Tag Archives: 1979

CAPSULE: ROCK ‘N’ ROLL HIGH SCHOOL (1979)

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DIRECTED BY: Allan Arkush

FEATURING: P. J. Soles, Dey Young, Vincent Van Patten, Clint Howard, Mary Woronov, Paul Bartel, The Ramones

PLOT: Riff Randell battles the punk-hating administration at her high school by invoking the musical powers of her favorite band, The Ramones.

Still from Rock 'n Roll High School (1979)

COMMENTS: The Ramones were icons of minimalism. Progenitors of punk, they pioneered a sound that was somehow both retro and revolutionary, delivering two-chord, two-minute landmarks that had none of the feel of craft and all of the sensation of having been spewed out of the most primal reaches of the band members’ autonomic nervous systems. Everything about them was reduced to its bare essentials: a basic guitar-bass-drum setup, fronted by a flat, nasal vocal that was tuneful while making no pretensions to being musical, presented by a group that spoke to punk’s fierce independence with a façade of careful uniformity, from the matching leather jackets and torn jeans to the identical messy face-obscuring Kate Jackson hairstyles, and even extending to their manufactured noms de théâtre. Everything about them was carefully engineered to celebrate everybody by being nobody.

So the notion that the Ramones would be the centerpiece of a bubbly teenager’s every waking moment is a little dissonant. And that they would somehow come to have an entire feature film devoted to them—one with a substantial cult following—is nothing short of bizarre. It’s the domain of old people to complain that the kids are making idols out of empty shells, but the emptiness of the Ramones is part of their very essence. They’re almost antithetical to the idea of teenybop worship. To watch P J. Soles’ Riff Randell—a veritable firehose of giddy hyperactivity—go gaga for this quartet of empty t-shirts is to plunge headlong through the looking glass. Try to imagine a Disney Channel original movie where a precocious 12-year old learns self-confidence through the power of her favorite band, and that band turns out to be GWAR. (Note to Disney: Please greenlight this. I will absolutely write the script for you.)

But for the purposes of the Roger Corman film factory, the Ramones hardly matter. They’re answer to a Mad Lib wherein [INSERT NAME OF BAND] inspires kids to overthrow those dullard grownups. (It’s telling that Corman’s original suggestion was center the film around disco music, an idea that would have been truly transgressive if it had been filmed two years earlier and dared to address the politics of race and sexual orientation endemic to the genre.) Rock ‘n’ Roll High School has one goal, and it’s to tell the kids how much cooler they are than those stick-in-the-mud adults. And if we have to put our thumb on the scale to make the old people especially dorky and uncool, well hey, that’s just Roger Corman being a smart businessman.

There’s absolutely nothing wrong with the kind of movie that Rock ‘n’ Continue reading CAPSULE: ROCK ‘N’ ROLL HIGH SCHOOL (1979)

APOCRYPHA CANDIDATE: BUFFET FROID (1979)

Recommended

DIRECTED BY: Bertrand Blier

FEATURING: , Bernard Blier, Jean Carmet, ,

PLOT: A man in the Metro confesses his fantasies about killing strangers to a stranger; a surreal series of casual murders follows, most occurring over the course of a single long night.

Still from Buffet Froid (1979)

WHY IT MIGHT MAKE THE LIST: This dreamlike and absurd black comedy about murder may be the most Buñuelian movie never made.1

COMMENTS: “Don’t you ever get odd ideas?”, young and unemployed Alphonse (Depardieu) asks a stranger in the Paris Metro. Director Bertrand Blier has plenty of odd ideas, most of them revolving around murder and his characters’ blasé reactions to the ultimate crime. It turns out Alphonse may, or may not, have killed the accountant he met in the subway—but no one seems to care. His wife merely throws his bloody switchblade in the dishwasher.  He goes to his new neighbor, who just happens to be a police inspector, to report the death, but the man is off duty and can’t be bothered. Another murderer shows up at his doorway and Alphonse invites him in for dinner and a glass of wine. Then, through a series of dreamlike coincidences, the inspector and the killer join Alphonse on a murder spree—if such a laid-back, stumbling affair can be called a “spree,” and if some of the mysterious killings qualify as “murder.”

For the most part, the film’s events occur over one long, endless night—with perhaps a nap or two—before a sunlit epilogue in the French countryside. Characters never show up unless they are needed as killers, victims, or witnesses—there are no extras waiting for trains in the Metro, the Paris streets are deserted, and even the skyscraper that houses Alphonse’s apartment is totally uninhabited except for him, his wife, and the newly-arrived Inspector. Alphonse, and the other characters, also complain about the cold—they never seem to be able to get warm. Perhaps they are feeling the chill of the grave?

Alphonse is the dreamer who has an inkling that he might be dreaming—he is the only one who (occasionally) wonders what’s going on, who finds it odd that no one seems to care that he might be a murderer. Everyone else accepts the ever-shifting social dynamics with the calm acceptance of someone living in a dream. The acting is utterly deadpan and droll. A man is tortured by being exposed to a string quintet. Alphonse mentions that he has nightmares that last all night where he is wanted for murder and chased by the police. Perversely, in the nightmare script that plays out, the police don’t hunt him, but abet his ambiguous crimes. Some of it is a black satire on modern alienation, but the surrealism of the scenario speaks to deeper fears—death is the only sure constant in this movie where caprice otherwise rules the night.

Buffet Froid flopped (commercially) on its release, wasn’t screened in the U.S. for seven years, and is barely distributed today. It is reportedly a cult film in France, but that doesn’t do much for the rest of us. I was able to find it on the free-streaming service Kanopy (which requires membership at a a participating public or university library—and the catalog my differ depending on your supplier).

WHAT THE CRITICS SAY:

“A blackly surreal procession of amoral and/or illegal acts…  producing a cherishably Buñuelian depiction of the far-from-discreet crimes of the bourgeoisie.”–Time Out London

(This movie was nominated for review by “Dwarf Oscar,” who called it an “an absurd and deadpan comedy that gained a cult status here in France.” Suggest a weird movie of your own here.)

CAPSULE: TOURIST TRAP (1979)

DIRECTED BY: David Schmoeller

FEATURING: Chuck Connors, Jocelyn Jones, Jon Van Ness, Tanya Roberts

PLOT: A group of teenagers have car trouble in the back country and find themselves stuck at a closed museum exhibiting creepy, realistic mannequins.

Still from Tourist Trap (1979)

WHY IT WON’T MAKE THE LIST: Though it be an excellent cult horror classic, this one ranks in the bottom half when it comes to real weirdness. If 2013’s Evil Dead or 2012’s The Cabin In The Woods don’t make the list, what chance does Tourist Trap have? While it’s a memorable horror film, Freddy Kruger picks weirder things out of his teeth.

COMMENTS: Weird movie fans approaching Tourist Trap will have reason to get their hopes up when they see the director, David Schmoeller. He also directed Crawlspace (1986), which is one of the better examples of a cult horror classic and a decidedly offbeat production. And nothing says “you came to the right movie” like the opening music theme, which is a perfect blend of whimsy and dread. Soon we will encounter the ISO standard horror cliches: carloads of young folks, a flat tire, the creepy old rest stop in the middle of nowhere, and the first sacrificial lamb killed off in a sentient room full of laughing mannequins. Ten minutes in, you’ll swear you’re watching an Evil Dead installment, until you remember this was done two years before Sam Raimi and Bruce Campbell first ventured into the Tennessee woods. However, by the halfway mark, after you’ve gotten a better map of this film’s universe, there will be no doubt in your mind that Crawlspace’s director made this. Unique villains are David Schmoeller’s forte.

So a carload of teenagers on some kind of outing stumble upon the “Lost Oasis,” a museum now long closed ever since the new highway went through. Stranded with the typical horror-movie car malady, the broke-down kids soon meet Mr. Slausen (horse opera vet Chuck Connors), who runs a decrepit museum of mannequins. Slausen is chock full of exposition about this creepy place, a locale that practically begs for Scooby-Doo and Shaggy to run around stumbling into the trap doors and secret passageways. As it is, the gang of kids do a knock-out job of being dim-witted horror movie teens, insisting on going skinny dipping in muddy ponds in the middle of nowhere, or splitting off alone from the group to inspect deserted houses at night—even after they’ve been warned—because they’re just so darned curious. To the movie’s credit, once we put all the pieces together and gotten to know our antagonist, we get a whole far greater than the sum of its parts. For a low budget flick with little to work with beyond old theater parts and department store fixtures, it wrings out every ounce of scare value from its limited arsenal.

Tourist Trap suffers from Trope Codifier syndrome, causing it not to age well even though it originated many of the characteristics we now view jadedly. We see it today as a derivative mad slasher flick, but that genre was just being born when this movie came out. The wayward teens might as well have numbers branded on their foreheads to show the order they’ll be picked off. The story is loaded with creepy atmosphere, but very thin on logic. Gosh, those mannequins sure seem life-like, as if their eyes follow you around… now you see where this is going. Tourist Trap is redeemed if you recall that it came out one year before Friday the 13th and just one year after Halloween. Dyed-in-the-wool horror/slasher fans will want to see this movie to check it off the must-see list, but weird fans will find little to hold their attention past the sheer offbeat charm of it all and the occasional hilarious one-liner. Make no mistake, you’ll at least get a shiver from the mannequins the next time you’re browsing in the department store at your local dusty, half-deserted mall, which just goes to show that Tourist Trap has done the job it set out to do.

WHAT THE CRITICS SAY:

“Even though the pic couldn’t be dumber or more senseless, for some it might have some appeal because of its oddness.”–Dennis Schwartz, Ozus’ World Movie Reviews

OTHER LINKS OF INTEREST:

This movie was made for Kindertrauma:

Tourist Trap

Crawlspace (also by David Schmoeller) review at Tenebrous Kate’s:

Crawlspace [1986]

1979 EXPLOITATION TRIPLE FEATURE, PART TWO: MALIBU HIGH AND THE BUTTERFLY MURDERS

Gas Pump Girls (directed by Joel Bender) is a slice of 70s drive-in T&A. Not aspiring to be anything else, it revels in its Americana kookiness. June (Kirsten Baker) takes over a gas station from her uncle (Huntz Hall from the Bowery Boys) after he has a heart attack. She trains her tight tanktop, short-short-wearing girlfriends to pump gas (“Stick it in, squeeze it, and let it peter out”), which naturally leads them to take on a big bad oil company. Musical numbers and topless scenes are thrown in just for the hell of it, and why not? There’s a punk gang, too; the film is almost a hybrid of the Ramones doing a Grease soundtrack on a “Happy Days” set with a bit of Rocky thrown in. Yes, it’s that cool. It was influential and Bender does wonders with virtually no budget, making this quintessential 1970s trash.

H.O.T.S (directed by Gerald Seth Sindell) is another uddersploitation offshoot of Animal House. It can be summed up as politically incorrect campus topless football. Given that its inspiration isn’t very good to begin with, H.O.T.S. doesn’t set it sights very high, and is all the better for it.

Linda Blair’s cleavage, Linda Blair’s legs, lots of hair, lots of polyester, lots of spandex, and lots of skating add up to a late 70s campfest in Roller Boogie (directed by Mark Lester). It’s embarrassing in the best way.

Bad men kidnap a busload of pretty, all-American cheerleader boobs in The Great American Girl Robbery (directed by Jeff Werner). Ra-ra.

Malibu High (directed by Irvin Berwick) is what 70s drive-in cinema was all about—sex, drugs, and amorality. Hallelujah! Kim (Jill Lansing, in her only film role) is flunking school, just got dumped by her boyfriend for a rich bitch, hates her bathrobe-wearing mama, and her daddy killed himself. What’s a girl to do? First, bed all the teachers. Now, Kim has a 4.0 GPA, but she wants nice things, too, dammit. With her new miniskirt, Kim figures she might as well get paid for what all those stupid girls do for free. Meet Kim, the hooker who’ll rock your van into the gates of paradise. Alas, poor Kim also likes the wacky tobaccy, and we know what that demon will do—turn you into a gun-toting hitman with a pop-gun. Lansing plays her sociopath without an ounce of sympathy and even less talent, with thespian skills so tawdry that it’s easy to see why she became a minor cult goddess. Even worse is the writing, which seems penned by a clueless tenth grader, and the score by a tone deaf composer. It’s mind-boggling enough to be a trash masterpiece that can rank with the likes of .

Mistress of the Apes (1979)In the future, future generations may see fit to an erect a future Mount Rushmore homage to the likes of , , , and Larry Buchanan in the future. And why wouldn’t they, with gems like Buchanan’s Mistress of the Apes? See Susan (Jenny Neumann) fill a pair of white daisy dukes. See Susan teach a missing link how to deep throat a banana. See Susan scratch her armpit and beat her boobs. See Susan become goddess of the jungle. Among the injustices of the world is the academy’s total failure to nominate “Ape Continue reading 1979 EXPLOITATION TRIPLE FEATURE, PART TWO: MALIBU HIGH AND THE BUTTERFLY MURDERS

1979 EXPLOITATION TRIPLE FEATURE, PART ONE: THE RETURN OF THE BIONIC BOY

The final year of exploitation cinema’s greatest decade begins with Alien, the film that made the careers of director and star Sigourney Weaver.   stands out in a top-notch ensemble, which includes the late , Tom Skerrit, Yaphet Kotto, , and Veronica Cartwright. Seven years later, took a very different route with the belated, high octane sequel, which, unlike its predecessor, was an immediate hit. Apart from the performances of Weaver and , however, Cameron’s sequel doesn’t stand up, lacking the tension, freshness, and sense of wonder of Scott’s original, which took its time earning its cult status.

Likewise, The Brood cemented ‘s reputation as a startlingly original and provocative filmmaker. Status quo critics, such as Roger Ebert, were mighty offended. Thank God.

Staying consistent, Ebert missed the boat again with ‘s PhantasmIt spawned a lot of imitations, including Coscarelli’s inferior sequels, which have curiously imitated the imitators.

‘s Nosferatu The Vampyre is a homage to ‘s original. Although some will undoubtedly scream blasphemy, Herzog’s effort, starring in the role made famous by Max Schreck, is the equal of the 1922 classic.

Dracula (directed by John Balham) was an unnecessary big budget remake with the Count (Frank Langella) with feathered hair. Laurence Olivier and co-starred.

With the success of Carrie, it was inevitable that Stephen King’s second novel, Salem’s Lot, would be adapted too. Surprisingly, it was made into a mini-series. Even more surprisingly, it’s directed by , although like Poltergeist, it feels more like the work of its producers. David Soul, riding high on his “Starsky and Hutch” popularity, stars, but James Mason, as usual, steals the show.

Still from The Devil's Three (1979)Cleopatra Wong (Marrie Lee) showed up in 1979 for a couple of ass-whuppin features: first in Bobby A. Suarez’ The Devil’s Three (AKA Mean Business). As usual with Suarez, oddity is in his DNA. In order to save the day, Cleopatra has to dine with the devil (Johnny Wilson), who’s not literally the devil—he’s just a gang lord who goes by that name. Along the way she picks up a flaming bunny in drag (Chito Guerrero) and a four hundred pound psychic (Florence Carvajel) as sidekicks. It’s low budget, badly dubbed, G-rated (well, perhaps PG-rated) lunacy at its most inspired. It probably played at every drive-in theater in the country, for which it was tailor-made.

The Return of the Bionic Boy features a returning Wong, teaming up with the Bionic Boy (Johnson Yap) who is not only bionic, but also an eight-year-old Tae Kwon Do master. Suarez and company jump on the bionic bandwagon, pitting our heroes against Nazis, laser thingamajigs, the campiest gay villain in all of cinema history, and a fire-breathing pseudo-Godzilla as the cherry on top of the icing on top of the cake. Being expired cheese, this comes with a manager’s special discount, including a fee pack of antacids for afterwards. Enjoy.

Amityville Horror (directed by Stuart Rosenberg) was a phenomenon, Continue reading 1979 EXPLOITATION TRIPLE FEATURE, PART ONE: THE RETURN OF THE BIONIC BOY

CAPSULE: CALIGULA (1979)

Beware

DIRECTED BY: Tinto Brass, Bob Guccione

FEATURING: , , , Teresa Ann Savoy,

PLOT: Caligula becomes the Emperor of Rome and lots of depravity happens; any resemblance to actual people, places, or events is entirely accidental.

Still from Caligula (1979)

WHY IT WON’T MAKE THE LIST: On paper, Caligula sounds like a sure bet. There are many bad movies that get honored here, and we even have a tag called “.” Caligula could theoretically qualify for the List of the Weirdest Movies Ever Made by that standard. Except that “bad” doesn’t describe Caligula so much as stupid. Nothing more need be said about this movie but “stupid.” Rocks are too smart to watch Caligula.

COMMENTS: There is at least a hefty essay and maybe a book to be written about the story of how Caligula got made, although perhaps it would be more correct to say it got “executed.” The drama involved in the production is a thousand times more entertaining than anything that ended up on film. Pretty much everybody involved locked horns and stormed off the set to sue each other. Various creative forces within the production struggled to make it a historic Shakespearian opera, a cheap exploitation flick, a softcore porn epic, and a hardcore snuff porn transgression; the result was best summed up when one reviewer called it “a boondoggle of landmark proportions.”

Some cultural context is helpful: the 1970s were an era when movies like Deep Throat had brought big-screen porn into a relatively acceptable light, and filmmakers were getting more daring in testing the boundaries of taste. Caligula pisses on the very idea of taste, and if you dare to abuse your intellect by watching it, you will encounter several scenes where it literally does just that. Welcome to the Horny Roman Empire, with Caligula (Malcolm McDowell) romping with Drusilla (Teresa Ann Savoy), which seems to be harmless enough erotica until you learn they’re brother and sister. His uncle Emperor Tiberius (Peter O’Toole), summons him to discuss politics and witness his depraved orgies. Caligula assassinates Tiberius and assumes the throne, breaking all hell loose as he sinks into depravity. Caligula promotes Drusilla as his equal, convicts Marco (Guido Mannari) of treason in a kangaroo court and offs him, and marries Caesonia (Helen Mirren) because he can’t legally marry his sister. Drusilla dies, Caesonia gets pregnant, Caligula wars with the Roman senate and declares himself a god, Caligula shows off his horse, the new senator Chaerea plots to assassinate Caligula and succeeds, and the movie ends, merciful heavens be praised.

In the midst, background, foreground, and everyground of these shenanigans, naked people cavort in every depiction of hedonistic excess possible. It kind of plays out like a film with a bigger budget but fewer ideas and not a trace of a sense of humor. In fact, Malcolm McDowell’s presence in this film invites you to compare it to a signature scene of A Clockwork Orange; it’s exactly the kind of “ultraviolence” film the character Alex would be forced to watch during his brainwashing sessions. There’s rape, torture, bestiality, necrophilia, mutant people with four legs and butts on their bellies, silly over-the-top executions and mutilations, urination, defecation, and basically every perversion you could search for on the Internet. Most of this just flies by with no context or reason to exist. Sometimes the camera just gets bored and focuses on somebody’s crotch, while irrelevant actors screech their dialog in hopes of getting it’s attention. Nobody in this movie even gave a thin damn about historical accuracy. The sets are festooned with anachronisms such as a styrofoam hat shaped like a penis, worn by an extra just casually passing through the set while apparently waiting for a taxi.

When it comes to erotic arthouse films, Caligula fails by every definition. The Cook, The Thief, His Wife & Her Lover does a superior job of being a weird epic with erotic scenes, for just one example. There’s a dozen or so artsploitation films already in line on this site ahead of Caligula, and there’s only so many we need. In terms of history, just take into account that even the writings we have of the real life of Caligula (mostly Suetonius, writing 80 years after the emperor’s death) are suspected of fudging the facts in the interest of political propaganda. In terms of pure kinky titillation, go watch The Story of O or Secretary or Belle De Jour instead. Don’t look for steamy thrills in Caligula, because nobody, not even serial killers apprehended with a freezer full of body parts, is this depraved.

WHAT THE CRITICS SAY:

“… as with a lot of bad would-be art, this cinematic oddity holds a truly bizarre fascination…”–Michale Dequina, The Movie Report (1999 revival)

CAPSULE: APOCALYPSE NOW REDUX (1979/2001)

Must See(original 1979 cut)

Recommended(Redux cut)

DIRECTED BY:

FEATURING: Martin Sheen, , , , Fredric Forrest, Albert Hall, Sam Bottoms, Larry Fishburne, Harrison Ford, Bill Graham, , (Redux only), Aurore Clement (Redux only)

PLOT: Loosely based on the Joseph Conrad novella “Hearts of Darkness,” the film centers on Willard (Sheen), who is sent up the rivers of Cambodia to terminate the mad Colonel Kurtz (Brando) and destroy his cult-like compound.

Still from Apocalypse Now (1979)

WHY IT WON’T MAKE THE LIST: Apocalypse truly is the Vietnam war on acid. At times it’s surreal, hallucinatory and mind-blowing, but that’s not always the same as weird. However, if this were a list of the 366 greatest films ever made, it would definitely make it. Heck, Apocalypse would probably make a list if this of the 66 greatest films ever made—although the longer 2001 Redux version is definitely inferior to the original 1979 film.

COMMENTS: Francis Ford Coppola’s original 153-minute version of Apocalypse Now opened in 1979 after a chaotic production and almost two years in the editing room. All that time, money and effort paid off, because, despite a draggy third act, Apocalypse Now is one of the maddest, greatest war movies ever made. Willard’s trip down the river (or the rabbit hole) is punctuated by one mind-boggling set-piece after another, including a helicopter assault on a Vietnamese village scored by Wagner’s “Ride of the Valkyries”, a USO show featuring Playboy bunnies that slowly devolves into a chaotic free-for-all, and an opening sequence where a drunken Willard trashes his hotel room while Jim Morrison’s eerie “The End” pours out in surround sound. It’s the Vietnam War filtered through madness, LSD, and loads of unforgettable music.

The Redux version of the immortal film adds 49 minutes of frankly unnecessary footage, resulting in a wildly overlong 202 minute film. The “new” sequences mostly consist of two never-before seen set-pieces. In the first, Willard encounters a French family living on a plantation. They’re in Cambodia, but it’s as if they were still back in France circa 1950. Willard even finds romance with one of the women, Roxanne (Clement). This sequence, while interesting in an academic sort of way, is less than compelling. In the second new subplot, Chef (Forrest) and the other men on Willard’s boat spend the night with several of the Playboy bunnies last seen during the memorably disastrous “Suzy Q” sequence. These added scenes do little but show us that Willard and his crew found female companionship on their trip up the river, and it’s easy to see why Coppola cut the footage in the first place. It’s just not that involving.

Luckily, the rest of Apocalypse is still there: every other brilliant sequence that has earned the film a reputation as a flawed masterpiece. Yes, once Brando turns up, the movie sort of slides downhill, but the last 30 minutes improve upon repeated viewings. Furthermore, the 2010 Blu-Ray restores the film to its original widescreen dimensions. All the previous DVD versions had cropped the picture to fit high-definition television screens (according to cinematographer Vittorio Storaro’s wishes), but no more. This Blu-Ray also includes the jaw-dropping 1991 documentary Hearts of Darkness, which examines the film’s nearly disastrous 1976-7 production, which was beset by typhoons, a heart attack, and a budget that swelled to a then-staggering $31.5 million. Directed by Eleanor Coppola (wife of Francis), the doc is itself must-see viewing.

WHAT THE CRITICS SAY:

“Alternately a brilliant and bizarre film…An exhilarating action-adventure exercise for two-thirds of its 139 minutes, ‘Apocalypse’ abruptly shifts to surrealistic symbolism for its denouement… Experience is almost a psychedelic one–unfortunately, it’s someone else’s psyche, and without a copy of crib notes for the Conrad novel, today’s mass audience may be hard put to understand just what is going on, or intended… Dennis Hopper is effectively ‘weird’ as Brando’s official photographer.”–Dale Pollock, Variety ( 139-min. ‘work in progress’ version shown at the 1979 Cannes festival)