Written and directed by Paul Schrader, Hardcore is the story of a conservative businessman who goes on a search for his daughter as it is believed that she has taken part in the culture of pornography. The film is a study of a man who enters into a subculture of sadomasochism and pornography to find his daughter believing she has descended into a world of decadence and exploitation. Starring George C. Scott, Season Hubley, Peter Boyle, and Dick Sargent. Hardcore is a haunting yet rapturous film from Paul Schrader.
The film is set in the subculture of pornography, prostitution, and other forms of adult entertainment where the daughter of a Calvinist businessman from Grand Rapids, Michigan has disappeared into that world during a trip to Los Angeles as she never returned prompting her father to go into the world to find her. It’s a film that has a man with strong conservative values as he is a single father trying to run various businesses he owns in this small town of Grand Rapids while raising his daughter the right way with the help of his sister and her husband who have a family of their own. Paul Schrader’s screenplay has a straightforward narrative yet it’s more about a man venturing into a dark underworld of sex as it is far removed from everything he knows about as he seeks the help of a private investigator who is warning him about what he’s about to enter and maybe not want to have his daughter return home.
For Jake Van Dorn (George C. Scott), his journey to find his daughter and return her home forces him to enter this dark world and learn about its culture of sadomasochism, 8mm porno films, peep shows, prostitution and such that he has never been in contact with despite the fact that there is a porno theater in his home town where he would see his daughter Kristen (Ilah Davis) in a 8mm porno film. Kristen was part of a Calvinist-sponsored trip to California with her cousin only to not return as Van Dorn and his brother-in-law Wes (Dick Sargent) go to Los Angeles where they try to get help from the police as they turn to an unconventional private detective in Andy Mast (Peter Boyle) who doesn’t do things by the book as he also visits porno shoots and such to find out what happened to Kristen. Yet, Van Dorn is forced to do things himself as well as dress sleazier to be part of the world where he meets a young prostitute/porn actress in Niki (Season Hubley) who knows the men that was in the film that Kristen was in. Niki would take him closer to this world as she would finally find someone she can talk to other than just be used for sex.
Schrader’s direction is largely straightforward though he doesn’t go too far into showcasing the dark world of pornography as there’s nothing explicit shown as it is more about Van Dorn’s reaction of what he is seeing and the world his daughter has ventured into. Shot on locations in and near Grand Rapids, Michigan as well as parts of Los Angeles, San Diego, and San Francisco, Schrader uses Grand Rapids as a place of peace, decency, and ty of people that know and respect each other. It’s sort of disconnected by what is going on in society yet there are places that not even Van Dorn is aware of. Schrader’s usage of the medium and wide shots help play into that world as well as a sense of intimacy that is prevalent into Van Dorn’s home and the home of his sister. Schrader’s usage of close-ups would play into the emotional turmoil that Van Dorn would endure as his portrayal of California’s pornography scene is raw and uncompromising despite the lack of male full-frontal nudity.
Schrader’s direction also play into this fish out of water mentality that Van Dorn would feel as he would change his clothes from straight-laced suits to a look that is reminiscent of pimps and producers. Notably as he would pretend to be a porn producer and try to find the actors who appeared in the porno his daughter was in. The film’s third act that has Van Dorn traveling to San Diego and San Francisco to find an actor who might know Kristen’s whereabouts does show Schrader easing up the drama as Van Dorn is accompanied by Niki as it play into Van Dorn’s own faults as a man as well as the fact that he just tries to provide Kristen with a good life while he also shows concern for Niki, who is stuck in the world of porn and prostitution, as he offers a chance to leave this world. Still, there is that air of reality and cynicism that Van Dorn has to endure as well as revelations about his daughter and what she went through. Overall, Schrader crafts a visceral yet intense film about a father going into the dark world of pornography to find his daughter.
Cinematographer Michael Chapman does excellent work with the film’s cinematography with its usage of stylish lights for the scenes set at night that also include some naturalistic lighting for some of the daytime exterior scenes. Editor Tom Rolf does terrific work with the editing as it is largely straightforward as it play into the drama with a few stylish cuts that play into Van Dorn’s confrontations with a few individuals involved with Kristen’s disappearance. Production designer Paul Sylbert, with set decorator Bruce Weintraub and art director Edwin O’Donovan, does fantastic work with the look of some of the seedy brothels, strip clubs, and other porno places in California including the theater in Grand Rapids.
Sound mixer Bud Maffett does superb work for the sound in capturing the mood of the locations as well as some effects that occur in some of intense moments of action. The film’s music by Jack Nitzsche is wonderful for its mixture of blues and country to play into some of the sleaziness that Van Dorn encounters while the soundtrack also features original electronic music pieces by Jill Fraser and Rob Miller that play into the dark night life of California while the rest of the soundtrack feature a mixture of blues, country, and rock as it feature pieces by Mink Deville, Susan Raye, Byron Berline, and Crosby, Stills, Nash, & Young.
The casting by Vic Ramos is great as it feature some notable small roles from Tracey Walters as a porno store teller, Bibi Besch as a designer for Van Dorn’s company, Bobby Kosser as a porn director, Ed Begley Jr. as an actor playing a soldier for a porn film, Hal Williams as an African-American porn actor that auditions for a fake film Van Dorn is producing who spouts some hilarious lines, Marc Alaimo as a controversial porn figure in Ratan, Leonard Gaines as the sleazy porn producer Bill Ramada, Gary Graham and Will Walker as a couple of porn actors who appeared in the film that Kristen was in, and Ilah Davis as Van Dorn’s daughter Kristen as a young woman who disappears and then reappears in an 8mm porno film. Dick Sargent is superb as Van Dorn’s brother-in-law Wes DeJong as a man who becomes concerned with Van Dorn’s well-being as well as going to the police and later Mast for help.
Peter Boyle is brilliant as Andy Mast as an unconventional yet pessimistic detective who makes some chilling discoveries about Kristen while warning Van Dorn to not go any further as he is a flawed man that likes young girls and can be cruel but he is also someone who doesn’t bullshit when it comes to the dark realities of the world. Season Hubley is amazing as Niki as a porn actress/prostitute whom Van Dorn meets as she knows one of the actors in Kristen’s film as she helps Van Dorn while trying to understand his values as she sees a father figure in him as it play into her own troubled life and need for salvation. Finally, there’s George C. Scott in a phenomenal performance as Jake Van Dorn as a devoted Calvinist who is also a successful businessman in Grand Rapids who is given a rude awakening about what happened to his daughter as he copes with the world she’s in and the denial he might be carrying as it is an eerie and tormented performance from Scott who definitely provides some intense emotional moments as a man just dealing with things he might not be ready to cope with.
Hardcore is an incredible film from Paul Schrader that features a great performance from George C. Scott. Along with strong supporting work from Peter Boyle and Season Hubley as well as its study of a man entering into the decadent world of pornography to find his daughter. It is an unsettling yet engrossing film that explores a man being tested as well as be forced to examine his own faults as a man and as a father. In the end, Hardcore is a phenomenal film from Paul Schrader.
Paul Schrader Films: Blue Collar - American Gigolo - Cat People (1982 film) - Mishima: A Life in Four Chapters - (Light of Day) – (Patty Hearst) – (The Comfort of Strangers) – (Light Sleeper) – (Witch Hunt) – (Touch) – Affliction - (Forever Mine) – (Auto Focus) – (Dominion: Prequel to the Exorcist) – (The Walker) – (Adam Resurrected) – (The Canyons) – Dying of the Light - (Dog Eat Dog) – First Reformed - (The Card Counter)
© thevoid99 2020
Directed and co-starring Paul Bartel and written by Bartel and Richard Blackburn, Eating Raoul is the story of a prudish couple whose lifestyle is threatened by swingers living in their apartment building until an accident gives them an idea to get rid of them and realize their dream to open a restaurant. The film is a dark comedy that explore different lifestyles and what a couple would do to maintain their safe and calm lifestyle. Also starring Mary Woronov, Robert Beltran, Susan Saiger, and Buck Henry. Eating Raoul is a witty and whimsical film from Paul Bartel.
The film is the simple story of this couple who are considered snobbish and prudish due to their lack of interest towards sex as they try to raise money to buy a house for a restaurant they want to create yet they are threatened by the antics of swingers who live in their apartment building. It’s a film that sort of makes fun of the world of swinging and some of the silliness of the lifestyle while there’s this couple who are totally square and find themselves with an idea of killing swingers and stealing money to fund their restaurant as it happened by accident. The film’s screenplay by Paul Bartel and Richard Blackburn follows the lives of Paul and Mary Bland (Paul Bartel and Mary Woronov respectively) as the former just got fired from a liquor store for refusing to sell awful cheap wine while the latter is a nurse often sexually harassed by horny patients.
Their problems are worsen by horny swingers in their building as one of them who is a patient of Mary breaks into their apartment and tries to have his way with Mary until Paul hits him with a frying pan and the guy is dead. Upon realizing how much money swingers have, they turn to Doris the Dominatrix (Susan Saiger) who gives them advice on what to do as she isn’t entirely fond of swingers either while the film’s second act begins with the arrival of a locksmith named Raoul (Robert Beltran) who is also a burglar as he gets wind of what the Bland are doing as he helps them in favor of a cut. Yet, their alliance with Raoul would cause trouble where Paul would learn what Raoul does with the bodies but also something much more.
Bartel’s direction does have elements of style in terms of its approach to absurdist humor while much of the compositions he creates are straightforward. Shot on location in Los Angeles, Bartel play into the world of sex shops and the swinging lifestyle in a comical manner while presenting the Blands as a couple who sleep in separate beds yet they do love each other. There are some wide shots in a few scenes yet much of Bartel’s direction involves close-ups and medium shots that include a few long shots to play out the drama and some of the humor. Notably in scenes that play into the Blands trying to kill some swingers with Mary playing some form of fantasy as it is played for laughs with some dark humor. Once Raoul gets involved, the film’s mayhem does increase but it also lead to some chilling and dark moments about what Raoul does with the bodies but also some of the money he makes though it lead to some funny moments of Paul trying to figure out what he’s doing with help from Doris. The humor as well as some of the approach to suspense and comedy play into the third act as it play into Raoul’s activities as well as the Blands taking extra steps to reach their dreams of opening a restaurant. Overall, Bartel crafts a weird yet delightfully fun film about a prudish couple who kill swingers for money to fund their own dreams of a healthy restaurant.
Cinematographer Gary Thieltges does excellent work with the film’s cinematography as it is largely straightforward in terms of its visuals with some low-key yet colorful lighting for some of the swinger parties. Editor Alan Toomayan does nice work with the editing as it is largely straightforward with some rhythmic cuts to play into the humor and suspense. Production designer Robert Schulenberg does fantastic work with the look of the Blands’ apartment with their collectables and rack of fine wine as well as the more outrageous look of the swingers’ party. Sound editors Val Kulowsky and Christopher T. Welch do terrific work with the sound as it is largely straightforward along with the way music is heard on a location or in another room. The film’s music by Arlon Ober is wonderful for its playful and kitsch-like score that feature some humorous moments in the film while its soundtrack features an array of music ranging from easy listening to a Spanish cover of Mitch Ryder & the Detroit Wheels’ Devil with a Blue Dress On by Los Lobos.
The film’s marvelous casting feature some notable small roles from co-writer Richard Blackburn as the real estate agent James, John Paragon as a sex shop owner who gives Paul a hard time, John Shearin as a patient of Mary who would later try to harass her at her home, Edie McClurg as a woman in fur at a swingers party, Richard Paul as the liquor store owner who wants to sell shitty cheap wine, Ed Begley Jr. as a perverse hippie, and Buck Henry in a terrific small role as a horny bank manager in Mr. Leech who wants to have his way with Mary. Susan Saiger is excellent in a dual role as Doris the Dominatrix and as a receptionist nurse at the hospital where she is full of personality as the former who isn’t fond of swingers while helps Paul find out more about Raoul to see what he does while Saiger’s role in the latter as a nurse is more low-key.
Robert Beltran is excellent as Raoul Mendoza as a locksmith who is also a house burglar that helps the Blands make more money while also making some money on the side as he also has a keen interest in Mary for sexual pleasure. Finally, there’s Paul Bartel and Mary Woronov in amazing performances in their respective roles as Paul and Mary Bland as a prudish and snobbish couple with love for wine and nutritious food who are dealing with horny swingers in their apartment building. Bartel displays that curiosity and frustration as a man that just cares about giving people good wine but later is filled with jealousy for Raoul later in the film as he provides a low-key approach to comedy. Woronov provides some charm into her role as well as someone who is curious about sex and pot although she is conflicted as it relates to her encounters with Raoul.
Eating Raoul is a marvelous film from Paul Bartel that features enjoyable performances from Bartel, Mary Woronov, Robert Beltran, and Susan Saiger. Along with its offbeat look at the world of swingers, the film is a strange yet exuberant comedy that isn’t afraid to get dark while also finding a way to keep on bringing in the laughs. In the end, Eating Raoul is a remarkable film from Paul Bartel.
© thevoid99 2019
Based on an article by Sidney A. Glass, Blue Collar is the story of a three men who decide to rob a safe at a union headquarters building as a way to deal with the mistreatment they receive from their bosses as well as those working for the union. Directed by Paul Schrader and screenplay by Paul and Leonard Schrader, the film is a study of three men who deal with money issues as well as the fact that they’re not being treated fairly where they make a chilling discovery of what is going on at the union. Starring Richard Pryor, Harvey Keitel, and Yaphet Kotto. Blue Collar is a witty yet compelling film from Paul Schrader.
Set in Detroit, the film revolves around three men who work at an auto plant in the city as they struggle to get by as they feel mistreated by their foreman while their union representative doesn’t listen to their case prompting them to steal from the main office. It’s a film that play into the sense of indifference that blue collar workers are dealing with as they would struggle with finances as two of them have families to take care of. The film’s screenplay by Paul and Leonard Schrader follow the lives of two African-American workers in Zeke Brown (Richard Pryor) and Smokey James (Yaphet Kotto) and a Polish-American in Jerry Bartowski (Harvey Keitel) as they all work in the auto plant with many others in Detroit. Like everyone else, they work hard all day and go to the bar at night to relax and then return home.
Still, there are some problems at the plant as Zeke’s locker has been busted and has to open the locker through a hole which has damaged his pinky finger. Smokey owes money to a loan shark while Jerry has to get money for his daughter’s braces and Zeke finds himself in trouble with the IRS as they decide to rob a nearby union headquarters believing there is money. Yet, what they would find instead would impact so much more during the film’s second half as it play into what they found relating to criminal activities within the union. Notably in the third act as the three men find themselves to be big targets as it would involve blackmail and other dark ideas.
Paul Schrader’s direction is straightforward in terms of the compositions he creates as well as the fact that he shoots the film on location in Detroit where many cars are built. While there are some wide shots in Schrader’s direction, much of his approach to the compositions involve medium shots and close-ups while he play into the atmosphere of not just the auto plant but also the nearby bar and the homes of the three characters. Schrader’s direction also play into the atmosphere of the auto plant where it’s grimy and on-going as there’s a character in the film who is unable to get a cold drink from a vending machine which still hasn’t been fixed. Schrader also play into the struggles that these three men endure while they would have the time to relax and party but the idea of becoming rich starts to fade during the third act.
Even as the Zeke, Jerry, and Smokey were approached by a federal agent in John Burrows (Cliff DeYoung) who believes something is up but they don’t want to become rats and get everyone else in trouble. Still, the dramatic stakes that occur in the third act in a couple of intense key sequences showcase a couple of the protagonists deal with something dangerous. Even as these events would force the protagonists to make uneasy decision that becomes more about themselves than everyone else. Overall, Schrader crafts a gripping yet engaging film about three auto plant workers trying to stick it to their bosses.
Cinematographer Bobby Byrne does excellent work with the film’s cinematography as it is straightforward for many of the exterior scenes while using some stylish and low-key lighting for some of the exteriors and interior scenes set at night. Editor Tom Rolf does terrific work with the editing as it is straightforward while featuring some rhythmic cuts for some of the film’s humor and suspense. Production designer Lawrence G. Paull and set decorator Peg Cummings do fantastic work with the look of the homes of the characters as well as the bar they go to after work.
The sound work of Willie D. Burton, Marvin Lewis, and Winfred Tennison is superb for the way the auto plant sounds with its machines and atmosphere as well as the scenes at the bar. The film’s music by Jack Nitzsche is brilliant as it’s a mainly a mixture of blues, rock, rhythm and blues, and country with additional contributions from Ry Cooder who provides a soundtrack of music including pieces from Lynyrd Skynyrd, Howlin’ Wolf, Ike & Tina Turner, David Willis, Byron Berline and Sundance, and Captain Beefheart.
The casting by Vic Ramos is wonderful as it feature some notable small roles and appearances from Jimmy Martinez as a friend of Smokey in Hernandez who tried to help Smokey with their issues, Leonard Gaines as an IRS official who meets with Zeke, Chip Fields as Zeke’s wife Caroline, Lucy Saroyan as Jerry’s wife Arlene, Boran Silver as the auto plant foreman that everyone calls Dogshit Miller, and Ed Begley Jr. as an auto plant worker in Bobby Joe who shares the frustrations of his fellow co-workers. Lane Smith is superb as Clarence Hill as a union representative who tries to help out the workers yet is really involved in other activities as he is someone that Zeke dislikes. Cliff DeYoung is terrific as John Burrows as a federal agent who is trying to get information from the workers with claims he wants to protect them when is really someone that wants them to snitch on their fellow workers.
Harry Bellaver is fantastic as union leader Eddie Johnson who listens to Zeke’s complaints while being aware that there is this air of corruption happening yet is also a man that is cynical about the ways of the world. Yaphet Kotto is incredible as Smokey James as a maintenance man at the auto shop who is suspicious of what is going on as he needs the money to pay off debts while trying to maintain the idea that everyone has to work together to make things happen. Harvey Keitel is marvelous as Jerry Bartowski as a Polish-American auto worker who is the last to join on the scheme due to his daughter’s need for braces on her teeth as he deals with the dangers of the aftermath of the scheme prompting him to make an uneasy decision. Finally, there’s Richard Pryor in a phenomenal performance as Zeke Brown as an auto worker who is frustrated with management’s indifference towards everyone as he would take charge of the scheme to rob from the local office only to discover something bigger as it would later cause all sorts of conflicts for himself as he would make an uneasy decision that would help his family.
Blue Collar is a sensational film from Paul Schrader that features great performances from Richard Pryor, Harvey Keitel, and Yaphet Kotto. Along with its study of working class environments and corruption within those trying to help the common man, it’s a film that play into three men wanting to stick it to their bosses only to get way over their head into a world that is far more complicated and troubling. In the end, Blue Collar is a phenomenal film from Paul Schrader.
Paul Schrader Films: Hardcore – American Gigolo - Cat People (1982 film) - (Mishima: A Life in Four Chapters) – (Light of Day) – (Patty Hearst) – (The Comfort of Strangers) – (Light Sleeper) – (Witch Hunt) – (Touch) – Affliction – (Forever Mine) – (Auto Focus) – (Dominion: Prequel to the Exorcist) – (The Walker) – (Adam Resurrected) – (The Canyons) – Dying of the Light – (Dog Eat Dog) – First Reformed - (The Card Counter)
© thevoid99 2018
Based on the 1984 film written by Dan Aykroyd and Harold Ramis and directed by Ivan Reitman, Ghostbusters is the story of two scientists, a gadgets inventor, and a MTA worker who discover strange paranormal events around New York City as they stop them from wreaking havoc all over the city. Directed by Paul Feig and screenplay by Feig and Katie Dippold, the film is a remake of sorts of the 1984 film where it’s women taking charge in trying to stop ghosts from being unleashed in New York City. Starring Kristen Wiig, Melissa McCarthy, Kate McKinnon, Leslie Jones, Andy Garcia, Cecily Strong, Neil Casey, Michael K. Williams, Charles Dance, Ed Begley Jr., Matt Walsh, and Chris Hemsworth as Kevin. Ghostbusters is a dazzling and adventurous film from Paul Feig.
The film is a simple story about the formation of a group of women who come together after some encounters with ghosts where they decide to stop them. That is pretty much the plot as it follows the same idea of the 1984 film but the film’s screenplay by Paul Feig and Katie Dippold focuses a lot more on the bond of four women trying to reveal what could be true despite the fact that they live in a world that is a bit more cynical as well as not wanting to believe that there is such things as ghosts. For the four women who would form their own team called Ghostbusters, they have to overcome many obstacles but also themselves as two of the women in physicists Abby Yates (Melissa McCarthy) and Erin Gilbert (Kristen Wiig) both wrote a book about the existence of ghosts where they were seen as jokes leading to a falling out between the two as the latter would disown the book as she feels it would threaten her tenure bid at Columbia University.
Yet, Gilbert’s past over the book would return due to these recent events as she reluctantly reunites with Yates and Yates’ colleague in inventor/engineer Jillian Holtzmann (Kate McKinnon) where they would make a major discovery that led to Gilbert teaming with the two to create something to study and stop ghosts. When a MTA worker named Patty Tolan (Leslie Jones) reaches out to the three about her sighting of a ghost as well as seeing a mysterious man named Rowan (Neil Casey) doing something odd at the subway station. Patty, whose knowledge of the city, would round out the team as they would also be joined by handsome but dim-witted secretary named Kevin. Still, the Ghostbusters have to keep their work under wraps for the mayor (Andy Garcia) who doesn’t want these stories about ghosts publicized feeling it would threaten his image.
Feig’s direction is definitely stylish in terms of the vastness of the film as it is shot in not just New York City but also parts of areas in and around Boston. While there are some wide shots of the locations, Feig would keep things simple with the compositions as well as create something that is quite loose in its approach to humor. Still, it is about the story and the women needing to prove that there ghosts lurking around in New York City as Feig doesn’t allow the visual effects or some of the offbeat humor to detract from that. Another thing about the film that succeeds is Feig taking his time for the characters to develop as well as developing their gadgets while having the time to goof off and have fun. Even as Feig makes no qualms in putting in references relating to the original 1984 for fun as it would also include a few famous characters from that film. The moments involving the ghosts and capturing them are definitely spectacular in a visual sense where it does have this nice mix of humor and horror that would culminate in this enthralling climax that features large ghosts and Times Square be re-envisioned as it was back in the 1970s/1980s. Overall, Feig creates an exhilarating and fun film about a group of ladies kicking some major ass on some evil ghosts.
Cinematographer Robert Yeomen does excellent work with the film‘s colorful cinematography from the look of the daytime exteriors and some of its interiors to the scenes at night including the rock club and for the film‘s climax at Times Square. Editors Melissa Bretherton and Brent White do terrific work with the editing as it is quite straightforward with some rhythmic cuts to play into the action without deviating too much into conventional speed-cuts that is often prominent of action films. Production designer Jefferson Sage, with supervising art director Bret Frutiger and set decorators Dennis Colvin and Leslie A. Pope, does fantastic work with the look of the home base that the team live in above a Chinese restaurant as well as the look of the hotel where the character Rowan works at. Costume designer Jeffrey Kurland does nice work with the costumes from the design of the jumpsuits the women wear as well as the casual clothes that represent their personalities.
Visual effects supervisors Anthony Dunifer and Peter G. Travers do amazing work with the design of the ghosts as well as some of moments in the ghost battles as well as the film‘s lavish climax. Sound designer Tom Lamberti, along with sound editors Andrew DeCristofaro and Becky Sullivan, does superb work with the sound to play into the sound effects of the noises the ghosts make as well as the sounds of the gadgets and other moments in the film. Music composer Theodore Shapiro does wonderful work with the score with its mixture of orchestral music and electronics that include variations of the original theme song while music supervisor Erica Weis provides a fun soundtrack that features some old-school music from DeBarge and DMX and more contemporary music from Elle King, Mark Ronson with Passion Pit and A$AP Ferg, Zayn Malik, 5 Seconds of Summer, and a bad remake of the original song by Fall Out Boy with Missy Elliott.
The casting by Allison Jones is great as it feature some notable small roles from co-writer Katie Dippold as a rental agent, Zach Woods as a tour guide who would first see a ghost in the film’s opening scene, Steve Higgins as a technical college dean Yates and Holtzmann work for, Ed Begley Jr. as a man who comes to Gilbert about a ghost in his tour house, Charles Dance as Gilbert’s boss at Columbia, Matt Walsh and Michael K. Williams as Homeland Security agents, Cecily Strong as the mayor’s assistant who tries to clean up all of the things publicly, and Andy Garcia as Mayor Bradley as New York City’s mayor who tries to not get the public be aware of the ghosts that are haunting New York City. Neil Casey is superb as Rowan as a mysterious man who has been releasing devices to unleash ghosts all over the city to express his disdain for humanity. Chris Hemsworth is excellent as Kevin as this dim-witted yet hunky secretary that isn’t very good at his job but Gilbert likes him a lot as he is just fun to watch in every scene he’s in while not being afraid of being the object of affection.
Leslie Jones is amazing as Patty Tolan as a MTA worker who joins the group in capturing ghosts as her knowledge on New York City makes her a joy to watch as well as some of the funny comments she brings. Kate McKinnon is brilliant as Jillian Holtzmann as the team’s gadgets inventor who has a very funny sense of humor as well as be very lively and odd in a fun way. Melissa McCarthy is fantastic as Abby Yates as a physicist who has never stopped believing in ghosts where she brings a nice approach to the physical comedy and in her mannerisms. Finally, there’s Kristen Wiig in a marvelous performance as Erin Gilbert as a college professor who reluctantly returns to the world of the paranormal as she is the straight person of the film that tries to deal with what she is seeing as she also brings in the laughs.
Ghostbusters is a remarkable film from Paul Feig. Featuring a great cast, incredible visual effects, and an accessible story that is just to fun to invest to. It’s a film that isn’t just a fun homage to the 1984 film but also a film that manages to be its own. In the end, Ghostbusters is a sensational film from Paul Feig.
Paul Feig Films: (I Am David) - (Unaccompanied Minors) - (Bridesmaids) - (The Heat) - Spy (2015 film) - (A Simple Favor) - (Last Christmas) - (The School for Good and Evil)
Related: (Ghostbusters) - (Ghostbusters II) - Ghostbusters: Afterlife
© thevoid99 2017
Written and directed by Woody Allen, Whatever Works tells the story of a frustrated intellectual who leaves his upper-class New York life to enter its Bohemian section where he meets a young Southern girl and her family as he deals with the drawbacks of his new change in life. The film explores a man who befriends a young Southern girl and her family as he unknowingly changes their views on life. Starring Larry David, Evan Rachel Wood, Patricia Clarkson, Ed Begley Jr., Henry Cavill, and Michael McKean. Whatever Works is a pretty delightful comedy from Woody Allen.
The film is about this very brilliant but frustrated individual who chooses to live a much simpler life after a breakdown in his marriage where he later meets this young Southern runaway. Reluctantly taking her in, he becomes fascinated by naiveté as they later marry until her mother finds her as she eventually becomes part of the New York City art world. It’s a film where this man’s rants about the world and humanity suddenly seeps into the mind of a young woman as she eventually starts to become an individual of sorts and later has her mother becoming part of a world that is very different from the conservative world of the American South.
Woody Allen’s screenplay is about people coming into their own in a very new environment yet it is largely told by this man named Boris (Larry David) whose cynical view on the world itself has him baffled when he meets this very charming 21-year old girl named Melody (Evan Rachel Wood). Even as he imposes his own ideas about everything to her as she starts to form her own opinions on things though they aren’t strong as his as it would eventually influence her own mother Marietta (Patricia Clarkson) who unexpectedly arrives in an attempt to bring her own. Instead, she is introduced to a few of Boris’ friends and becomes a very different woman in the course of a year. Allen’s script is uneven at times as it often features a lot of rants from Boris who is always breaking the fourth wall down and talks to the audience to give his ideas on things and such where it gets a little old at times.
Allen’s direction has him returning to New York City after a brief period spending time in Europe. While he doesn’t do anything new in terms of compositions, he does manage to create a sense of looseness in the way he directs his actors. Notably as he creates moments where Boris would rant to his friends about everything as he tells the story about his first suicide attempt and then go into his story about how he met Melody. Allen does manage to take his time and do a bit of satire where he sort of makes fun of the New York art world as Marietta becomes this art photography who specializes in nude photography that would baffle her husband John (Ed Begley Jr.) who had left Marietta for her best friend. Though it loses some steam in the third act and the plotting isn’t as strong as it wanted it to be. Allen still manages to create a very engaging yet fun film about a man whose intellect inspires a Southern family to find their way in the world.
Cinematographer Harris Savides does fantastic work with the film‘s cinematography from the vibrant yet sunny look of its daytime exteriors to some more colorful lighting schemes for the scenes at night including some of its interior scenes. Editor Alisa Lepselter does excellent work with the editing as it features a few montages to play up Melody and Marietta‘s respective growths as well some rhythmic cuts to play out the film‘s humor. Production designer Santo Loquasto, with set decorator Ellen Christiansen and art director Tom Warren, does terrific work with the set pieces from the look of Boris‘ apartment to the art gallery that Marietta would eventually present.
Costume designer Suzy Benzinger does wonderful work with the costumes from the youthful clothes that Melody wears to the more fashionable New York Bohemian clothes that Marietta would wear after her transformation. Sound editor Robert Hein does superb work with the sound as it is often low-key while it would play to some moments that would move the story forward. The film’s music largely consists of classical and jazz music from artists like Ludwig Van Beethoven, Jackie Gleason, Groucho Marx, Heinz Kiessling, Stan Getz and Charlie Byrd, and Red Garland.
The casting by Juliet Taylor, Laura Rosenthal, and Ali Farrell is brilliant for the ensemble that is created as it features some memorable appearances from Michael McKean, Adam Brooks, and Lyle Kanouse as friends of Boris whom he frequently talks to, Christopher Evan Welch as a man John meets late in the film, Carolyn McCormick as Boris’ ex-wife in a scene where Boris has a night terror and tries to kill himself, Jessica Hecht as a woman Boris meets late in the film, Conleth Hill as a philosophy professor Marietta meets, and Olek Krupa as an art gallery agent who also meets and falls for Marietta. Ed Begley Jr. is terrific as Marietta’s husband John who unexpectedly arrives to New York City to find out what his daughter and wife are up to as he’s baffled by their changes. Henry Cavill is very good as a young man that Marietta meets as she tries to set him up with Melody in the hopes that Melody can meet someone who isn’t Boris.
Patricia Clarkson is amazing as Melody’s mother Marietta where Clarkson brings a lot of energy as a woman who starts off as this God-fearing woman from the South that is eager to return her daughter back home only for one of Boris’ friend to discover her gifts as a photography that would change her completely. Evan Rachel Wood is remarkable as Melody as this young Southern girl who runs away to New York City from Mississippi as she becomes Boris’ new wife where she learns to be a woman with some intelligence as Wood has this charm and exuberance to her character that is fun to watch. Larry David is excellent as Boris as a man troubled by the world and is convinced is full of idiots until he’s amazed by this young naïve woman and starts to guide her about the ways of the world as it’s a pretty funny performance from David.
Whatever Works is a pretty good film from Woody Allen thanks to the performances of Larry David, Evan Rachel Wood, and Patricia Clarkson. While it is flawed as some of David’s rants get a little old while the story is also uneven. It is still a very lively film that explores an intellect meeting those who are beneath him intellectually yet would make an impact on his life and his views on the world. In the end, Whatever Works is a terrific film from Woody Allen.
Woody Allen Films: What's Up Tiger Lily? - Take the Money and Run - Bananas - Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask) - Sleeper - Love and Death - Annie Hall - Interiors - Manhattan - Stardust Memories - A Midsummer's Night Sex Comedy - Zelig - Broadway Danny Rose - The Purple Rose of Cairo - Hannah & Her Sisters - Radio Days - September - Another Woman - New York Stories: Oedipus Wrecks - Crimes & Misdemeanors - Alice - Shadows and Fog - Husbands and Wives - Manhattan Murder Mystery - Bullets Over Broadway - Don't Drink the Water - Mighty Aphrodite - Everyone Says I Love You - Deconstructing Harry - Celebrity - Sweet and Lowdown - Small Time Crooks - The Curse of the Jade Scorpion - Hollywood Ending - Anything Else - Melinda & Melinda - Match Point - Scoop - Cassandra's Dream - Vicky Cristina Barcelona - You Will Meet a Tall Dark Stranger - Midnight in Paris - To Rome with Love - Blue Jasmine - Magic in the Moonlight - Irrational Man - (Cafe Society)
The Auteurs #24: Woody Allen Pt. 1
- Pt. 2 - Pt. 3 - Pt. 4
© thevoid99 2013
Based on the original story by DeWitt Bodeen, Cat People is the story of a woman who travels to New Orleans to meet her long-lost brother as she discovers an ancient secret about her family that would threaten the new life she’s craving for. Directed by Paul Schraeder and screenplay by Alan Ormsby with additional work by Schrader, the film is an updated remake of the legendary 1942 film by Jacques Tourneur as it explores the world of eroticism and identity. Starring Nastassja Kinski, Malcolm McDowell, John Heard, Annette O’Toole, Ruby Dee, Ed Begley Jr., and John Larroquette. Cat People is an eerie yet hypnotic film from Paul Schraeder.
Irena Gallier (Nastassja Kinski) arrives to New Orleans to meet her older brother Paul (Malcolm McDowell) whom she hadn’t seen since they were children as he takes her to his home that includes the maid Female (Ruby Dee). Paul goes away for a few days claiming he has work to do as a minister as Irena looks around the sites of the city as she comes across a zoo. Irena is entranced by a black leopard that had just been taken after an incident that nearly left a prostitute killed as she spends her day sketching the leopard only to lose track of time as she meets the zoo’s curator Oliver (John Heard). The two become friends as Oliver gives her a job working at the zoo’s gift shop as she remains entranced by the leopard where it attacks one of the zoologists in Joe (Ed Begley Jr.). Later that night, the leopard escapes as Oliver and fellow zoologist Alice (Annette O’Toole) wonder what is going on.
Paul reappears to Irena revealing what he’s done as well as a dark family secret about who their parents really are as Irena refuses to believe him as she lives with Oliver who takes her to a remote place that he likes to be at. Upon her return home following another involving the black leopard, Paul reappears to Irena about what she should do to save them both as she refuses leading to Paul to try and attack Oliver. The attack falters where Oliver makes a discovery as Irena decides to leave New Orleans where she has a strange vision about her heritage prompting her to return. Through this new revelation, Irena would do something that would save herself and Oliver.
The film is a loose take on the original 1942 film by incorporating more themes about sexual repression and identity as it revolves around a young woman and her troubled life as she falls for a zoo curator while being pulled another way by her long-lost brother. Throughout the course of the film, she would have this strange connection to her brother as she would start to see things and behave erratically until she learns about what she really is as it would eventually complicate matters. Notably as her discovery about her heritage and who her parents really are would eventually change her point of view on the world and everything else around her.
Alan Ormsby’s screenplay explores this unique dynamic between man and creature where there’s this rare group of people who are one and the same as story begins with this prologue about the cat people who were these ancient creatures that were once considered gods. For Irena, she knows nothing about this world until she meets Paul as she begins to deal with these transformations in not just a physical sense but also an emotional one. She falls for this zoo curator who loves animals but becomes more confused as the story progresses leading to her wondering more about herself and who she really is. It’s a very captivating script that explores the world of a woman who is seemingly repressed sexually yet would eventually embrace this new revelation but with a heavy price.
Paul Schraeder’s direction is very stylish in its presentation as it starts off with this very sepia-drenched look of an old world where these black leopards are considered gods. The film then cuts to a present world set in New Orleans where it’s definitely exotic with its religious imagery and all sorts of places as it is a major character in the film. Still, Schraeder is interested in the characters and the world they live in as the house that Paul lives in is a place that features all sorts of relics from an old world while his maid seems to know a lot more than both of them realize as she would provide some important ideas in the third act that is crucial to Irena’s view of things.
While some of the compositions are straightforward, Schraeder dues infuse a lot of details into his framing from the way Oliver first sees Irena at night below his office to the chilling moment of Irena’s first idea where she’s not human. It’s part of Schraeder’s approach to suspense where he knows when to go for the kill as it includes some very chilling scenes with the black leopard such as a hooker’s encounter where she could be killed or not. Things definitely become more entrancing in the third act that includes a wonderful homage to the original 1942 by Jacques Tourneur when Alice dives into a pool and thinks that a leopard is looking for her. It plays to Irena’s own transformation and acceptance yet it would also have her do something that would be crucial to her own being. Overall, Schraeder creates a very fascinating yet provocative film about identity and sexuality.
Cinematographer John Bailey does incredible work with the film‘s photography from the hypnotic sepia-washes in the prologue scenes to the gorgeous colors of New Orleans locations along with some amazing nighttime scenes that are exquisite in its lighting schemes and set-ups to convey a mood. Editors Jacqueline Cambas, Jere Huggins, and Ned Humphreys do superb work in creating an element of suspense through the cutting while utilizing stylish cuts for some of the film‘s intense moments like the human to leopard transformation. Art director Edward Richardson and Bruce Weintraub do terrific work with the set pieces such as Paul‘s exotic home to the look of the old world with its caves and trees. Costume designer Daniel Parades does a wonderful job with the costumes as a lot of it is casual with the exception of Paul who often wears black while Irena wears more exotic white to convey her persona.
Special effects makeup by Thomas R. Burman does some amazing work with the makeup effects in the film‘s transformation scenes that really brings a sense of terror to the film. Sound editor Charles L. Campbell does an excellent job with the sound to create a mood in some scenes such as a moment where Irena hears a lot of things that plays out to her transformation. The film’s music by Giorgio Moroder is brilliant for its haunting and evocative electronic score as it plays up the suspense and its brooding tone as it‘s truly one of Moroder‘s best scores. The title theme song performed by Moroder and David Bowie is among one of Bowie’s best songs for the dark mood it conveys through Moroder’s synth-drenched presentation and Bowie’s haunting vocals.
The casting by Mary Goldberg is wonderful for the ensemble that is created as it features some notable small roles from Frankie Faison as a detective leading the investigation, John Larroquette as a financial man for the zoo, Scott Paulin as a zoo supervisor, and Ed Begley, Jr. as Oliver’s zoologist friend Joe. Ruby Dee is terrific as the strange Female where Dee maintains a very low-key approach to her role as she only returns briefly in the third act with some very crucial information. Annette O’Toole is excellent as Alice who is intrigued by Irena while becoming concerned for Oliver’s obsession towards Irena.
John Heard is superb as Oliver as he is intrigued by Irena’s beauty and shy personality as he starts to wonder what is going on with her along with the mysteries of the leopard. Malcolm McDowell is brilliant as the very mysterious Paul as he displays a bit of charm to his role but also a chilling intensity to a man who carries a very dark secret. Finally, there’s Nastassja Kinski in a mesmerizing performance as Irena as she displays a very quiet and restrained performance early on as it progresses into a woman filled with fear and uncertainty where she delves into dark territory as it is really one of Kinski’s best performances.
Paul Schraeder’s version of Cat People is a remarkable yet brooding film that features a radiant yet harrowing performance from Nastassja Kinski. While it’s a very different film from the original 1942 film by Jacques Tourneur, it is still a very interesting one for its interpretation in the way it explores a woman’s identity. In the end, Cat People is an exotic yet captivating film from Paul Schraeder.
Paul Schraeder Films: Blue Collar - Hardcore - American Gigolo - Mishima: A Life in Four Chapters - (Light of Day) - (Patty Hearst) - (The Comfort of Strangers) - (Light Sleeper) - (Witch Hunt) - (Touch) - Affliction - (Forever Mine) - (Auto Focus) - (Dominion: Prequel to the Exorcist) - (The Walker) - (Adam Resurrected) - (The Canyons) - Dying of the Light - (Dog Eat Dog) - First Reformed - (The Card Counter)
Related: Cat People (1942 film)
© thevoid99 2012
