Directed by Robert Altman and written by Doran William Cannon, Brewster McCloud is the story of a recluse who lives in a shelter at the Houston Astrodome as he dreams of wanting to fly where he would create a flying machine. The film is an offbeat comedy that plays into a young man wanting to do the impossible as it mixes fantasy and reality into this man’s desire to fly. Starring Bud Cort, Sally Kellerman, Michael Murphy, Rene Auberjonois, Stacy Keach, Margaret Hamilton, Jennifer Salt, and introducing Shelley Duvall. Brewster McCloud is a witty and whimsical film from Robert Altman.
The film is about a young recluse who yearns to fly as he creates a flying machine that would give him the chance to fly as he would deal with others who threaten him leading to a murder investigation led a detective from San Francisco. Set entirely in the city of Houston with the Astrodome in the center of the story, the film follows this titular character (Bud Cort) as he is trying to get an idea of how to fly with these wings he created. The film’s screenplay by Doran William Cannon sets up the main premise yet much of the film is improvised by director Robert Altman who would include small subplots into the film as it relates to Brewster McCloud.
Popping up every now and then is a lecturer (Rene Auberjonois) talking about birds and their wings while another subplot involves this detective in Frank Shaft (Michael Murphy) who arrives from San Francisco to investigate these mysterious murders as the one key evidence in these killings are bird shit. McCloud would try to mind his own business despite being aided by a mysterious woman in a trench coat named Louise (Sally Kellerman) and getting the attention of a tour guide in Suzanne (Shelley Duvall). Still, he is determined to prove that man can fly no matter what obstacles he faces.
Altman’s direction is offbeat as it opens with a band rehearsing the American national anthem until its singer (Margaret Williams) stops it because the band was off-key prompting to start all over again with the opening credits appearing once again. Shot on location in Houston, Texas and in and out of the Astrodome, the film does play into this strange mixture of fantasy and reality as it relates to what Brewster is trying to do in being able to fly. Yet, he also has to make a living as he would be first seen being a chauffeur to a miserly old man (Stacy Keach) while he also deals with an off-duty narcotics officer who tries to plant drugs on him at the zoo. Both men would meet their fate in bizarre ways as it adds to the film’s offbeat tone. Much of Altman’s direction is loose as he does use wide shots to get a look of the locations as well as shots inside the Astrodome. There are also some medium shots and close-ups that play into the characters and their interaction with a location including a scene of Brewster hiding from a security guard where he finds himself party of a touring group.
The film also play into these offbeat moments that happen as if something else is happening during a key scene which adds to Altman’s approach to the story as it play into so much that is happening including overlapping dialogue that would become a trademark of Altman’s style. Even as there is this car chase during the third act where it’s a riff of the car chase in some respects but also play into this confrontation with reality for some of the characters. The film’s climax is about Brewster’s flight and everything he thought about into his attempt to fly and what he would do to make this dream happen just as discoveries are made about these bizarre murders. Overall, Altman crafts an odd yet rapturous film about a young recluse wanting to fly inside the Astrodome.
Cinematographers Lamar Boden and Jordan Cronenweth do excellent work with the film’s cinematography to capture the sunny look of the daytime exterior scenes in Houston as well as the interiors for some scenes at night as well as the interiors of the Astrodome. Editor Lou Lombardo does brilliant work with the editing with some stylish jump-cuts to play into the humor and parts of the suspense as well as some playful montages that play into the bits of fantasy colliding with reality. Art directors E. Preston Ames and George W. Davis, with set decorators Robert R. Benton and Hugh Hunt, do fantastic work with the look of the shelter that Brewster lives in as well as the home of some of the victims along with the place that Suzanne lives in that she takes Brewster too.
Special makeup effects artist/wing designer Leon Ericksen does amazing work with the look of the old man that Brewster works for early in the film as well as the design of the wings. The sound work of William L. McCaughey and Harry W. Tetrick do superb work with the sound as it help capture the sound of the crowd as well as the atmosphere of the stadium when it isn’t full as well as some of the film’s natural elements. The film’s music by Gene Page is terrific for its playful orchestral score with elements of folk and country that include some original songs by John Phillips that play into the sense of adventure.
The casting by Gary Chason is wonderful that include some notable small roles from G. Wood as a skeptical police captain in Crandall who isn’t fond of Shaft, Bert Remsen as the corrupt narcotics officer Breen, John Schuck as the officer Johnson who helps out Shaft, William Baldwin as Suzanne’s boyfriend Bernard who works for the top police official Weeks, Stacy Keach as a stingy and cruel old man who collects money from old folks home in Abraham, Corey Fischer as an officer who helps Crandall, Margaret Hamilton as a singer in Daphne Heap that is cruel to the band playing for her, and Jennifer Salt as a young woman named Hope who helps out Brewster while also being sexually attracted to him. Rene Auberjonois is fantastic as the lecturer as this mad professor who talks about birds and their power in a comical way while William Windom is terrific as the top police official Haskell Weeks who hires Shaft to investigate while trying to smooth things over within the city.
In her film debut, Shelley Duvall is excellent as Suzanne as a tour guide for the Astrodome that meets Brewster when he’s trying to steal her car as they evade the police while learning about what Brewster is doing. Michael Murphy is brilliant as detective Frank Shaft as a man with piercing blue eyes who lead the investigation over these bizarre murders as he’s an offbeat man that is trying to investigate the case where he is the closest to anyone getting any answers of what is going on. Sally Kellerman is amazing as Louise as this mysterious woman who helps Brewster in his quest as she is this caretaker of sorts while also giving him advice on what to do to achieve his dream. Finally, there’s Bud Cort in a marvelous performance as the titular character as this young man that is wanting to fly as it’s an odd performance of a kid who is shy and reclusive yet is so determined to wanting to fly.
Brewster McCloud is an incredible film from Robert Altman. Featuring a great cast, an offbeat premise, dazzling visuals, and humorous moments that play into the film’s mix of reality and fantasy. It’s a film that definitely displays Altman’s unique vision in telling a story in an unconventional manner while playing up the ideas of fantasy and reality. In the end, Brewster McCloud is a sensational film from Robert Altman.
Robert Altman Films: (The Delinquents) – (The James Dean Story) – Countdown (1968 film) - (That Cold Day in the Park) – M.A.S.H. - McCabe & Mrs. Miller - (Images) – Thieves Like Us - The Long Goodbye - California Split - Nashville - Buffalo Bill and the Indians, or Sitting Bull's History Lesson - 3 Women - (A Wedding) – (Quintet) – (A Perfect Couple) – (HealtH) – Popeye - (Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean) – (Streamers) – (Secret Honor) – (O.C. and Stiggs) – Fool for Love - (Beyond Therapy) – (Aria-Les Boreades) – (Tanner ’88) – (Vincent & Theo) – The Player - Short Cuts - Pret-a-Porter - (Kansas City) – (The Gingerbread Man) – Cookie's Fortune - Dr. T and the Women - Gosford Park - The Company (2003 film) - (Tanner on Tanner) – A Prairie Home Companion
© thevoid99 2018
Directed by Herbert Ross and written and starring Woody Allen which is based on his own play, Play It Again, Sam is the story of a recently-divorced man who is urged by his friends to start dating again as he gets advice from the ghost of Humphrey Bogart. The film is an unusual romantic comedy where a man tries to find love in this strange mixture of fantasy and reality. Also starring Diane Keaton and Tony Roberts. Play It Again, Sam is a witty and delightful film from Herbert Ross.
The film follows a film critic whose wife had just left him as he reluctantly returns to the dating scene by his friends where he finds himself lost as he seeks the advice from the ghost of Humphrey Bogart. It’s a film with a simple story that mixes elements of fantasy as it’s largely set in a real world where this man has trouble wondering why his wife left him and how he’s unable to connect with other women with the exception of his friend Linda (Diane Keaton). Woody Allen’s screenplay explores the conundrum that Allan Felix (Woody Allen) is going through as he isn’t sure about trying to find a new live as Linda and her husband Dick Christie (Tony Roberts) do whatever they can as they try to set him up with other women as many of the results are disastrous. With the workaholic Dick often away, Felix and Linda bond where it is obvious where the script is going yet Allen plays that build very slowly as there is also a sense of conflict in Felix as it relates to Dick who is his best friend.
Herbert Ross’ direction is very straightforward as it is shot largely on location in San Francisco and other parts of the Bay Area in California as it play into this culture of film and art. Ross does put in references to some of the films that Humphrey Bogart is in with Casablanca being the most notable as it is Allan’s favorite film. Much of the compositions in the wide and medium shots are simple where Ross knows where to place the actors in a frame as well as know where to put in the comedic moments and make it feel natural. Though there’s a few wide shots to establish some of the locations, Ross uses it to create a fantasy version of sorts of San Francisco as it kind of plays into this idea of what Allan is looking for once he finds who his soul mate is. The ending is a take on the ending of Casablanca but it has a nice twist to it as it play to everything Allan is looking for. Overall, Ross creates a whimsical yet exhilarating comedy about a divorced man trying to get back into the dating scene with the help of Humphrey Bogart’s ghost.
Cinematographer Owen Roizman does excellent work with the film’s cinematography with its emphasis on natural and colorful looks for the daytime interior/exterior scenes along with some artificial touches for scenes set at night. Editor Marion Rothman does nice work with the editing as it is mainly straightforward with some jump-cuts and a few montage-style cuts. Production designer Ed Wittstein and set decorator Doug von Koss do fantastic work with the look of Allan’s home as well as the country home of the Christies’ home. Costume designer Anna Hill Johnstone does terrific work with the costumes from the stylish clothes that Linda wears to the more casual look of the men. The sound work of David Dockendorf and Richard Reitschmann is superb as it is very straightforward that includes a very funny scene involving a record and the record player. The film’s music by Billy Goldenberg is wonderful as its mixture of jazz and classical music play into the comedy and some of the drama that occurs in the film.
The film’s marvelous cast include some notable small roles from Jennifer Salt as a woman Linda sets Allan up for a date that doesn’t go well, Joy Bang as a colleague of Dick that goes out with Allan that also bombs, Susanne Zenor as a girl dancing at a club Allan tries to flirt with, Viva as a woman the Christies that Allan introduces to as it doesn’t go well, Diana Davalia as a woman Allan meets in the museum with some very morbid comments, and Jerry Lacy in a terrific performance as the ghost of Humphrey Bogart. Susan Anspach is wonderful as Allan’s ex-wife Nancy who leaves Allan as she believes he isn’t exciting nor can satisfy her in every way as she is someone wanting adventure.
Tony Roberts is excellent as Dick Christie as a workaholic who is trying to help Allan but has a hard time trying to be with Linda due to the demands of his job. Diane Keaton is amazing as Linda Christie as a woman who is concerned for Allan as she tries to help him find a new love only to cope with her own feelings for him. Finally, there’s Woody Allen in a brilliant performance as Allan Felix as a neurotic film critic who is despondent over his divorce as he tries to move forward as it’s a very comical performance from Allen who tries to act and be cool but also do it in the most awkward and funniest of ways.
Play It Again, Sam is a remarkable film from Herbert Ross and writer Woody Allen. It’s a film that isn’t just a witty romantic comedy that plays upon the expectations of fantasy and wanting to live the fantasy but also deal with the realities of falling in love. In the end, Play It Again, Sam is an incredible film from Herbert Ross.
© thevoid99 2017
Directed by Brian De Palma and screenplay by De Palma and Louisa Rose from a story by de Palma, Sisters is the story of a model who learns that her separated Siamese twin had been suspected of murder that was witnessed by a newspaper reporter. The film explores the unique relationship between Siamese twin sisters as they deal with their relationship as well as the interference of another woman who suspects one of them of murder. Starring Margot Kidder, Jennifer Salt, Charles Durning, and William Finley. Sisters is an entrancing yet stylish thriller from Brian De Palma.
The film is about the world of Siamese twins where a model wakes up one morning to learn that the man she just spent the night was murdered while across the building was a journalist who witnessed the murder. The journalist then learns that the woman might have a twin as it’s revealed that she is one of Siamese twins as she hires a private detective to help out where things get more troubling. It’s a film that plays into a classic scenario of the mystery-suspense film to see if what this woman named Grace Collier (Jennifer Salt) saw actually happened where her journalistic instincts have her going very deep into what is going on. Yet, there’s some strange twists and turns that involves this model named Danielle Breton (Margot Kidder) who may or may not have a clue about what is going on other than finding a dead body in her apartment.
The film’s screenplay is unique where the film starts off very low-key and playful where Breton appears on a TV show where she and a contestant in Philip Woode (Lisle Wilson) meet and hit it off where they would spend the night together despite the appearance of Breton’s ex-husband Emil (William Finley). Things seem to go well for much of the first act where there isn’t any suspense with the exception of an argument Philip hears between Danielle and her sister Dominique in French. When he comes back to her apartment with a birthday cake, that’s when the element of suspense occurs where Collier would see Philip’s bloody hand write “help” on the window. Collier would report what she saw to the police who don’t believe her as she hires this very eccentric private detective in Joseph Larch (Charles Durning) who goes into the apartment to uncover secrets while following a moving truck that is carrying a couch.
Much of the film’s second act is about Collier’s search to find out the truth where Larch’s help has her learn about who Danielle Breton is where she turns to the journalist in Arthur McLennen (Barnard Hughes) who had written a piece on these French-Canadian twins who had reportedly gotten a surgery to separate themselves. It would then lead to this third act where Collier follows Danielle and Emil as the sense of mystery and intrigue intensifies. Notably where the script would play into this element of surrealism into the relationship between Danielle and Dominique.
Brian De Palma’s direction is definitely stylish though from the way he opens the film in its opening credits that is filled with these very strange images of Siamese twin fetuses. Then the film plays into this unique scene where Philip is in a gym locker room where Danielle pretends to be a blind woman where it’s all part of a silly game show that showcases De Palma’s willingness to play with genres and structures as much of the first act starts off very calm and lively. Still, De Palma does create images and such to play into these little moments that would trigger the suspense where it finally emerges in this gruesome act of killing that is very stylized in its presentation. One unique aspect of De Palma’s direction that is interesting is the way he uses split-screens to play into the suspense where one shot has Collier talking to the cops and show them what she saw while Emil and Danielle are cleaning up all of the blood in the apartment.
The element of suspense occurs for much of the film’s second half where De Palma keeps much of the suspense low-key to see if Collier would crack the case with the help of Larch. Notably in a scene where Collier enters Breton’s apartment with the detectives where the use of these long tracking shots help play into Breton’s determination to find some clues. By the film’s third act where Collier gets closer to cracking the case, something gets strange where De Palma goes for surrealism in some strange dream sequence where it’s shot in 16mm black-and-white as if it was a documentary. It plays into this world that Collier is entering where it would uncover a lot of the mystery but also reveal how complicated things are for those who are Siamese twins. Overall, De Palma crafts a very exotic yet eerie film about identity and murder.
Cinematographer Gregory Sandor does excellent work with the cinematography from the nighttime look of the locations in New York City and Staten Island to the use of black-and-white 16mm footage to play into the surreal dream sequence in its third act. Editor Paul Hirsch does brilliant work with the film‘s stylized editing with its use of split-screens and rhythmic cuts to play into the film‘s suspense. Production designer Gary Weist does nice work with the look of Danielle‘s stylish apartment as well as some of the places she and the other characters go to. Sound editor John Fox does terrific work with the sound to play into the suspense including the scene where Philip hears Danielle and Dominique arguing in French. The film’s music by Bernard Herrmann is amazing for its mixture of orchestral music and eerie electronic pieces to play into the film’s suspense and terror.
The casting by Sylvia Fay is superb for the ensemble that is created as it features appearances from Olympia Dukakis and Justine Johnston as two bakers Philip meets, Dolph Sweet as Detective Kelly who is unsure about Collier’s claims, Jennifer Salt’s real-life mother Mary Davenport as Collier’s mother, Lisle Wilson as the man that Danielle meets in Philip Woode, and Barnard Hughes as the renowned journalist Arthur McLennen who reveals some things about Danielle and Dominique. William Finley is excellent as the very strange Emil Breton who helps Danielle cover things up while maintaining this weird presence as he knows more about what is going on. Charles Durning is terrific as the eccentric private detective Joseph Larch who uses unconventional methods to find things in his investigation.
Jennifer Salt is brilliant as Grace Collier as a woman determined to find some truth over what she saw as she gets deeper into her discovery while uncovering things that would disturb her. Finally, there’s Margot Kidder in a fantastic performance in the dual roles of Danielle and Dominique where she sports a French-Canadian accent to play into a woman’s innocence as well as her uncertainty of who is who as there’s a complexity to these characters as well as what she is dealing with.
Sisters is a remarkable film from Brian De Palma that features some astounding performances from Margot Kidder and Jennifer Salt. The film is definitely one of De Palma’s great early triumphs as well as very fascinating film on the idea of Siamese twins and identity. Particularly as it also explores many concepts into doubles and such that would be a prominent theme in De Palma’s work. In the end, Sisters is a sensational 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) - Phantom of the Paradise - Obsession - Carrie - The Fury - (Home Movies) - Dressed to Kill - Blow Out - Scarface - 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 (2018 film))
© thevoid99 2013
