Tag Archives: Jonathan Demme

CAPSULE: SOMETHING WILD (1986)

DIRECTED BY:

FEATURING: , Melanie Griffith, Ray Liotta

PLOT: Straight-laced businessman Charlie impulsively hops into a car with wild gal Lulu, who takes him on an extended adventure that exhilarates him until her psycho ex-con ex arrives on the scene.

Still from Something Wild (1986)

WHY IT WON’T MAKE THE LIST: I must be missing something about Something Wild. I get why people like it: likeable cast top to bottom, sexy Melanie Griffith, easy to follow story that’s comfortably familiar but still manages to surprise. What I don’t get is its cult movie reputation, Criterion Collection-worthiness, or recommendation for coverage on a weird movie site.

COMMENTS: Something Wild is a masculine mid-life crisis daydream, with Melanie Griffith as the manic pixie dream girl on a meth binge who leads “closet rebel” yuppie Jeff Bridges into a wonderland of forbidden pleasures and the danger that accompanies them. Casual drinking and driving, handcuffs as a sex toy, cruising down the highway in a convertible, picking up hitchhikers, shoplifting, dash-and-dines, singalongs to unthreatening rock and roll hits, jealous stares at the wild babe on your arm, winning the girl’s heart away from the abusive bad boy jock—all the joys of the late teenage years are here, for a middle aged man who really knows how to appreciate them to savor. Bridges’ Charlie is a solidly nice guy, who remains so in our eyes even after he abandons his wife, children and colleagues. In real life Griffth’s kooky free-spirited Lulu would be an alcoholic sociopath destined for a bad end. In the movie’s reality, however, the mismatched couple have nothing but sexy wacky adventures—at least, until Ray Liotta springs onto the scene like a blade out of a switchblade to add a dose of the dangerous reality that would face any two people who let their hormones lead them this far astray.

Maybe the mild kinkiness and the tone-shift (which is frequently overstated in its impact) seemed fresh in 1986—although maybe not, considering that was the year that gave us Blue Velvet. If there’s anything remarkable about Something Wild, it’s the way that the script and direction keep us so darn comfortable with Charlie and Lulu’s outré adventures, grounding them in the conventions of realist romantic comedy while teasing us that we are glimpsing the exotic pleasures of the hedonist set. Offbeat and sexy, this is a fine comfort movie to watch while munching popcorn on the sofa—but it’s not hard to find something wilder. Just browse the sidebar here.

Look for cameos by directors John Sayles and . Extras on the relatively bare Criterion Collection disc include the trailer, a 30-minute interview with director Demme, and a 10-minute discussion with screenwriter E. Max Frye. This is not to be confused with 1961’s less-known but arguably weirder Something Wild, starring Carroll Baker as a rape victim in a fugue state, which is also in the Criterion Collection.

WHAT THE CRITICS SAY:

“Demme is a master of finding the bizarre in the ordinary.”–Roger Ebert, Chicago Sun-Times (contemporaneous)

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

TRUE STORIES (1986)

True Stores (1986) is one of the quirkiest and most original movies of the 1980s. That is not altogether surprising, since the Talking Heads were perhaps the most authentic and original rock band since Velvet Underground. Their concert film Stop Making Sense (1984, dir. Jonathan Demme) is justifiably considered to be the most perfectly filmed musical performance to date. That film, like the Talking Heads themselves, was birthed from the New York New Wave underground scene, with true-blue eccentric David Byrne as the front man, driving force, and genius of the group. The remaining members of the band supplied a down-to-earth quality which prevented Byrne from totally succumbing to art-school loftiness. Further proof lies in the Heads’ True Stories (1986), and more pointedly in the fact that post-Heads Byrne, while still compelling and clever, has been decidedly uneven in his work, and unable to retain that sorely missed folksiness he had with the band.

Byrne writes, directs, narrates and stars in True Stories and it is his congenial presence which edifies all the quaint idiosyncrasies inherent in American mythology. Byrne sheds his oversized dinner suit for a black cowboy hat, hops in a red convertible, and escorts us to the fictional Virgil, Texas just in time to celebrate its 150th anniversary. Not surprisingly, what follows is hardly a linear narrative. Rather, it is an anecdotal slice of postmodern myth informed by banality, fashion, and consumerism with Byrne as our gnostic Thorton Wilder guide. Although Heaven is a place where nothing ever happens, True Stores never descends into all-too-easy cynicism. For the free spirited, Virgil is as easy to take as chocolate covered Talking Heads. Some, including the late Roger Ebert, claimed True Stories is not a musical. I disagree. Like any good musical, this film makes no claim towards pretentious realism. In ‘s musicals, the directors always attempted to mask the eccentricities of the characters, and the choreographer. Byrne’s approach is to romance his characters, with the Talking Heads lip-synching to Byrne’s nine songs via good-humored abandon. The result is a refreshingly original choreography that gives the film its whimsical quality. The studio didn’t know quite what to do with True Stories and, predictably, nothing like it has been attempted since, making it a standalone effort with a texture solely of its time and place.

Still from True Stories (1988)A young, awkward, and infectiously charming plays a bachelor whose life goal is to get married. The “Wife Wanted” neon sign in his yard never seems out of place in Virgil. A preacher (John Ingle) begins his sermon with a discourse on Elvis, and you do know that those newfangled barcodes are going to be used by the antichrist? I recall very similar sermons from my own childhood in the 70s. True Stories astutely captures those beautiful, real moments of unintentional, inspired surrealism.

Among Virgil’s inhabitants are: a married couple who haven’t spoken in 15 years (Spalding Grey and Annie McEnroe, who are quite happy with the arrangement), the laziest woman in the world (Swoosie Kurtz), a pathological liar (the delightful Jo Harvey Allen) who claims Rambo was one of her sexual conquests, and R&B musician Roebuck “Pops” Staples and Mexican punk singer Tito Larriva (both of whom prove that Byrne and company are not Virgil’s only musical inhabitants).

There’s no evading the ghostliness that palls over True Stories, but it is as perfectly natural, edifying, and American an idea as Norman Rockwell providing illustrations for the National Enquirer.