Tag Archives: Hollywood

269. NOTHING BUT TROUBLE (1991)

“An adequate song score album for a movie that utterly failed to live up to its weird potential.”–Steven McDonald, reviewing the soundtrack to Nothing but Trouble

DIRECTED BY:

FEATURING: Chevy Chase, Dan Aykroyd, John Candy, Demi Moore

PLOT: Four carefree travelers go for a drive in New Jersey. They get pulled over in a small backwater town for running a stop sign and have to be escorted to the local judge. They are then imprisoned in a haunted-house like mansion that shares premises with a junkyard.

Still from Nothing But Trouble (1991)

BACKGROUND:

  • Dan Aykroyd’s background probably destined him to make at least one weird movie. Both of his parents were Spiritists, and he’s had a fascination with the occult since childhood that inspired him to create Ghostbusters, among other hits.
  • This is Aykroyd’s sole directing credit (he also wrote). Canadian-born Aykroyd was once pulled over for a speeding ticket while on his motorcycle in the States, and had to be escorted to a courthouse in a small town. Legend has it that this movie was inspired by that event.
  • The movie had a budget of $40 million and only pulled in $8.5 million. Critics panned it, including Roger Ebert, who declined to review it in written form. It also got nominated for the Razzies for Worst Picture, Worst Actress, Worst Supporting Actress (John Candy in drag), Worst Director, and Worst Screenplay, though it “won” only for Worst Supporting Actor (Akroyd).
  • Digital Underground worked their cameo in this movie into a music video for their 1991 single “Same Song,” which entered MTV rotation. It still shows up periodically on cable music stations.
  • After the movie flopped, Akroyd wrote an apology letter to the cast taking full credit for the film’s failure.
  • Pete Trbovich‘s Staff Pick for a Certified Weird movie.

INDELIBLE IMAGE: In a movie with no shortage of contenders, the scenes everybody leaves raving about are the ones with the Mr. Bonestripper ride. This is a backyard roller-coaster in which victims are given a final ride before being dumped into a leering cartoon maw with mechanical teeth which grind the victims down to shiny, polished bones, which are then ejected out the back towards a bullseye target painted on a metal fence. It even has its own theme song, courtesy of the band Damn Yankees. Are we having fun yet?

THREE WEIRD THINGS: Model train dining; subliminal penis nose; mutant junkyard fatties

WHAT MAKES IT WEIRD: Nothing but Trouble invents its own genre, hereby known as Industrial Gothic, which plays on the horrors of Americana. These extend to labyrinthine freeway exits, small town hicks, Rust Belt ghost towns, corrupt law enforcement, class struggles between disenfranchised Main Street and out-of-touch Wall Street, welded-together death machines, compulsive hoarding, and a lack of mental health care. Take a Canadian-born comedian who’s had a scary run in with American law enforcement and let him make a Kafkaesque pitch-black comedy that will be the first (and so far only) Industrial Gothic movie, and this is exactly what you get.


Original trailer for Nothing but Trouble

COMMENTS: To be a fan of weird movies, your expectations must Continue reading 269. NOTHING BUT TROUBLE (1991)

CAPSULE: WHERE’S POPPA? (1970)

DIRECTED BY: Carl Reiner

FEATURING: George Segal, , Trish Van Devere, Ron Liebman

PLOT: An attorney’s life is upended by his abusive, senile old mother, and he casts about in vain for a path that will allow him to find romance without resorting to matricide.

Still from Where's Poppa? (1970)

WHY IT WON’T MAKE THE LIST: Where’s Poppa? is outrageous, running head-first into boundaries with glee and a subversive sensibility. But it’s a very calculated enterprise, with rules broken mostly for the satisfaction of breaking them, rather than for any larger artistic vision.

COMMENTS: The prospects for weirdness in Where’s Poppa? are pretty high at the outset. After a lengthy take of George Segal waking up to the mindless drone of a tedious morning radio show, he cleans himself up and calmly dresses in a gorilla suit for the purpose of scaring his mother to death. It doesn’t work, and he leaves her propped up in front of Sesame Street with a breakfast of orange slices and Lucky Charms topped with Dr. Pepper.

George Segal’s hangdog expression and exhausted rage (at one point, he manages to combine a desperate plea with a profane threat in a uniformly pitiful tone) go a long way to selling the misery of his character’s hopeless situation. After all, Ruth Gordon may be her usual rough-hewn, taboo-ignorant self, and her character may be frustratingly senile and casually cruel (even through her forgetfulness, she remembers that Segal isn’t her favorite child). But in the annals of awful parents in film, she’s pretty tame. What she is, is Jewish. She is the ultimate iteration of the henpecking, disapproving Jewish mom. Not for nothing does critic Dennis Schwartz call Where’s Poppa?the mother of all Jewish-mother joke films.” (An alternate ending carries this joke to its ultimate, taboo-pulverizing conclusion.)

So there’s your conflict: Segal is either going to get rid of his mom or he’s not. And the filmmakers know that once we have seen the answer, the movie is over. So we get a lot of playing for time, with Segal by turns smitten and pleading with would-be love interest Van Devere (they make a cute couple), and enduring endless humiliations at the hands of his mother. (The advertising team was particularly delighted with a scene where Gordon yanks down Segal’s pants and kisses him on the posterior; a witless suggestion that the scene had been commemorated on a postage stamp is repeated in numerous trailers for the film.) But after that, there’s not really anywhere else to go.

So director Reiner and screenwriter Ron Klane (whose credits include the more charmingly black Weekend at Bernie’s) go outward. It turns out that everyone we encounter is some level of insane. A football coach is a child kidnapper. An Army general proudly recalls his cold-blooded murder of surrendering enemies, while a peace activist advocates for his cause through maiming. A bridegroom indulges himself in a scatological fashion on his wedding night. The insanity of these characters and more appear to be infectious, as Segal’s grip on reality only becomes more tenuous and lapses into Walter Mitty-style fantasies, such as his mother’s demise at the hands of a dog, or Van Devere beckoning to him in a wedding gown while he himself sits astride a horse in full knight regalia.

Of course, the most insane of all may be Segal’s schlemiel brother, the subject of an agonizing subplot that exists primarily to deliver “hilarious” jokes about African-American thuggery, gay panic, and rape. It’s tempting to suggest that these are jokes which have aged poorly, but there’s so little joke to be had in the first place (for example, the rape joke seems to revolve primarily around the repetition of the word “rape”) that it seems hard to believe the sell-by date was anytime in the 20th century. This is not to say Where’s Poppa? is without laughs, mind you. For example, a scene where a man in a gorilla costume gets the cab that would not stop for an African-American woman has real bite. But the movie’s throw-it-against-the-wall approach to humor allows for no polish or refinement, so the jokes that bomb do so catastrophically.

Where’s Poppa? has the courage of its convictions, but in the end has no real convictions, other than an overwhelming desire to be shocking. That goal is met fairly often, but like a feast of cotton candy, it’s not very filling when the meal is over.

WHAT THE CRITICS SAY:

“…a terrifically acted, unevenly directed, wild, absurd comedy-fantasy that is hilarious one moment, amusing the next, and foolish the moment after that.”–Danny Peary, “Cult Movies”

CAPSULE: HOWARD THE DUCK (1986)

DIRECTED BY: Willard Huyck

FEATURING: Ed Gale, Lea Thompson, , , Liz Sagal, Holly Robinson, Chip Zien

PLOT: Loosely based on the Marvel comic book series, Howard is accidentally transported from his home planet of Duckworld to Cleveland, where he meets rock singer Beverly (Thompson); while trying to get  back home, his machinations inadvertently send an intergalactic monster to Ohio.

Still from Howard the Duck (1986)

WHY IT WON’T MAKE THE LIST:  It’s creepy, overblown and leadenly unfunny, but not really all that weird, except maybe for the “romance” between Howard and Beverly.

COMMENTS: Hollywood history is littered with legendary critical and box office disasters that really aren’t as bad as their reputations suggest, like Cleopatra, 1941, and Ishtar. On the other hand, there’s Howard the Duck, which truly is as godawful as everyone said it was back in 1986. The movie’s best moments come right at the beginning, when we see Howard on his home planet reading “Playduck” in front of a poster for “My Little Chickadee”. (The ornithological puns are as amusing as the picture ever gets). But once Howard lands on Earth, flirting with Thompson and befriending Robbins, the flick completely falls to pieces, culminating in a riot of stop-motion effects (courtesy of Phil Tippett) which are impressively elaborate, yet fake-looking and alarmingly grotesque. Howard himself resembles a Disney Audio-Animatronic possessed by an evil spirit.

Today, it would all be CGI, of course, but CGI couldn’t fix this script. The film was a $40 million debacle that almost ruined Thompson and Jones, who were coming off hits Back to the Future and Ferris Bueller’s Day Off, respectively. Infamously produced by George Lucas, this was his biggest mistake until Jar Jar Binks. One odd thing about the film: the theme song, written by Thomas Dolby and George Clinton, is an ear-worm that adamantly refuses to get out of one’s head.

The 2016 “Special Edition” Blu-ray features some 40 minutes of extras imported from the 2009 DVD, along with 11 minutes of featurettes from 1986. These include two trailers from the original release, plus a “News Featurette” and three short documentaries about the film’s stunts, special effects and music. From 2016 comes a twenty-six minute look at the film’s pre-production and shooting, and a 13-minute short examining the movie’s post-production, release, disastrous reception and “legacy”. That legacy includes Howard’s post-credits appearance in “Guardians of the Galaxy.” Howard the Duck was, believe it or not, the first Marvel comic book character to appear in a feature film. Don’t be surprised if Howard receives a big-budget “reboot” one of these days.

WHAT THE CRITICS SAY: “A hopeless mess… a gargantuan production which produces a gargantuan headache.”–Leonard Maltin (contemporaneous)

DOCTOR STRANGE (2016)

Created by Steve Ditko, Doctor Strange was an authentically odd character in the Marvel universe of the 1960s. Aptly, he debuted in the “Strange Tales” comic. The character almost perfectly encapsulated Ditko’s idiosyncratic, surreal pencil work, even more so than his better known co-creation, Spiderman. Complementing Ditko’s art, Stan Lee scripted the character as a hybrid mixture of Jungian archetypes with a theosophist cocktail of Eastern mysticism and Egyptian mythology. When other artists took over Doctor Strange after Ditko’s departure, it never had quite the same texture, and quickly became bland before descending into parody as the good doctor could be found in superhero team-ups with the likes of Hulk and Spiderman (!)

A pulp mystic, the character hardly seemed like a viable nominee for big screen treatment, and when Doctor Strange (2016) was announced as the next Marvel movie, the prospects didn’t look hopeful, considering director Scott Derrickson’s execrable resume.  Surprisingly,  Derrickson and his co-writers went straight to Ditko and Lee’s original source material, delivering an entertainingly psychedelic production, which is helped by actor Benedict Cumberbatch in the title role, , the ever reliable , and .

Still from Doctor Strange (2016)As much as embodies Iron Man, Cumberbatch does the same for this surgeon with the Trump-sized ego. However, an accident leaves Doc’s precious surgical hands mutilated, prompting him to seek enlightenment via the Ancient One (Tilda Swinton, filling in for ), Mordo (Chiwetel Ejiofor) and Wong (Benedict Wong). Before you can say Expecto Patronum, Strange sees the light and transforms into Chandu the Magician heading to the next Hare Krishna meeting. Despite the here-we-go-again St. Paul conversion myth, it plays out much more uniquely, viscerally, and tongue-in-cheek than one might expect.  As Strange perfects his new metaphysical trade, the CGI actually enhances the narrative, as opposed to distracting us from it—and, yes, see it in 3D, because that’s the best route for trippy 60s symbolism. Derrickson and company faithfully recreate and expand upon Ditko’s peculiar brand of surrealism and the havoc they wreak with illusionary imagery from the mirror universe is refreshingly off-kilter.

In a rarity for something churned out by Marvel, the director and team have been given room to play outside of conveyor-belt dictates. The fun they have is contagious, but such a subject can only be as good as its villain. Fortunately, they have one in the outlaw mystic Kaecilius (Mikkelsen) who engages in a phantasmagoric battle with Strange on the streets of New York (aided considerably by Michael Giacchino’s galvanizing score). Mikkelsen’s Kaecilius could very well be his astral, Dark Dimension, bony version of Hannibal Lecter (and shame on those who missed that late series, which rendered the /Jonathan Demme version obsolete), delivering his hocus-pocus dialogue with such aridity, he scares the hell out of you just by speaking. Mikkelsen is cast well (although underused) against Cumberbatch’s in-the-know remote wit. Likewise, McAdams is smartly cast as Strange’s ex-girlfriend who literally assists in his physical and metaphysical healing. The actors, coupled with visuals blatantly inspired by MC Escher, give Doctor Strange an all too uncommon individuality. This is not the Avengers taking turns pounding away at big shiny black, metallic thingamajigs. Rather, the good doctor, with his cloak of levitation, takes his battles to the realm of pop nightmares, which makes the late hint to an inevitable Avengers tie-in all the more disappointing. Is it weird? Nah, but it’s an empyrean burlesque and, for this studio, that is a surprising treat.

MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN (2016)

Novelist Ransom Riggs and should have been an ideal match, but Miss Peregrine’s Home For Peculiar Children (2016) is yet another verification that this director is at the end of his tether.

Burton can’t take the sole blame. He shares that honor with screenwriter Jane Goldman, who previously scripted two of the better X-Men sagas. This is part of the problem: they treat the material as if it’s the initial entry in a new and potentially profitable X-Men-styled franchise. For a director who has long made claims to specializing in films for the peculiar, Burton shows no genuine enthusiasm for his newest project and, with Goldman, sucks all the peculiarity out of its source material. This has been Tim Burton’s modus operandi for a long time, apparent to almost everyone (the director’s zealous, in-denial cult excepted). Burton likewise neutered all the surrealism of Lewis Carroll’s Alice and Disneyfied Barnabas Collins, Sweeney Todd, and Willy Wonka. Even Disney itself, teamed with Bing Crosby, was more adept at interpreting Washington Irvin’s Ichabod Crane. There’s a problem when two paragons of artistic conservatism have a better feel for the kooky-souled than a self-proclaimed specialist.

Burton came closest to a return to form with The Corpse Bride (2005), which he co-directed with Mike Johnson, along with Big Eyes (2014), the story of Margaret Keane. Despite being a personal project, the latter film eventually faltered in focusing on a kitsch suburban artist who simply wasn’t as interesting as the working relationship between the world’s worst director and one the worst ham actors of all time in Ed Wood. Still, this is the director who took a pre-existing pulp character (Batman) and managed to produce two comic book-inspired masterpieces stamped with highly personalized weirdness (especially Batman Returns, which really should be one for the List). He probably would have done the same for Superman, or at least that appears to be the case from the fascinating documentary Death of Superman Lives: What Happened? (2015).

With his latest misfire, however, Burton is yet again crippled by his own brand crutch, producing a caricature of himself that imitates imitator’s imitations of Tim Burton, with Riggs’s narrative ending up a casualty. In addition to borrowing from his own past “hits,” Burton throws in a sink-full of other sources, including Groundhog Day,  Back to the Future, X-Men, and Harry Potter, but this Burton is not the Burton of the Eighties and Nineties, nor is he a Robert Zemeckis, Harold Ramis, , or even journeyman David Yates. By now, Burton heading a project is an almost as guaranteed a recipe for disaster as is hiring .

There are a few plusses, including a campy in the title role. As the shape shifting matriarch of her orphanage for misfits, adorned in Coleen Atwood’s goth costuming, Green demands our attention (and gets it). Samuel L. Jackson also has fun hamming it up as the antagonist Barron. However, despite some good moments amidst impressive set pieces, Jackson’s Barron is a vague character. Supporting actors Chris O’ Dowd, Judi Dench, Rupert Everett, and Allison Janney are virtually  wasted. Asa Butterfly, as Jake, turns in an off-colored and ultimately two-dimensional performance, which can be blamed on Burton, since the actor has done good work for others (i.e. Boy in the Striped PajamasHugo). Best is Ella Purnell as Emma, who embodies an atmospheric sense of nostalgia in a star-making performance.

Still from Miss Peregrine's Home for Peculiar Children (2016)As expected, there is CGI aplenty (including a floating ghost ship, an ode to Ray Harryhausen’s stop-motion work, and post-production botox for actor Terence Stamp, something like to a roughly sketched version of Big Fish‘s Ed Bloom). Additionally, the physical space is well-utilized, even more so than in his previous few films. Even at his most fatigued, Burton still manages to produce a pretty package.

Unfortunately, the package is an empty box. Over-written, Miss Peregrine’s Home For Peculiar Children is woefully complicated, cram-packed, emotionally bankrupt,  poorly-paced, and far too narcissistic in its mythology-building and exposition, feeling at times like lost footage from alternative production of ‘s Dune. Perhaps he and Goldman should have watched Rankin and Bass to learn how to convey a world of misfits more simply, or rewatch his own Batman (1989), which was comparatively underwritten (and it didn’t matter one damn bit).  With Riggs’s array of misfits, one can easily imagine the appeal, but Burton’s (undeniable) strengths are slurped up by executive production demands as wholly as the Barron devours his eyeballs, which can be summed in a finale that has to be his most painfully obvious and dumbest since Burton’s 2001 Planet of the Apes.

KEN RUSSELL’S VALENTINO (1977)

Of all the star-worshiping that went on during silent cinema, it is perhaps the obsession with Rudolph Valentino that is most mystifying today. When he died prematurely, at the age of 31, numerous fans were so distraught as to commit suicide. His funeral was besieged by thousands, and a legend was born when a mysterious lady in black began annually placing funeral wreaths on his tomb for decades to come. Valentino had such an impact on pop culture that everyone from to were influenced by him.

Yet today, there are relatively few Valentino film festivals or revivals, and when his films are seen (rarely), they will inevitably prove disappointments. Valentino never made a great film. In fact, most of them are dreadful. (In his defense, he didn’t make very many). Of course, someone will inevitably make the tiresome 21st century claim that this is true of most movies from the silent era, despite the fact that there are plenty of films from that period that have good writing, performances, direction and hold up even better than many films of the Fifties and later. We could attempt to produce examples of stellar acting in lesser films, however, this does not work with Valentino. Although his charisma scorches, his acting is extreme in its use of silent film cliches, mechanical and bizarrely exaggerated to the degree that it elicits amusement today as opposed to the near orgasmic reaction of his contemporaneous fans. Undeniably eroticized, his screen persona was also amoral; he was a rapist. Otherworldly, he doesn’t even seem human, which is perhaps why he is primarily known by name alone. It’s doubtful if many today would even recognize his image.

Rudloph Valentino
Rudloph Valentino as “The Sheik”

Sometimes, the reason for stardom is more for a colorful biography than an actual body of work (e.g. Tallulah Bankhead), but this isn’t necessarily the case with Valentino. His biographers contradict each other with bullet point details, which is to be expected since the star’s press kit was largely fiction. What we do know is that he was born in Italy and immigrated to the United States in 1913 looking for employment. Some reports have him working as a male prostitute, but that is widely disputed as well. He bussed tables and briefly found work as a taxi driver, which is how he met actor Norman Kerry, who convinced Valentino to try a career in the new cinema business. Valentino became an “overnight” star with 1921’s Four Horsemen of the Apocalypse (although he had been doing small parts as exotic heavies in film for seven years), became a superstar with The Sheik later that same year, and became Continue reading KEN RUSSELL’S VALENTINO (1977)

243. VAMPIRE’S KISS (1988)

“Vampire’s Kiss, in which Cage plays a literary agent labouring under the delusion he is a vampire, is a weird film that is kind of great in its weirdness and in which Cage exposes himself fearlessly to ridicule, not least for appearing in a horror movie in the first place.”–from a 2013 Guardian profile on Nicolas Cage

Recommended

DIRECTED BY: Robert Bierman

FEATURING: , Maria Conchita Alonso, Jennifer Beals, Elizabeth Ashley, Kasi Lemmons

PLOT: Peter Loew is a well-to-do young literary agent with a hedonistic lifestyle, who is also in therapy. One night, he is interrupted while romping with his latest sexual conquest when a bat flies into the bedroom; later, he takes home a one night stand who (maybe) bites him on the neck in the throes of passion. He begins to believe he is becoming a vampire, while at the office he grows increasingly annoyed with and abusive to a junior secretary, Alva, to whom he assigns the task of combing through the agency’s archives looking for a missing contract.

Still from Vampire's Kiss (1988)

BACKGROUND:

  • This was screenwriter Joseph Minion’s second produced script—the first was After Hours (1985).
  • Cage had originally committed to the part before the romantic comedy Moonstruck (1987) ignited his career. He tried to back out of Vampire’s Kiss, and Judd Nelson was tapped to play Peter Loew; thankfully, Cage changed his mind and decided to honor his commitment.
  • According to the commentary, a late scene where Peter is walks down a Manhattan street talking to himself with blood on his shirt, and none of the passersby appear to take any notice of him, was filmed with real New Yorkers who had no idea they were on a movie shoot.

INDELIBLE IMAGE: It’s tempting to select the vision of Cage’s manic face as he mocks poor Alva (an image Dread Central’s Anthony Arrigo brilliantly summarized as “the infamous shot of Cage’s eyebrows attempting to flee the insanity that is his face“), a sight so powerful that it birthed an Internet meme. The notoriety of that shot aside, there are probably a dozen Cage expressions or poses that could vie for the honor of most unforgettable image in Vampire’s Kiss. We ultimately went with the view of Cage’s defeated face as he lies under his couch-cum-coffin, with Jennifer Beals’s hallucinated legs perched above him—an image also used for the film’s original theatrical poster.

THREE WEIRD THINGS: Alphabet-mastering Cage, cockroach-eating Cage, plastic-fang Cage

WHAT MAKES IT WEIRD: Cage, entirely Cage. This is Nicolas Cage’s strangest performance. Let me repeat that. Cage has starred as an Elvis-obsessed lowlife in movie, as the twin alter-egos of in a movie, as a woman-punching detective in the ridiculous Wicker Man remake, as a heroin-addicted New Orleans cop in a movie, and it’s this performance as a literary agent who thinks he’s turning into a bloodsucker that’s his strangest. Without Cage jumping onto desks, eating cockroaches, and posing like Mick Jagger after demonstrating his mastery of the alphabet, this would merely be an oddball tale; with him in the role, it’s a totally bizarre one.


Original trailer for Vampire’s Kiss

COMMENTS: “That mescaline… that’s strange stuff.” Maybe—just Continue reading 243. VAMPIRE’S KISS (1988)

EAKER VS. EAKER VS. THE SUMMER BLOCKBUSTER: GHOSTBUSTERS (2016)

Aja Eaker: Hey, 366 Fans!

I have no idea what Alfred is furiously clicking away at for this review. All I can say is that he is scowling, chain-smoking, and guzzling coffee that I think was left over from this morning (although it could be from last night), and we are sitting opposite each other, every MacBook Pro for oneself.

Let’s get straight to it: if you are not old enough to recall the original Ghostbusters when it came out, this movie is going to be hard to talk about in terms that adequately convey the magnitude of what it set out to accomplish. This is one of the movies that defined the 1980s American popular culture scene. When news broke of the remake as a legit happening, the response was one of skepticism.

Everybody showed up for the party, except Harold Ramis, but he died, so we can excuse him on those grounds. And they did throw in a guy that looked just like him—for a silhouetted nod during the end credits—so calm down, those of you over 35: you’ll get all the goods, plus fresh faces of comedic glee.

Still from Ghostbusters 2016What I loved about this Ghostbusters was the female cast who successfully completed a daunting therapeutic task for the global psyche. During the Hollywood premiere, a photo was taken of Kristen Wiig greeting a girl of about ten wearing a complete Ghostbusters‘ costume. A 16-year old onlooker saw this potent exchange and wrote an article about that moment and its meaning, which is now circulating social media. The crux of the article is about women’s representation in film and how this one got it right. It is a darn good read.

I’m all for a flick that not only pays homage to the greatness of what came before (thank you for throwing in Slimer, Sigourney, and Stay-Puff), while presenting that today’s women can be equally funny, clever, tough, and most importantly, SMART. As a fellow female physics nerd, it was easy to love the quirks and quarks of this remake. While I traditionally love the humor of Melissa McCarthy, Kate McKinnon totally stole the show. I think it was because I could personally relate to being committed to being a scientific badass that social expectations for what a “normal” woman looks like is lost on us at times. We dig our own weirdness, and that is actually really cool. I found her delivery hilarious throughout.

So take my review with a big grain of Morton Salt, as I unabashedly loved the original and collected all of the GB paraphernalia back in the day, and I loved this version for its effort. I found parts of it lackluster and too long, over-reaching and kitschy, but balanced well enough that I would feel totally safe taking a trove of tweens to see it. No gratuitous flashes of skin, not a single misuse of female sexuality, while still poking fun at the universal ability to get all goofy Continue reading EAKER VS. EAKER VS. THE SUMMER BLOCKBUSTER: GHOSTBUSTERS (2016)

CAPSULE: THE CHASE (1946)

DIRECTED BY: Arthur Ripley

FEATURING: Robert Cummings, Michèle Morgan, Steve Cochran, Peter Lorre

PLOT: A mentally fragile veteran of the U.S. Navy stumbles into the employ of an eccentric gangster and inadvertently seduces the hoodlum’s wife; his dodgy escape gets dodgier when his mind snaps and he awakens in an unfamiliar apartment.

Still from The Chase (1946)

WHY IT WON’T MAKE THE LIST: While it is rare to find an example of film noir that isn’t worth seeing, it is also rare to find one that fits the description of “weird.” The Chase dabbles with some strange encounters and has a plot explosion that very nearly carries it into 366’s warm embrace, but it comes up short enough to make one wish the film-makers had gone the distance.

COMMENTS: With a scramble of memory loss, noir grit and brevity, oddball bad guys, and a side of Peter Lorre, The Chase cruises down its narrative path with an unlikely mix of the conventional and the abnormal. We dive right into the story of Chuck Scott (Robert Cummings), a down-at-the-heels navy veteran in Florida who finds and returns the cash-filled wallet of one Eddie Roman (Steve Cochran). Both impressed and amused by the man’s honesty, Roman hires Scott as his chauffeur, firing the man’s predecessor on the spot. Scott quickly gains the trust of Roman’s captive wife, Loran (Michèle Morgan), and after a number of trips to a nearby beach, they plot an escape. An hour in, we are deep indeed in standard noir territory—and then something odd happens.

But please allow me to back-track for a moment. As characteristic as it was to start with, The Chase already seemed to have a weird undercurrent attempting to break free. The scene where Scott tracks down Roman and tries to get a meeting with him to return the wallet is a bizarre set-piece that I can only describe as repetition at the corner of creepy and amusing. Through the door’s peep-hole, Scott first explains himself to a butler (named “Job,” of all things), then holds the exact same conversation with a henchman, one “Mr Geno” (Peter Lorre). Gaining entrance, Scott explains himself a third time before Mr Geno reluctantly directs him to Eddie Roman, who is being groomed by two female attendants. Roman asks one, “How do you feel being a barber … cutting a man’s hair. Feels good, doesn’t it?”

Between this scene and the twist we see a souped-up luxury car with rear-seat gas and brake, Peter Lorre laconically quipping, a knife-throwing Cuban waiter, and a biddable Asian imports/exports shop-keeper. Or do we? There is a dimly lit transition shot of a telephone ringing and all of a sudden the movie jumps from bad things happening in Cuba to unclear things happening back in Florida.

Scott, waking up in a room we know he lives in, has no idea what’s going on. He stumbles around a little, he takes the medication he left on the desk, and makes a phone call, explaining, “…it’s happened again.” At that point, The Chase seems to shift into high-weird gear, and we start trundling down an understated but “off” string of events. Build, build, build—and oh so sweetly—only, alas, to have the weird rug pulled away to make room for an altogether too prosaic ending. I generally don’t say this, but this film seems ripe for a re-make by a director who’d be willing to go as far as coherently[1] possible; that said, I recommend you check this one out.

Kino Lorber’s 2016 DVD/Blu-ray release of The Chase includes commentary by none other than .

WHAT THE CRITICS SAY:

“… an especially bizarre jaunt through a nightmarish crime world… More than any classic film noir that I can think of, The Chase stands as a predecessor to David Lynch’s Mulholland Dr.“–Jeremy Heilman, Movie Martyr

  1. Or, for those who’d prefer, as incoherently as possible. []

LIST CANDIDATE: I [HEART] HUCKABEES (2004)

DIRECTED BY: David O. Russell

FEATURING: , Dustin Hoffman, Lily Tomlin, , , ,

PLOT: Albert (Schwartzman) is an activist fighting the gigantic Huckabees corporation, which is building a Target-style store in the nearby woods. Enlisting the help of a pair of “existential detectives” (Tomlin and Hoffman), Albert soon encounters two Huckabees operatives—the beautiful blonde couple Brad (Law) and Dawn (Watts)—as well as a disillusioned fireman (Wahlberg). Eventually, everyone’s lives are changed.

Still from I [Heart] Huckabees (2004)

WHY IT MIGHT MAKE THE LIST: Because it is so willfully, obstinately pretentious, unfunny and heavy-handed as to be all but impenetrable. Still, fans of the bizarre will likely get something out of it, as it definitely goes all-out in its manic insanity and breaks a ton of storytelling rules.

COMMENTS: Director David O. Russell once said that I [Heart] Huckabees was his least favorite of his own films. It may not have been fun to make (find the YouTube videos that show Russell throwing a tantrum—among other things—at Tomlin), because it certainly isn’t fun to watch.  A labyrinthine mess, Huckabees makes no sense and doesn’t seem to want to. Despite fine performances (particularly Wahlberg’s) from its all-star cast, the movie is (apparently intentionally) unappealing from beginning to end. Granted, this is a polarizing picture (no one is likely to have a “meh” reaction to it), but yours truly could barely sit through the film.

After this debacle, Russell made Nailed, which was left unfinished and shelved for years, but followed it up with three artistic and commercial triumphs in a row: The Fighter (also with Wahlberg), Silver Linings Playbook, and American Hustle. I [Heart] Huckabees, by contrast, is like a transmission beamed in from an alternate, unpleasant universe in which nothing means anything. (Perhaps that was the point of the “existential detectives”). The film reaches one its many nadirs when Albert has a -like vision of Brad as a lactating Virgin Mary, or something.  Meanwhile Dustin Hoffman sports a hairstyle reminiscent of the Beatles circa 1964, Tippi Hedren drops an F-bomb, Schwartzman’s real-life mother (Talia Shire) shows up to play Albert’s mother, and Shania Twain pops up as herself (I can’t see her fan base enjoying this picture). None of this is amusing or at all entertaining. It is, however, genuinely bonkers. What the point of this silliness is  remains a mystery, but one that most people didn’t care to find out when the film opened in 2004. That was the same year that the equally challenging , but far superior, Eternal Sunshine of the Spotless Mind was released. That film had a heart as well as a brain. Huckabees, on the other hand, is like an endless series of interlocking puzzle pieces that can never be put together correctly. It’s not a good movie, but it’s definitely a weird one, and it just might make it onto the List.

WHAT THE CRITICS SAY:

“Weird does not necessarily equal funny.”–Linda Cook, Quad City Times (contemporaneous)

(This movie was nominated for review by “sam.” Suggest a weird movie of your own here.)