKES IT WEIRD: Repo Man‘s weirdness is subtle, but unmistakable to the connoisseur. Consider the question: what genre is this movie? Is it sci-fi, social satire, a punk testament, or just a smart B-movie goof? And what to make of the movie’s interest in UFOs, conspiracies and fringe theories, the “lattice of coincidence” and Miller’s observation that “you know the way everybody’s into weirdness right now…. Bermuda triangles, UFOs, how the Mayans invented television?” If weirdness can be defined as that which reminds you of no other, than Repo Man is genuinely weird—and genuinely great.
Original trailer for Repo Man
COMMENTS: It may be hard for young folks to believe, but there was a time when Emilio Estevez was more than just Charlie Sheen’s mortified Continue reading 149. REPO MAN (1984)