Obsession (1976 film)

 

Directed by Brian de Palma and screenplay by Paul Schrader from a story by de Palma and Schrader, Obsession is the story of a grief-stricken man who travels to Florence, Italy where he meets and falls for a woman who looks like his late wife whom he tried to save during a kidnapping attempt that also included his daughter. The film is a study of grief set in a neo-noir setting where a man deals with his own loss and his obsession towards the woman who looks exactly like his late wife. Starring Cliff Robertson, Genevieve Bujold, John Lithgow, and Stocker Fontelieu. Obsession is a riveting and haunting film from Brian de Palma.

The film revolves around a real estate developer who had lost his wife and daughter following a kidnapping attempt over money as he would go to Florence sixteen years later with his business partner as he meets a young woman who bears the same face as his late wife. It is a film that is about man still reeling from the death of his wife and daughter as he feels guilty over how he fumbled the attempt to save them as the presence of this young woman who looks exactly like his late wife has him obsessed about getting a part of his life that he lost. Paul Schrader’s screenplay is a study of grief as it plays into a man consumed with guilt and loss as the land that was meant to be a thriving plot that would make him rich but instead turned it as a memorial for his wife and daughter that is a replica of the Basilica di San Miniato al Monte in Florence. It is where Michael Courtland (Cliff Robertson) met the woman who would be his wife in Elizabeth (Genevieve Bujold) as he would see a young woman in Sandra (Genevieve Bujold) who looks exactly like Elizabeth as she is restoring a painting in the church.

Courtland’s business partner Robert LaSalle (John Lithgow) also sees the resemblance upon their visit to Florence for business reasons as he returns to New Orleans where Courtland stays in Florence to meet Sandra. Courtland would bring Sandra to his home in New Orleans as those close to Courtland are shocked by how much Sandra looked like Elizabeth as things become more troubling. Schrader’s script does play into Courtland’s own obsession relating to his late wife through Sandra as the ideas of fantasy and reality would blur to the point where even those close to him become concerned. Yet, more revelations would be unveiled in its third act as it plays more into the night Courtland tried to save his wife and daughter along with those who tried to make a play on the kidnappers as it adds to Courtland’s own troubled obsession.

Brian de Palma’s direction is definitely stylish as it does bear some ideas from one of de Palma’s favorite filmmakers in Alfred Hitchcock and his 1958 film Vertigo as both films explore grief and trauma. Shot on location in both New Orleans and Florence along with nearby locations for the former, de Palma does make both cities characters with New Orleans being a vibrant and thriving city where Courtland is about to make his fortune yet wanted to share it with his family as the film opens in 1959 at a party where de Palma maintains an intimacy as well as some dream-like imagery to play into the idyllic world of Courtland at his home with wife and child. It would all crash down the moment Elizabeth and her daughter Amy (Wanda Blackman) get kidnapped as de Palma’s rescue sequence is intense as it’s about what isn’t shown and how Courtland is convinced by the police to try and swindle the kidnappers is where everything went wrong. When the film moves to Florence, the Basilica di San Miniato al Monte is a key location of the film as it is where Courtland met Elizabeth in 1948 and why the memorial for her and Amy is a replica of that church as it is also the moment where Courtland meets Sandra.

The usage of close-ups and medium shots as well as in the latter where de Palma gets so much attention to detail on an object or on a painting, with portraits created by de Palma’s older brother Bart, as it adds to the drama and suspense. Even in the wide shots where de Palma does use the locations including the scenes in Florence as it adds to the sense of intrigue in the film while its third act returns the film to New Orleans where there's some major revelations happening in the film. Notably in a sequence that is somewhat recreated from another scene early in the film yet there is so much that is happening along what had happened before in this recreated sequence as de Palma is all about those small details. Even as it play into Courtland’s obsession as it is clear he never got over the loss of his family and the guilt over his role in their deaths. Yet, the film’s climax isn’t just about revelations but also a study of trauma as well as an ending that is really filled with ambiguity over what Courtland had come to realize and such. Overall, de Palma crafts an intoxicating yet unsettling film about a man who becomes obsessed with a young woman who looks exactly like his late wife.

Cinematographer Vilmos Zsigmond does brilliant work with the film’s luscious cinematography with its usage of low-key and natural lighting for some of the interior/exterior scenes at night as well as dream-like foggy lenses for some shots in the film as it is a highlight of the film. Editor Paul Hirsch does amazing work with the editing with its stylish usage of transitional dissolves, jump-cuts, montages, and slow-motion as its emphasis on style adds to the suspense and drama. Art director Jack Senter and set decorator Jerry Wunderlich do excellent work with some of the interiors at Courtland’s home as well as the places in Florence as well as the design of the memorial for Elizabeth and Amy. Costume designer Frank Balchus does nice work with the stylish suit that LaSalle wears as well as some of the clothing from the 1950s that Elizabeth had and the clothes that Sandra would wear throughout the film

The special effects work of Joe Lombardi is terrific for the minimal special effects as it relates to the chase scene early in the film along with a dream-like sequence in the film’s third act. Sound mixer David M. Ronne does superb work with the sound as it play into the atmosphere of the locations as well as scenes that involve the suspense including some intense moments in the third act. The film’s music by Bernard Herrmann is incredible for its rich and mesmerizing orchestral score as it adds to the atmospheric tone of the film along with themes that play for certain characters and scenes that add to the suspense and drama as it is another major highlight of the film.

The film’s wonderful cast feature some notable small roles and appearances from William Finley as a man at the airport, Regis Cordic as a newscaster, Sylvia Kuumba Williams as Courtland’s maid, J. Patrick McNamara as a kidnapper, Nella Simoncini Barbieri as Sandra’s mother, Loraine Despres as Courtland’s secretary, Stanley J. Reyes as the police inspector Brie who organizes the rescue attempt on Elizabeth and Amy, Wanda Blackman as Courtland’s daughter Amy, and Stocker Fontelieu as Courtland’s psychiatrist Dr. Ellman who is concerned about Courtland’s obsession as he believes that Courtland is acting hastily. John Lithgow is incredible as Courtland’s business partner Robert LaSalle as a man who is full of charm and wear the finest suits as he becomes concerned about Courtland’s obsession towards Sandra and how much she looks like Elizabeth where he also becomes concerned about his business and whatever financial fallout would happen.

Genevieve Bujold is phenomenal in her dual role as Elizabeth Courtland and Sandra where she brings an enchanting presence in the former despite not saying anything while is more livelier in the latter where Bujold plays this woman who helps restore old paintings while learning more about Elizabeth as it is this restrained yet haunting performance from Bujold who copes with a man’s loss but also something bigger. Finally, there’s Cliff Robertson in a marvelous performance as Michael Courtland as a real estate developer who loses his family following a rescue attempt as he becomes obsessed with a young woman who looks like his late wife where Robertson brings an anguish to his role but also someone that is desperate and later jovial until people question about his relationship with Sandra as it is a rollercoaster of a performance from Robertson.

Obsession is a sensational film from Brian de Palma that features great performances from Cliff Robertson, Genevieve Bujold, and John Lithgow. Along with Paul Schrader’s chilling screenplay, dazzling visuals, hypnotic editing, and Bernard Herrmann’s intoxicating score. It’s a suspense-drama that explores trauma and loss as well as a man’s obsession towards a young woman unaware of what is happening around him as reality would force him to think about the moment he lost everything. In the end, Obsession is a phenomenal film from Brian de Palma.

Brian de Palma Films: (Murder a la Mod) – (Greetings) – (The Wedding Party) – (Dionysus in ’69) – (Hi, Mom!) – (Get to Know Your Rabbit) – Sisters (1973 film) - Phantom of the Paradise - Carrie - The Fury - (Home Movies) – Dressed to Kill - Blow Out - Scarface (1983 film) - Body Double – (Wise Guys) – The Untouchables - Casualties of War - The Bonfire of the Vanities - Raising Cain - Carlito's Way - Mission: Impossible - Snake Eyes - Mission to Mars - Femme Fatale - The Black Dahlia - (Redacted) – Passion (2012 film) - (Domino (2019 film))

© thevoid99 2021

Underworld U.S.A.

Based on articles from the 1956 editions of The Saturday Evening Post by Joseph F. Dinneen, Underworld U.S.A. is the story of a 14 year-old boy who goes after a group of mobsters who beat his father to death in an act of revenge by infiltrating their gang 20 years later. Written for the screen and directed by Samuel Fuller, the film is a look into the American underworld of the mob where a young boy seeks justice for his father. Starring Cliff Robertson, Dolores Dorn, Beatrice Kay, and Richard Rust. Underworld U.S.A. is a riveting and intense film from Samuel Fuller.

The film follows a twenty-year journey of a 14-year old boy who becomes a man seeking vengeance for the death of his father who was beaten to death by four men prompting him to go into their criminal underworld. It’s a film with a simple premise as it play into a young hustler who witnessed his father brutally beaten as he only saw the face of one of his killers as he would go look for him by becoming a juvenile delinquent and later to prison as a man. Samuel Fuller’s screenplay is largely straightforward in its narrative as much of the first act follows the protagonist of Tolly Devlin (David Kent) at the age of 14 as he had witnessed his father’s murder and gets himself into trouble where he later becomes an adult (Cliff Robertson) where he eventually goes to prison where he would find one of his father’s killers who would give Devlin information that lead to Devlin’s release and his infiltration into the mob where he would also make contact with a FBI agent who is trying to take down the mob himself and do it legally.

Fuller’s direction does have elements of style yet much of his direction is straightforward in terms of the overall presentation. Shot on location in Hollywood and various parts of Los Angeles, Fuller creates a world that seems like a place where nothing is happening but underneath is a dark underworld that is trying to run things and make money off of it. There are some unique wide and medium shots that Fuller uses to establish the locations yet much of his direction is intimate in the conversations he captures with the medium shots as well as the close-ups. Notably as it help play into the drama and suspense where Fuller maintains that sense of dread such as a scene of Devlin hiding in a closet or a very chilling scene in which a hitman goes after a young girl in her bicycle. Fuller also play into this world of authority that is trying to do the right thing as they eventually get Devlin involved by playing a double-agent for them where Fuller show some of its drawbacks as well as the fact that Devlin is a flawed character who is unable to comprehend the idea of life after revenge but also what to do next. Even in the third act where he does make a decision of what to do but is still intent on finishing the job no matter how much it would cost him. Overall, Fuller crafts a gripping and evocative film on a man’s quest for revenge against the men who killed his father.

Cinematographer Hal Mohr does brilliant work with the film’s black-and-white cinematography as it help play into the atmosphere of the locations as well as its usage of shades and shadows to enhance the mood of a dramatic or a suspenseful scene. Editor Jerome Thoms does amazing work with the editing as it help play into the suspense and drama along with some unique rhythmic cuts to help build up some of the suspenseful moments as it is a highlight of the film. Art director Robert Peterson and set decorator William F. Calvert do excellent work with the look of the homes of a few characters as well as the pool that one of the mobsters go to. Costume designer Bernice Pontrelli does fantastic work with the costumes from the suits that the men wear to the dresses that the women wear. The sound work of J.S. Westmoreland is superb for its approach to sound in capturing the sounds of assault and gunfire as well as the atmosphere of the locations. The film’s music by Harry Sukman is wonderful for its sweeping orchestral score that does play into the drama as well as the suspense.

The film’s terrific cast feature some notable small roles and appearances from Joni Beth Morris as a young girl on a bicycle who is pursued because of her father, Robert P. Lieb as the corrupt police chief Fowler, Sally Mills as Fowler’s daughter, Peter Brocco as one of the four men who killed Devlin’s father in Vic Farrar who would confess what he did to Devlin on his deathbed, Allan Gruener and Gerald Milton are fantastic in their respective roles as Smith and Gunther as a couple of mob leaders where one of them is involved in the death of Devlin’s father, Neyle Morrow as a mob henchman in Barney, and David Kent in a superb performance as the 14-year old Devlin who would witness his father’s murder as he is hoping to get his revenge. Richard Rust is fantastic as a mob henchman in Gus Cottahee who does horrific things to get the job regardless of who that person is. Paul Dubov is brilliant as Gela as a top mob boss connected with the mob head in Connors as he finds himself in trouble upon meeting Devlin.

Robert Emhardt is amazing as Earl Connors as a top mob boss who was involved in the death of Devlin’s father as he had become a big-time kingpin unaware of Devlin’s true identity as he is hoping to create so much more in the criminal underworld through legitimate means. Larry Gates is excellent as FBI agent John Driscoll who knew Devlin as a 14-year old as he is trying to take down Connors and his syndicate while also takes Devlin in as a double agent while warning him about how far Devlin would go into. Dolores Dorn is remarkable as Cuddles as Cottahee’s girlfriend whom Devlin saves and later gets her to help him as she thinks about a life away from the criminal underworld. Beatrice Kay is incredible as Sandy as a maternal figure for Devlin as she is also a conscience of sorts as she worries about what Devlin is doing while trying to get him to see a future outside of vengeance with Cuddles. Finally, there’s Cliff Robertson in a phenomenal performance as Tolly Devlin as a man who saw his father killed when he was a teenager as he is eager to get revenge on the men who killed his father as he is also someone with flaws in the way he tries to take everyone down but is unable to think about a life outside of vengeance as well as a future as it is a charismatic and eerie performance from Robertson.

Underworld U.S.A. is a sensational film from Samuel Fuller that features great performances from Cliff Robertson and Beatrice Kay. Along with its supporting cast, simple yet effective script, study of the criminal underworld, dazzling visuals, and other technical high points. It’s a noir film of sorts that explore a man infiltrating the criminal underworld in an act of revenge while is forced to deal with himself and the ideas of life after vengeance. In the end, Underworld U.S.A. is a phenomenal film from Samuel Fuller.

Samuel Fuller Films: I Shot Jesse James - The Baron of Arizona - The Steel Helmet - Fixed Bayonets! - Park Row - Pickup on South Street - (Hell and High Water) – House of Bamboo - (China Gate) - Run of the Arrow - Forty Guns - Verboten! - The Crimson Kimono - Merrill's Marauders - Shock Corridor - The Naked Kiss - (Shark!) - (Dead Pigeon on Beethoven Street) – The Big Red One - White Dog - (Thieves After Dark) - (Street of No Return) - (The Madonna and the Dragon)

© thevoid99 2020

Star 80

Based on the Pulitzer Prize-winning Village Voice article Death of a Playmate by Teresa Carpenter, Star 80 is about the life and death of Playboy Playmate Dorothy Stratten who was set for stardom until she gains the jealousy of her husband/ manager Paul Snider. Written for the screen and directed by Bob Fosse, the film is a dramatic account into Stratten’s life as well as her tumultuous relationship with Snider as Dorothy Stratten is played by Mariel Hemingway and Eric Roberts in the role of Paul Snider. Also starring Cliff Robertson, Carroll Baker, Roger Rees, and David Clennon. Star 80 is a eerie yet entrancing film from Bob Fosse.

Dorothy Ruth Hoogstraten aka Dorothy Stratten was a young woman who had become the 1980 Playmate of the Year for Playboy magazine as she was due for stardom where she would appear in Peter Bogdanovich’s 1981 film They All Laughed. Instead, her life was cut short tragically at the age of 20 where she was killed by her husband/manager Paul Snider in a fit of rage and jealousy who would later kill himself. The film is about Stratten’s short life from how she was discovered by Snider and to the murder/suicide as it’s told in a unique narrative as it has Snider looking back while the narrative would cut back-and-forth in events during their life as well as various people including Stratten’s mother (Carroll Baker) and Playboy magazine founder Hugh Hefner (Cliff Robertson) being interviewed about Stratten and the events that led to her death. Bob Fosse’s script does take some dramatic liberties due to some legal issues as it relates to the real-life story where he wouldn’t be able to use the real names of Stratten’s family as well as Stratten and Snider’s neighbors at the home they shared in Los Angeles.

Another figure in Stratten’s life that is given liberties is the filmmaker Peter Bogdanovich where he isn’t mentioned in the film due to legal reasons. Instead, Fosse would create a fictionalized version of the character in Aram Nicholas (Roger Rees) who would be the filmmaker that falls for Stratten and offer a life without Snider’s control. The narrative does however create some unique development where Stratten would mature and be surrounded with people who really care about her as well as be aware of her husband’s behavior and plans. Snider’s development is just as interesting as this sleazy yet well-meaning guy who discovers Stratten at a Dairy Queen where he falls for her. Once she goes to Los Angeles and makes some connections, Snider becomes suspicious yet still has ambition. Unfortunately, his ideas for her and what he wants prove to be tasteless and low-class as he loses money and goes insane.

Fosse’s direction is definitely stylish not just in its usage of montages to play into Stratten’s rise as well as the numerous photos she took. It is also in the way he created different array of film styles ranging from the documentary to something more dramatic. Notably as he would maintain different visual styles in the way some of the scenes are presented where the interviews are very straightforward with a few stylish but eerie shots. The dramatic portions including a scenes where Stratten are interviewed do have a flair of style as it play into her rise to stardom. Fosse’s usage of close-ups and medium shots play into the intimacy in not just Stratten’s own observation of the world but also in the evolution of her relationship with Snider where it would eventually become toxic. Fosse would also use close-ups for a lot of the scenes set in Los Angeles with a few shots set in Vancouver as it play into the two different worlds these characters would encounter.

While Fosse would create something that is a play on the idea of fantasy vs. reality as it relates to Snider wants in the former, Fosse would an extra layer of realism for the film’s climax where the home that Stratten and Snider lived is the place where they actually lived in the final days of their lives. All of which plays into the tragedy as well as one man’s determination to keep this beautiful young woman no matter at what cost. Overall, Fosse creates an unsettling yet compelling film about the life and death of Dorothy Stratten.

Cinematographer Sven Nykvist does brilliant work with the film‘s cinematography from the colorful look of the sunny day locations in California as well as some of the lavish approach to lighting for some of the interiors including Stratten‘s photo shoots. Editor Alan Heim does excellent work with the editing as it is very stylish with usage of dissolves, jump-cuts and montages to play into the craziness of the Hollywood life that Stratten would encounter as well as some of the eerie moments involving Snider. Art directors Michael S. Bolton and Jack G. Taylor Jr., with set decorators Anne D. McCulley and Kimberly Richardson, do fantastic work with the look of the Playboy mansion‘s interiors as well as the apartment that Snider has in Vancouver.

Costume designer Albert Wolsky does amazing work with the costumes as it plays into the look of the late 70s where it is all about style as Stratten‘s look represents this air of innocence while Snider‘s choice of clothing fits perfectly with who he is. Sound editor Dan Sable does nice work with the sound to play into the atmosphere of the parties as well as some of the chilling moments at the film‘s climax. The film’s music by Ralph Burns is superb for its mixture of low-key orchestral music with some electronic music to play into the times while the soundtrack that featured music by the Village People, Billy Joel, Rod Stewart, Steppenwolf, Louie Prima, Shirley Goodman and Leonard Lee, and the Band.

The casting by Howard Feuer and Jeremy Ritzer is wonderful as it includes some notable small roles from Keenan Ivory Wayans as a comic, James Luisi as Hefner’s assistant, Stuart Damon as a TV actor that Snider talks to, Tina Willson as a Playboy Playmate, Keith Hefner as a photographer cheated out of a finder’s fee by Snider, Lisa Gordon as Dorothy’s sister Eileen (a fictionalized version of Louise Stratten), Kathryn Witt as Stratten/Snider’s neighbor Robin, Josh Mostel as a private detective Snider hires late in the film, and David Clennon as a neighbor of Stratten/Snider who befriends them only to be wary of Snider’s troubled behavior. As a fictionalized version of filmmaker Peter Bogdanovich in the form of Aram Nicholas, Roger Rees is excellent as this filmmaker who falls for Stratten as well as being nurturing to her growing talents as an actress and being the man who wants to help her. Cliff Robertson is brilliant as Hugh Hefner as the man who founded Playboy as he sees something more in Stratten where he would be a fraternal figure of sorts for her while being very suspicious towards Snider.

Carroll Baker is amazing as Stratten’s mother who is suspicious about what Snider wants to do as she isn’t really charmed by him while she is also aghast in how he stole Stratten from her. Mariel Hemingway is remarkable as Dorothy Stratten as this young and beautiful woman who finds herself becoming a star where Hemingway displays an air of innocence to the character as well as someone who would grow up knowing that something isn’t right about Snider. Finally, there’s Eric Roberts in an incredible performance as Paul Snider as he exudes the sleaziness of the character in the way he looks and acts but also has a charm that is engaging where it would morph into something very dark in its anguish and torment where Roberts really creates something that is very scary to watch.

Star 80 is a marvelous film from Bob Fosse that features great performances fro Eric Roberts and Mariel Hemingway. It’s a film that doesn’t just explore not just some of the darker aspects of obsession but also tragedy in the form of a real life story of the murder suicide of Dorothy Stratten and Paul Snider. In the end, Star 80 is a brilliant film from Bob Fosse.

Bob Fosse Films: Sweet Charity - Cabaret - Liza with a Z - Lenny - All That Jazz - The Auteurs #56: Bob Fosse

© thevoid99 2016

Escape from L.A.

Directed by John Carpenter and screenplay by Carpenter, Debra Hill, and Kurt Russell from characters by Carpenter and Nick Castle, Escape from L.A. is a sequel to the 1981 film Escape from New York in which Snake Plissken is asked by the President and the U.S. government to save the President’s daughter who had hijacked a plane to Los Angeles as she gives a weapon to a rebel leader. The film is another exploration into dystopian America where Los Angeles is separated by the U.S. due to an earthquake as Kurt Russell reprises his role as Snake Plissken. Also starring Steve Buscemi, Stacy Keach, Cliff Robertson, Georges Corraface, Michelle Forbes, Valeria Golino, Bruce Campbell, A.J. Langer, Pam Grier, and Peter Fonda. Escape from L.A. for all of its action and thrills is really just a lazy and uninspiring film from John Carpenter.

Set in 2013 just 13 years after an earthquake had destroyed much of Los Angeles and separated itself from the U.S., the film revolves around Snake Plissken being asked by the President (Cliff Robertson) to retrieve a black box carrying a weapon that can save the country from evil forces as the box had been taken by his daughter Utopia (A.J. Langer). Plissken reluctantly takes the mission due to a virus he is carrying as he has less than 10 hours to retrieve the black box as well as deal with a rebel leader who wants to take down the U.S. and its President. In some ways, it’s really the same narrative of the first film made 15 years earlier but with a different set of rules, villains, and people as the only thing that hasn’t changed is Snake Plissken himself. It’s just that the world Snake Plissken is in is a very weird one and affirmation that he really has no place in the future whether it’s in America or the rest of the world.

The film’s screenplay does play into a traditional structure where much of the first act is exposition in which plays into what happened to America since the events of the previous and what Plissken needs to do. The second act is about Plissken arriving in Los Angeles as he meets an assortment of crazed characters including a tour guide named Eddie (Steve Buscemi), a woman named Taslima (Valeria Golino) who was deported to L.A. because she was a Muslim, a transgender outlaw named Hershe (Pam Grier), and an aging surfer named Pipeline (Peter Fonda). Some of which are either affiliated with the terrorist leader Cuervo Jones (George Corraface) or against him. Yet, many of these characters really just caricatures where some just offer exposition or others are just there for laughs as it never really meshes or do anything to drive the story. Even as everyone knows that the President and his cronies are also villains because of what he wants to do and the bullshit morality that he stands for which doesn’t really make the story very engaging.

John Carpenter’s direction does have its moments in some of the action scenes and how he re-creates Los Angeles as paradise in Hell. Even as it does have some satire in the way the world is along with bits of commentary about a third-world revolution going up against the superpower that is America. Unfortunately, the script’s unwillingness to really do so much more really bogs the film down as Carpenter had to rely on humor to get some things going where it doesn’t really mesh with who Snake Plissken is. Even as there’s a lot of reliance on visual effects that don’t look great or finished as well as moments where it tries to be outrageous but ends up being very dumb. Carpenter’s approach to compositions are still potent in his approach to close-ups and medium shots but there’s scenes that don’t look good such as seeing Plissken surfing nearby or a scene where Plissken has to play basketball to survive. It’s not what he’s about as it doesn’t have the element of suspense nor any stakes that are bigger as it’s ending sort of mirrors the one in the previous film. Overall, Carpenter makes a very messy and dull film about a guy trying to retrieve a black box for some asshole dictator he doesn’t even like.

Cinematographer Gary B. Kibbe does nice work with the cinematography as much of the film was set at night where it features some unique lighting for some of the action scenes as well as play up to the look of Los Angeles. Editor Edward A. Warschilka does some fine work with the editing though it deviates from many of the conventional fast-paced cutting style that is derivative of most action films. Production designer Lawrence G. Paull, with set decorator Kathe Klopp and art director Bruce Crone, does superb work with the set design from the look of the city as well as some of the landmarks of the cities in their post-earthquake look. Costume designer Robin Michel Blush does excellent work with the costumes from the Che Guevara-inspired look of Cuervo Jones to look of the many characters that Plissken encounters in the film.

Special effects makeup designer Rick Baker does some brilliant work with the design of some of the freaks that appear in Los Angeles including those who took too much plastic surgery. Visual effects supervisors Michael Lessa and Kimberly Nelson LoCasio do terrible work with the visual effects where it looks like early 90s computer animation where things look wobbly and some of it looked unfinished as it is among one of the lowlights of the film. Sound editor John Dunn and sound designer John Pospisil do fantastic work with the sound to play up some of the sound effects and layers of sound in some of the action scenes. The film’s music by John Carpenter and Shirley Walker is alright for its mixture of electronics and rock with bits of blues to play into that sense of the old-school that Plissken is fond for while its soundtrack is a mixture of metal, alt-rock, and industrial from acts like Gravity Kills, Tool, White Zombie, Tori Amos, Sugar Ray, the Toadies, Ministry, Butthole Surfers, Stabbing Westward, Clutch, and the Deftones.

The casting by Carrie Frazier is amazing though many of the appearances of such noted cult actors like Pam Grier as an old friend of Plissken in a transgender fighter named Hershe, Bruce Campbell as a weird-looking plastic surgeon from Beverly Hills, Jeff Imada as a gang member, Robert Carradine as a skinhead, Paul Bartel as a congressman, and Leland Orser as an associate of Cuervo as they’re kind of given nothing to do as does Valeria Golino as a woman who helps Plissken to find locations in Los Angeles, Breckin Meyer as a young surfer, Michelle Forbes as an assistant chief to the police force, Stacy Keach as Commander Malloy, and Peter Fonda as the aging surfer Pipeline as they’re just used to appear and don’t do much. A.J. Langer is horrible as the President’s daughter Utopia as she doesn’t really do much for the story nor give any reason to save her as the President himself is indifferent about her. Georges Corraface is alright as Cuervo Jones as this rebel leader who wants to destroy the American dictatorship yet is also just as bad as the President.

Cliff Robertson is pretty good as the President as a man of morality who wants to clean up the country but is also quite ruthless in maintaining his rule as he is given a lifetime term. Steve Buscemi is fantastic as a tour guide named Eddie who is kind of a sleazy guy that is in it for himself and whoever that can give him money where he is the only guy that is able to bring some humor to the film. Finally, there’s Kurt Russell in a brilliant performance as Snake Plissken as this renegade soldier who is forced to take part in a mission to retrieve a weapon in a black box as he copes with illness and other things in a world he doesn’t relate to as Russell is the only thing in the film that works.

While it features a strong performance from Kurt Russell and some exciting action scenes, Escape from L.A. is just a very disappointing and lazy film from John Carpenter. It’s a film that tries to update its predecessor for the 90s but doesn’t do enough to stand out from the original while it is hampered by some bad humor and awful visual effects. In the end, Escape from L.A. is just a bad film from John Carpenter.

John Carpenter Films: Dark Star - Assault on Precinct 13 - Halloween - Someone’s Watching Me! - Elvis - The Fog - Escape from New York - The Thing - Christine - Starman - Big Trouble in Little China - Prince of Darkness - They Live - Memoirs of an Invisible Man - Body Bags - In the Mouth of Madness - Village of the Damned - Vampires - Ghosts of Mars - The Ward

The Auteurs #60: John Carpenter Pt. 1 - Pt. 2

© thevoid99 2015

Spider-Man

Originally Written and Posted at Epinions.com on 5/6/04 w/ Additional Edits & Revisions.

With recent film adaptations of comic book heroes like Superman and Batman, the story of Spider-Man from Marvel Comics for years had been in fruition for a film adaptation worthy of its hardcore comic book fans. Finally after years of development, a film adaptation was finally going to happen as Spider-Man's creator Stan Lee was happen with who was chosen to direct the project. The project was given to filmmaker Sam Raimi, whose credits include A Simple Plan, Darkman, and the cult-classic trilogy of the Evil Dead films. A longtime fan of the comic book, Raimi chose to create not just a truer adaptation of the comic book but create it into one of 2002's runaway summer blockbuster hits.

The movie for Spider-Man that is directed by Sam Raimi and screenplay by David Koepp based on material from the original Stan Lee comic with additional material from Steve Ditko. The plot of Spider-Man is simple, a young nerdy high school kid named Peter Parker gets bitten by a genetically-modified spider where he gains all sorts of powers while fighting crime and the villainous Green Goblin while trying to save New York City and his love interest Mary Jane Watson. Unlike most stories of superheroes, Spider-Man has a more human element in its stories as Parker is often filled with conflicts over his role as Spider-Man and himself. With a cast that includes Tobey Maguire as the title role along with Willem Dafoe, Kirsten Dunst, James Franco, Rosemary Harris, and Cliff Robertson, Spider-Man is one of the best big-budget features of 2002 worthy of being a smart, entertaining blockbuster hit.

For all of his life, the nerdy Peter Parker (Tobey Maguire) always wanted to be with the girl of his dream in his neighbor Mary Jane Watson (Kirsten Dunst). Yet, he remains bullied as his only friend is Harry Osborn (James Franco) who is the son of a rich scientist named Norman Osborn (Willem Dafoe). During science fair trip with other students, Peter gets bitten by a missing genetically-modified spider as he returns home sick to the concern of his Uncle Ben (Cliff Robertson) and Aunt May (Rosemary Harris). Norman meanwhile, is under pressure from the army to create an experimental formula for human strength as he tries it on himself leading to an accident.

Peter wakes up the following morning with some unexpected strength and perfect vision as the new powers he attained led him to stand up to bullies including Flash Thompson (Joe Manganiello). The discovery of his new powers gives him confidence though Uncle Ben feels like something isn't right as he offers Peter advice. At first, Peter doesn't take Ben's advice following a pro wrestling contest that he wins but after the contest, he finds his uncle slain as he goes after the thief (Michael Papajohn) who shot Ben as Peter realizes what his uncle was trying to say to him. Deciding to become "Spider-Man", Peter uses his powers for good though a new threat occurs in a villain named the Green Goblin that Norman Osborn has become following his experiment.

With Peter taking a side-job as a freelance photographer for a newspaper chief named Jonah Jameson (J.K. Simmons), he also learns about Harry dating Mary Jane as he tries to deal with the Green Goblin. Yet, Norman learns about what he's become as he discovers who Spider-Man is as he goes after the people who are close to Spider-Man leading to a climatic battle.

While most comic book hero films have familiarity and predictability in its plot, Spider-Man does make up for it with its screenplay and Raimi's masterful direction. Koepp's screenplay plays true to the comic while giving depth to its main characters, notably Spider-Man/Peter Parker and the Green Goblin/Norman Osborn. The script plays up to its story as it builds up momentum and even clues that would lead to a profitable franchise where the characters can develop more with each film. Raimi brings a fast-paced, directing style to the film while adding some dramatic elements without being too much of a drama film or too much of an action film. Raimi brings balance while belting out entertaining moments where an audience can have fun and cheer for Spider-Man. The choice of Raimi directing Spider-Man was a smart one since he has an idea for story and knowing what an audience would want.

The film's look with its visual effects and colorful cinematography from Don Burgess is well shot by giving color to the New York City landscape as well as the natural-Goth like look of Norman Osborn's rich home and the more suburban look of Queens in Parker's home. With help from production designer Neil Spisak and supervising art director Steve Arnold, the film looks like a comic book but with some life that an audience can relate to. The visual and CGI effect play well also without being too computer-like as if we're really seeing the real thing with many credit to Raimi for bringing out a real look without trying to manipulate the audience. Another element that works in the film is Danny Elfman's orchestral, fast-paced score that plays up to the film's emotional and action intensity. Elfman helps the music move with the film and brings in excitement while the film's soundtrack, with the exception of the original theme, is pretty generic with cuts from Sum 41, and the godawful ballad of Hero from Nickelback's Chad Kroeger and Saliva's Josey Scott.

The film's cast is one that works really well as the smaller performances from J.K. Simmons, Stanley Anderson as General Slocum, "Macho Man" Randy Savage as a wrestler, Joe Manganiello, and longtime Raimi collaborator Bruce Campbell as an announcer are fun to watch as well as appearances from Lucy Lawless, Bill Nunn, Elizabeth Banks, and Stan Lee, himself. Rosemary Harris is wonderful to watch as Aunt May as the old woman who brings some guidance to Peter Parker with a sense of heart and charm. Cliff Robertson is also well used in his brief role as Uncle Ben, particularly with the line that would be in Parker's head as Robertson plays a role of a family member you can love with a sense of morality that is often overlooked due to the film's fast-paced action.

James Franco is excellent in the role of Harry Osborn as the best friend who tries to win Mary Jane's love while is trying to win acceptance from his father. Franco brings depth to his character as we get to know him more, especially in a touching scene with Willem Dafoe that would lead to its inevitable sequel. Kirsten Dunst is very good as Mary Jane Watson, the girl who Peter loves and cares for. While it's a typical damsel-in-distress type of role, Dunst is able to bring wit and charm to the character that makes it fun to watch.

Willem Dafoe definitely brings in one of his most accessible performances as the Green Goblin/Norman Osborn. Always playing a role in complex manners, Dafoe brings a lot of elements to make Norman Osborn likeable and sympathetic while as the Green Goblin, he plays the villain audiences love to hate. Even as he is relaxed and plays it cool as it's one of Dafoe's great performances. Tobey Maguire is superb in the title role as he brings emotional depth to the character and anguish while possessing a boyish charm to the Peter Parker character. Maguire brings in a lot of nice chemistry with Dunst and the rest of the cast as his scenes with Dafoe are filled with great, intense acting moments. It's a real break-out role for Maguire as he proves to bring the right notes to play a superhero.

Spider-Man is an excellent, entertaining film that has something for everyone including comic book fans. Even art-film fans can enjoy the entertaining value and depth that the film has, especially since it's going to become a well-deserved profitable franchise. The success of Spider-Man did bring comic book movies back to life but the reason Spider-Man is successful because of Sam Raimi's ability to stay true to the comic as well as giving the characters depth and making the film entertaining. In the end, Spider-Man is a comic book action film done right by giving something for everyone.

Related: The Amazing Spider-Man - The Amazing Spider-Man 2 - Spider-Man: Homecoming - Spider-Man: Far from Home - Spider-Man: No Way Home - Spider-Man: Across the Spider-Verse - (Spider-Man: Beyond the Spider-Verse)

Sam Raimi Films: The Evil Dead - (Crimewave) - Evil Dead II - (Darkman) - Army of Darkness - (The Quick & the Dead) - (A Simple Plan) - (For the Love of the Game) - (The Gift) - Spider-Man 2 - Spider-Man 3 - (Drag Me to Hell) - (Oz the Great and Powerful) - Doctor Strange in the Multiverse of Madness

© thevoid99 2011