Carrie

Based on the novel by Stephen King, Carrie is the story of a tormented high school student whose troubled life finally comes to ahead when she later becomes the victim of a prank led by a group of her classmates. Directed by Brian de Palma and screenplay by Lawrence D. Cohen, the film is an exploration into the world of bullying as well as the life of a young girl who is also abused at home by her very religious mother as the titular character is played by Sissy Spacek. Also starring Amy Irving, Nancy Alley, William Katt, John Travolta, P.J. Soles, Betty Buckley, and Piper Laurie. Carrie is a tremendously chilling and mesmerizing film from Brian de Palma.

After a young high school student is bullied and tormented prompting the school’s gym teacher to take action, the film revolves around a few students who decide to play a prank on this troubled young woman named Carrie White for the upcoming senior prom just as Carrie is discovering about her telekinetic powers. It’s a film that plays into this young woman who lives a very troubled life due to the fact that she is often abused by her very religious mother Margaret White (Piper Laurie) who believes that the world around Carrie is full of sin. Once Carrie’s classmates are forced to serve detention led by their gym teacher Miss Collins (Betty Buckley), one of them in Chris (Nancy Allen) conspires a plan to humiliate Carrie at the senior prom. It would play into this event at the prom where Carrie is asked by the school’s quarterback who is unaware of the prank where all things go to hell.

The film’s screenplay by Lawrence D. Cohen plays into not just Chris’ plan to humiliate Carrie with the aid of her boyfriend Billy Nolan (John Travolta) but also Carrie discovering about her own unique powers. Even as Carrie is someone who is very naïve about herself as the film begins with a shower scene where she notices blood is coming out of her genitals unaware of the concept of menstruation due to the fact that her mother would shield a lot of things from her. While one of her tormentors in Sue Snell (Amy Irving) would express remorse as she asks her boyfriend Tommy Ross (William Katt) to ask Carrie to the prom. It is Chris that wants to take action as she would eventually get the help from her friend Norma (P.J. Soles) who also despises Carrie. The sense of momentum which helps build the suspense would be key to the story as is some of Cohen’s dialogue. Especially the chilling words that Margaret would say to her daughter including some off-the-wall humor including a scene where Margaret looks at the dress Carrie wears and how she refers to Carrie’s breasts.

Brian de Palma’s direction is very stylish from the way he presents the film’s opening credits with this slow gazing tracking shot of young women at the girl’s locker room where some of them are naked. In fact, much of de Palma’s direction is stylish in his usage of close-ups and medium shots to the way he can create moments of suspense at an instance which relates to Carrie’s telekinetic powers. The usage of tracking shots and long takes also add to de Palma’s sense of style including the way he circles Carrie and Tommy’s dance on a low angle as it showcases something that can be innocent and fun though something bad will happen to Carrie.

While there are elements of suspense and terror that looms in the film, de Palma does balance that with humor such as the detention sequence where Sue, Norma, Chris, and the rest of the girls who made fun of Carrie are forced to do exercise activities. Yet, it would add to some of the terror in what Chris and Billy would do as the climatic prom scene where de Palma’s usage of split-screens and other compositions would play into full-on horror at its most visceral. Even in its aftermath which involves Carrie and her mother where it relates to the idea of good vs. evil. Overall, de Palma creates a powerful and terrifying film about a tormented and sheltered young girl who gets pushed to the edge.

Cinematographer Mario Tosi does brilliant work with the film‘s colorful cinematography from the naturalistic yet dream-like look of the daytime exterior scenes to the stylish usage of lighting for some of the scenes at night and the scenes set at the prom. Editor Paul Hirsch does amazing work with the editing with its stylish usage of jump-cuts, split-screens, and other cutting styles to play into the film‘s humor and the element of suspense and terror. Art directors Jack Fisk and Bill Kenney, with set decorator Robert Gould, do excellent work with some of the set design from the school gym and the look of the prom to the home where Carrie and her mother lives in.

Costume designer Rosanna Norton does nice work with the costumes from the red cap that Norma wears as well as some the plain clothes that Carrie wears. Sound editors Dan Sable and Ron Kalish do superb work with the sound in creating sound textures to play into Carrie‘s own troubled state of mind as well as some scenes of terror that are key to the story. The film’s music by Pino Donaggio is phenomenal for its orchestral-based score that ranges from being somber and ethereal with its lush string arrangements to sounds of terror with screeching strings as well as some low-key pieces while music supervisor Michael Arciaga bring in a mixture of songs ranging from and pop music plus a couple of songs written by Donaggio.

The casting by Harriet B. Helberg is wonderful as it features some notable small roles from Priscilla Pointer as Sue’s mother, Edie McClurg as the classmate Helen, Cameron de Palma as a young kid taunting Carrie early in the film, Sydney Lassick and Stefan Gierasch as a couple of faculty members, and Michael Talbott as a friend of Billy who would help be involved with the prank. P.J. Soles is terrific as Chris’ friend Norma as tomboy of sorts who always wears a red cap and braids in her hair as she too shares a hatred for Carrie. John Travolta is fantastic as Chris’ delinquent boyfriend Billy Nolan who is a troublemaker and master prankster that doesn’t like to be insulted though he is an idiot. William Katt is superb as Tommy Ross as the most popular guy in school who is asked to take Carrie to the prom by Sue as he befriends her as he becomes one of the few who are really genuine towards her.

Betty Buckley is excellent as Miss Collins as the school’s gym teacher who knows about Carrie’s sheltered life as she tries to help her as well as make the girls who tormented her show the error of their ways. Amy Irving is brilliant as Sue Snell as one of Carrie’s tormentors who would later express remorse for her actions as she tries to stop the prank from happening. Piper Laurie is remarkable as Carrie’s very religious mother Margaret as this very crazy woman who sees evil all over as she tries to make sure her daughter stays in the straight and narrow as it’s a very scary performance. Finally, there’s Sissy Spacek in an incredible performance as the titular role as this young high school student who is this oddball that has no clue about some of the ways of the world as she copes with her powers and the presence of her mother as it is just a performance for the ages.

Carrie is a spectacular film from Brian de Palma that features great performances from Sissy Spacek and Piper Laurie. Along with an amazing supporting cast, top-notch technical work, and a brilliant score by Pino Donaggio, the film is definitely one of the finest films in horrors. Even as it is told with such style and wit by de Palma as it is one of his essential films. In the end, Carrie is a magnificent 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 - Phantom of the Paradise - Obsession - 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 2015

Summer of Twin Peaks: Episode 7-The Last Evening

Written and directed by Mark Frost, the eighth and final episode of the first season of Twin Peaks entitled The Last Evening plays into the night Special Agent Cooper and Sheriff Truman finally arrest Jacques Renault for the attempted murder on Ronette Pulaski and the death of Laura Palmer. Yet, things become more complicated where James Hurley, Donna Hayward, and Maddy Ferguson find the missing tape of Palmer’s last session with Dr. Jacoby as it only raised more questions into who killed her. Even as all of the clues and suspects that lead towards who is Laura Palmer’s killer would only raise more questions and more intrigue into the underworld of Twin Peaks.

It’s an episode where everyone tries to find out who killed Laura Palmer where everyone thinks they’re getting closer. Instead, things become more complicated though two men are major suspects in Jacques Renault and Leo Johnson as the latter finds out about Shelley’s affair with Bobby Briggs. Upon capturing Renault and getting some answers from him, Cooper and Truman believe they have a lead while there is more that happens in the course of the entire night. Mark Frost’s script sets the entire episode in the span of an entire night where it is about nabbing Renault as well as find clues into Laura’s death. Meanwhile, a lot of other things happen where James Hurley would eventually get into trouble where he learns he’s been set up after Truman finds a bag of cocaine in his motorcycle gas tank.

Other subplots involve Benjamin Horne’s deal with some Icelandic businessman at One Eyed Jack’s as he is unaware that Audrey is there posing as the new girl at the brothel as she is doing undercover work of her own. Dr. Jacoby who was lured into a scheme by Donna, James, and Maddy would be attacked by a mysterious figure as he would end up in the hospital where it becomes clear that he might’ve known something about Palmer but wasn’t involved with her murder. Then there’s the feud between Catherine Martell and Josie Packard over the control of the sawmill where it’s clear that Martell has been fooled by Benjamin Horne who isn’t just in cahoots with Packard over the ownership of the mill but also it’s plans. Even as there are more revelations into what Hank Jennings did that put him in jail and his connection with Packard.

Frost’s direction is quite eerie where it does maintain its sense of intrigue and suspense along with elements of drama and terror. Most notably in the way Ed Hurley and Norma Jennings’ own respective relationships with their spouses are handled as the former in his wife Nadine goes into depression following the failure of her invention. The compositions that Frost makes are intriguing while he lets the episode end on a cliffhanger which only adds more to who is behind all of this and who is the one trying to stop the authorities and others from revealing who is killing Laura Palmer.

The performances of its cast is amazing where Kyle MacLachlan is the star of the season as Agent Cooper as he brings in that mixture of witty humor and determination as his character does seem like he is about to get closer only for something happen in its ending that would change everything. The performances of Sherilyn Fenn, Madchen Amick, Jack Nance, Piper Laurie, Michael Ontkean, Ray Wise, Lara Flynn Boyle, Everett McGill, and Dana Ashbrook are in top form as they all bring some unique complexities into their characters.

The Last Evening is a brilliant season finale for Twin Peaks which not only engages the audience into the mystery but also has them wanting for more with its cliffhanger in the end. Thanks to the work of Mark Frost and its air of suspense and dark humor, the episode isn’t just one of the series’ finest moments but also television at its most compelling. In the end, The Last Evening is a phenomenal episode of Twin Peaks from Mark Frost.

Twin Peaks: Season 1: Pilot - Episode 1 - Episode 2 - Episode 3 - Episode 4 - Episode 5 - Episode 6

Season 2: Episode 8 - Episode 9 - Episode 10 - Episode 11 - Episode 12 - Episode 13 - Episode 14 - Episode 15 - (Episode 16) - (Episode 17) - (Episode 18) - (Episode 19) - (Episode 20) - (Episode 21) - (Episode 22) - (Episode 23) - (Episode 24) - (Episode 25) - (Episode 26) - (Episode 27) - (Episode 28) - (Episode 29)

Season 3: (Coming Soon)

Twin Peaks: Fire Walk with Me - (The Missing Pieces)

© thevoid99 2015

Summer of Twin Peaks: Episode 6-Realization Time

Directed by Caleb Deschanel and written by Harley Peyton, the seventh episode of Twin Peaks entitled Realization Time is an episode where many of the events that relates to Laura Palmer’s death and the underworld surrounding some of the locals in Twin Peaks start to come together. Notably as Special Agent Cooper, Sheriff Truman, and Ed Hurley go further into the underworld where Cooper and Hurley go undercover to the brothel One Eyed Jack’s in Canada. It’s an episode where many characters not only do their own investigation into what happened to Laura Palmer but it’s also an episode where several characters who are suspected of being involved do whatever it takes to stop the authorities from doing their job.

Among the many subplots that goes on in the film, James Hurley, Donna Hayward, and Maddy Ferguson work together to try and find a missing tape of a conversation Laura had with Dr. Jacoby where they believe that Jacoby has the tape. Audrey Horne does her own investigation by working at her father’s department store where she learns about some secrets about some connection for co-workers who would get extra money working at One Eyed Jack’s prompting her to make a visit to the place herself under a different name. The episode also plays into some dealings between Benjamin Horne, Catherine Martell, and Josie Packard as it relates to the sawmill where it becomes clear that someone is going to get the blame and no one knows who is in the right and who is in the wrong.

Harley Peyton’s script doesn’t just amp up the element of suspense but also manages to create more intrigue where Cooper and Truman, with the aid of Dr. Hayward, try to figure out what Jacques Renault’s pet myna bird Waldo would say as they would get a major clue about what happened to Laura Palmer. It is among a few of the quirky elements of the episode as it focuses more on the element of suspense. There is also some drama as it relates to Bobby Briggs’ relationship with Shelley Johnson where Briggs vows to protect her but would also play a key role in the ending as it relates to Hurley whom he has issues with.

Caleb Deschanel’s direction is engaging for the way it plays into the element of suspense and drama while showing things that will raise questions about who is connected to who. Most notably Hank Jennings and his connection with Josie Packard as the former would have a confrontation with Truman who doesn’t trust Jennings despite the fact that he’s on parole. Deschanel takes great detail into capturing many of the visuals along with scenes set at night and in the interiors such as Horne listening to her manager talking to one of his employees about a special job. Even as it is clear that no one is safe nor anyone who has motives about shutting the truth from everyone.

Realization Time is a riveting episode from Caleb Deschanel and Harley Peyton as the stakes become much higher as does the sense of intrigue. Notably as it’s an episode where everything is getting closer while its cast start to reach towards their A game in their performances while allowing their characters to be far more interesting than ever. In the end, Realization Time is an exhilarating episode of Twin Peaks from Caleb Deschanel.

Twin Peaks: Season 1: Pilot - Episode 1 - Episode 2 - Episode 3 - Episode 4 - Episode 5 - Episode 7

Season 2: Episode 8 - Episode 9 - Episode 10 - Episode 11 - Episode 12 - Episode 13 - Episode 14 - Episode 15 - (Episode 16) - (Episode 17) - (Episode 18) - (Episode 19) - (Episode 20) - (Episode 21) - (Episode 22) - (Episode 23) - (Episode 24) - (Episode 25) - (Episode 26) - (Episode 27) - (Episode 28) - (Episode 29)

Season 3: (Coming Soon)

Twin Peaks: Fire Walk with Me - (The Missing Pieces)

© thevoid99 2015

Summer of Twin Peaks: Episode 4-The One-Armed Man

Directed by Tim Hunter and written by Robert Engels, the fifth episode of Twin Peaks entitled The One-Armed Man is an episode where Special Agent Cooper and Sheriff Truman find more answers into the underworld and who is connected to who. Especially as they uncover certain things relating to the Renault brothers and their dealing with drugs as there is more that is going that the authorities don’t know yet. Notably as it plays into growing feud between Josie Packard and Catherine Martell over the sawmill and other events that lurks into the town where Deputy Hawk would finally track a mysterious one-armed man who could be a suspect relating to Laura Palmer’s death.

It’s an episode that plays into a lot of the things that are going behind the scenes in the town of Twin Peaks as the authorities would try to get answers as they confront this one-armed man in Philip Michael Gerard (Al Strobel) who admits to being in the hospital the same night Hawk was meeting the Pulaski family. Yet, it turns out to be a step back where Cooper receives word from a fellow FBI agent in Gordon Cole (David Lynch) about some of the marks in Laura’s body. The episode also reveals about Laura’s missing necklace where James Hurley and Donna Hayward realize that someone had took it based on a vision that Sarah Palmer had.

The episode would feature Donna making a secret alliance with Audrey Horne who wants to find out who killed Laura despite the fact that she and Laura weren’t close friends. It plays into the element of suspense and intrigue as Audrey would plea to her father to work at his cosmetics store as a way to please him who is unaware of her real motives. While it’s an episode that has a few elements of humor as it relates to Cooper’s unconventional methods and an encounter with a veterinarian’s building with all sorts of animals including a llama. It is a darker episode where it would feature the introduction of Norma’s husband Hank (Chris Mulkey) who is awaiting the results of his parole hearing where he promises Norma to do things right for her.

Tim Hunter’s direction definitely plays up the elements offbeat humor with elements of suspense and drama. Notably as it focuses on some of the things that goes on in the town where Josie Packard stakes out a motel where Benjamin Horne and Catherine Martell are having their fling. Much of it plays into Horne and Martell’s plans to ruin Packard while the episode would later reveal Horne being aligned with someone more nefarious as it relates to the underworld of Twin Peaks. Then there’s the Dr. Jacoby character who remains very ambiguous as Audrey believes that he knows something as does Agent Cooper. It all plays into the complexity of the case as well as some strange events where James Hurley meets Laura’s cousin Maddy for the first time as he is surprised at how much she looks like Laura.

The One-Armed Man is an excellent episode from Tim Hunter that maintains much of the film’s strange approach to mystery as well as exploring some of the drama that revolves around some of its characters. Most notably as it showcases some of the darker elements that is happening where those who are good are trying to set things right in a world that is very corrupt. In the end, The One-Armed Man is a riveting episode of Twin Peaks from Tim Hunter.

Twin Peaks: Season 1: Pilot - Episode 1 - Episode 2 - Episode 3 - Episode 5 - Episode 6 - Episode 7

Season 2: Episode 8 - Episode 9 - Episode 10 - Episode 11 - Episode 12 - Episode 13 - Episode 14 - Episode 15 - (Episode 16) - (Episode 17) - (Episode 18) - (Episode 19) - (Episode 20) - (Episode 21) - (Episode 22) - (Episode 23) - (Episode 24) - (Episode 25) - (Episode 26) - (Episode 27) - (Episode 28) - (Episode 29)

Season 3: (Coming Soon)

Twin Peaks: Fire Walk with Me - (The Missing Pieces)

© thevoid99 2015

Summer of Twin Peaks: Episode 3-Rest in Pain

Directed by Tina Rathbone and written by Harley Peyton, the fourth episode of Twin Peaks entitled Rest in Pain revolves around the day of Laura Palmer’s funeral services as emotions run high while Special Agent Cooper believes that he has a hunch on who killed her. While Cooper believes that there’s a lot more to the case, he also deals with the tension between Sheriff Truman and Agent Rosenfield as the latter found some clues during Laura’s autopsy that opens the door to an underworld in the town. All of which plays into things that is happening where Cooper and Truman confront Leo Johnson who denies anything despite Cooper’s reciting all of Johnson’s past criminal activities.

It’s an episode that does close a moment where everyone says goodbye including Laura’s look-a-like cousin Maddy (Sheryl Lee) who visits to attend the funeral to Leland Palmer’s comfort. Yet, it’s a moment where the town would unravel as Bobby Briggs would claim that Laura’s real killer is the whole town in saying that they didn’t do enough to help her. It’s an episode where it features some very intense and intentionally cheesy dramatic elements along with comical moments that prove to be very funny in the most unintentional ways. Thanks in part to Harley Peyton’s script which not only manages to balance the disparate tones of the story but also find ways to keep the focus about the mystery surrounding Palmer’s death.

Under Tina Rathbone’s direction, the element of humor, drama, and suspense is engaging as well as being offbeat as it also features little moments that do play into the story. Notably a scene involving Ed Hurley and his wife Nadine (Wendy Robie) as the latter thanks him for giving her the accidental solution for her silent drapes as it is among some of the weird moments of the episode. Yet, it’s the funeral where Rathbone’s direction has nearly all of the principle characters in the frame while building up something where things will explode. It’s a very comical moment while it is followed by Shelley Johnson working at the diner telling the customers exactly what happened.

Its final moments would play more into the underworld where Truman and Deputy Hawk (Michael Horse) would invite Cooper into a secret society that involves Ed Hurley as it relates to a secret drug smuggling ring that Truman and Hawk are trying to end. It’s the episode that would give a proper introduction to Jacques Renault (Walter Olkewicz) and his family who are in connection with Leo Johnson into transporting drugs. What would happen would unveil more about the dark elements of the town as well as more about Laura Palmer and her connection with the Renault family. With Miguel Ferrer being great as the asshole FBI Agent Rosenfield and Sheryl Lee providing a brief yet wonderful performance as Maddy Ferguson. It’s an episode that plays more into the tension between Josie Packard and Catherine Martell where the former tells Truman about what she wants to do as it is clear that Martell is trying to ruin Packard.

Rest in Pain is a fantastic episode from Tina Rathbone and Harley Peyton as they manage to find a balance between elements of humor and drama. It’s also an episode that isn’t afraid to find the line of unintentional humor as it plays into David Lynch’s idea of playing against the rules of conventional television mysteries. In the end, Rest in Pain is a thrilling and witty episode of Twin Peaks from Tina Rathbone.

Twin Peaks: Season 1: Pilot - Episode 1 - Episode 2 - Episode 4 - Episode 5 - Episode 6 - Episode 7

Season 2: Episode 8 - Episode 9 - Episode 10 - Episode 11 - Episode 12 - Episode 13 - Episode 14 - Episode 15 - (Episode 16) - (Episode 17) - (Episode 18) - (Episode 19) - (Episode 20) - (Episode 21) - (Episode 22) - (Episode 23) - (Episode 24) - (Episode 25) - (Episode 26) - (Episode 27) - (Episode 28) - (Episode 29)

Season 3: (Coming Soon)

Twin Peaks: Fire Walk with Me - (The Missing Pieces)

© thevoid99 2015

Summer of Twin Peaks: Episode 2-Zen, or the Skill to Catch a Killer

Directed by David Lynch and written by Lynch and Mark Frost, the third episode of Twin Peaks entitled Zen, or the Skill to Catch a Killer is an episode which picks up from the previous episode as many cope with Laura’s death as well as the things that are happening in the town. Special Agent Cooper and Sheriff Truman continue the case where Cooper’s fellow FBI agent Albert Rosenfield (Miguel Ferrer) would come in to aid in the case much to Truman’s dismay. Meanwhile, certain events and such would play into the investigation as well as the town of Twin Peaks becoming more ominous.

It’s an episode that starts off with its mixture of cheesy soap-opera dramatics and its offbeat yet quirky humor that would play into not just the charms of the small town but also into some of its darker elements. Notably the business that Leo Johnson is running as he would confront Bobby Briggs and Mike Nelson about the money they owe him where the former would make a secret vow to Johnson’s wife Shelley to kill him just several hours after meeting Leo. Other dark elements include a world that is outside of Twin Peaks where Benjamin Horne gets a visit from his younger brother Jerry (David Patrick Kelly) as the two go to the Canadian border to a brothel/casino called One Eyed Jacks where the two flip a coin to see who can sleep with the new prostitute.

The comedic elements would include not just the Hayward family witnessing Audrey Horne dancing to a jazz tune at the diner but also in Cooper’s approach in the investigation inspired by Tibetan ideals. It’s a scene where it is quite playful but allows Cooper to have Truman and the other people in the sheriff department be part of this as equals. It’s among one of the finer moments of the episode where Cooper seems to enjoy himself in the town and is happy to work with Truman and the staff as he would smile when he saw Truman chew out Rosenfield. It is a moment where Rosenfield thinks he is in charge and accuses the people of Twin Peaks as amateurs where the receptionist Lucy would make a face at him.

Another funny moment that plays into David Lynch’s warped sense of humor is the opening scene where the Horne family are eating dinner as they’re interrupted by Jerry who brings in baguettes with brie as Benjamin goes nuts over it. It is part of Lynch’s own idea of a world where kind of makes fun of family dramas but also add an element of danger. Then there’s the surreal dream sequence towards the end of the episode that becomes part of the series’ trademark. It’s where Agent Cooper finds himself in a mysterious room with a woman that looks like Laura Palmer as he meets this strange little midget talking backwards that is known as The Man from Another Place (Michael J. Anderson). It is part of the surrealistic elements that Lynch is known for yet is very effective to its sense of intrigue and offbeat tone where this mysterious being would also dance to the jazzy score by Angelo Badalamenti.

Zen, or the Skill to Catch a Killer is one of the finest episodes of the series as it manages to balance the strange mix of humor, drama, and surrealism. Notably as the entire cast including the appearances of David Patrick Kelly and Miguel Ferrer all bring in their game and more. Even as David Lynch manages to bring in some unique visuals and compelling stories for audiences to be engaged by. In the end, Zen, or the Skill to Catch a Killer is a riveting episode of Twin Peaks.

Twin Peaks: Season 1: Pilot - Episode 1 - Episode 3 - Episode 4 - Episode 5 - Episode 6 - Episode 7

Season 2: Episode 8 - Episode 9 - Episode 10 - Episode 11 - Episode 12 - Episode 13 - Episode 14 - Episode 15 - (Episode 16) - (Episode 17) - (Episode 18) - (Episode 19) - (Episode 20) - (Episode 21) - (Episode 22) - (Episode 23) - (Episode 24) - (Episode 25) - (Episode 26) - (Episode 27) - (Episode 28) - (Episode 29)

Season 3: (Coming Soon)

Twin Peaks: Fire Walk with Me - (The Missing Pieces)

© thevoid99 2015

Summer of Twin Peaks: Episode 1-Traces to Nowhere

Directed by Duwayne Dunham and written by David Lynch and Mark Frost, the second episode of Twin Peaks entitled Traces to Nowhere continues Special Agent Cooper and Sheriff Truman’s investigation into Laura Palmer’s murder. Upon questioning suspect and Palmer’s secret boyfriend James Hurley, more suspicions arises in the course of the episode as more questions into Palmer’s final days and the events that probably led to her death. Notably as characters who had bit parts in the pilot suddenly become more prominent as it also raised questions about who could the killer be.

It’s an episode where it reveals more of the dark aspects of the small town of Twin Peaks where it doesn’t relate to some of things that goes on behind the scenes. It also plays into individuals who all have something to hide or have something that could relate to Laura Palmer’s death. Among the things that is happening involves this feud between Josie Packard and Catherine Martell over the control of the logging factory mill where Martell is in cahoots with Benjamin Horne into buying the land as it is revealed that Packard really wants to run it. One character that was seen briefly in the pilot but has a bigger role in this episode is Leo Johnson (Eric Da Rae) who is a truck driver that had returned home as he is very abusive to his young wife Shelley while it is revealed that he is part of a shady deal that Bobby and Mike are in as the two owe Leo money.

While the episode does continue to focus on the mystery of Laura’s murder as it features a very eerie moment where Donna Hayward visit the Palmers where Susan Palmer gets a glimpse of a mysterious man (Frank Silva) as it plays into the series of nightmares she is having. The air of suspense as well as the growing mystery that includes an ending involving Laura’s psychiatrist Laurence Jacoby (Russ Tamblyn) who would listen to a tape where some of its contents wouldn’t be revealed. Adding to the mystery is a scene where James’ uncle Ed would tell Cooper and Truman something he heard of as it relates to the bar fight he had been in as it plays into an underworld that Leo Johnson, Bobby, and Mike might be involved in that also plays into what Laura might’ve encountered.

The episode would also feature elements of quirks as it relates to Cooper’s love of coffee as well as Audrey Horne’s two scenes where she tried to flirt with Cooper and later dance to some music that she is listening to as she’s being confronted by her father. Duwayne Dunham’s direction definitely adds that mixture of humor and drama with elements of cheesy soap opera aesthetics that relates to a flashback sequence between Laura and James which is intentional to play into the sense of quirkiness of the show. The darker moments would include one of the most terrifying scenes where Shelley returns home as she is about to beaten by Leo over a shirt she had hidden as it plays into an air of suspense with Dunham’s camera being key into the sense of terror.

Much of the episode’s look does remain the same with an exception of one very chilling scene where a one-armed man walks into the morgue followed by a sheriff as it would feature this very eerie look in blue filters as it is among one of the highlights of the episode as is the music of Angelo Badalamenti which is played on location and also through post-production tricks with its mix of jazz and eerie ambient music. The banter between Kyle McLachlan and Michael Ontkean in their roles as Cooper and Truman becomes more lively and humorous with MacLachlan being the funny one and Ontkean being the straight man. Other central performances from Sherilyn Fenn as Audrey Horne, Lara Flynn Boyle as Donna Hayward, James Marshall as James Hurley, and Dana Ashbrook as Bobby Briggs do stand out.

Most notably Ashbrook as his character is finally shown what his home life is like with his parents as his father Major Garland Briggs (Don S. Davis) chastises him for being rebellious. The episode’s real standout is Eric Da Rae as the mysterious Leo Johnson as he is a force of terror that makes him a man that is very likely to be involved with Laura’s death.

Traces to Nowhere is a phenomenal follow-up to the pilot episode of Twin Peaks which allows the audience to get to know more of its characters as well as the mixture of quirkiness and terror of the town and its locals. Even as it manages to border the line between something that is offbeat but also something that is sinister thanks in part to Duwayne Dunham’s direction as it helps maintain the momentum of its ominous pilot.

Twin Peaks: Season 1: Pilot - Episode 2 - Episode 3 - Episode 4 - Episode 5 - Episode 6 - Episode 7

Season 2: Episode 8 - Episode 9 - Episode 10 - Episode 11 - Episode 12 - Episode 13 - Episode 14 - Episode 15 - (Episode 16) - (Episode 17) - (Episode 18) - (Episode 19) - (Episode 20) - (Episode 21) - (Episode 22) - (Episode 23) - (Episode 24) - (Episode 25) - (Episode 26) - (Episode 27) - (Episode 28) - (Episode 29)

Season 3: (Coming Soon)

Twin Peaks: Fire Walk with Me - (The Missing Pieces)

© thevoid99 2015

The Hustler

Based on the novel by Walter Tevis, The Hustler is the story about a small-time pool hustler who wants to prove himself to be the best pool player in the U.S. as he goes after a legendary pool player. Directed by Robert Rossen and screenplay by Rossen and Sidney Carroll, the film explores a man’s desire to be the best at any cost as he would hustle his way into being the best as the character of “Fast Eddie” Felson is played by Paul Newman. Also starring Piper Laurie, George C. Scott, and Jackie Gleason as Minnesota Fats. The Hustler is a chilling yet captivating film from Robert Rossen.

The film is an exploration into the world of pool-hustling as a young hustler named “Fast Eddie” Felson wants to become the best and dethrone the king of pool hustling in Minnesota Fats. The two would play a 25-hour marathon where Felson had Fats beaten but ends up losing more than just money as he drowns his sorrows with an alcoholic writer whom he would move in with. Just as opportunity comes in to get himself back up, more setbacks would emerge as it would drive Felson to be more determined to be the best and beat Fats once and for all but with a heavy price. It’s a film that plays into a man who arrives rich and eager to be the best but for all of his talent, he lacks character and to know when to quit.

The film’s screenplay by Robert Rossen and Sidney Carroll create a script that takes great use with its structure as the first act is about the Felson and Fats’ game while the second act is about Felson dealing with his loss and trying to get himself back up. The third act is about him taking an opportunity that would later cost him more than money as it would involve him working with a seedy gambler in Bert Gordon (George C. Scott). Yet, the one person that Felson would bring into his life is Sarah Packard (Piper Laurie) as she is this writer trying to make it as she is in need of help as does Eddie where the two are drawn together by their troubles. When Felson takes her for the ride to see if he can score some money, things become troubling where the film’s dialogue definitely becomes very powerful into the troubles that Felson would deal with.

Rossen’s direction is quite engaging for the way he explores the world of pool-hustling as it’s a world where hustling is the key to survival. Much of the direction is quite intimate in the way Rossen presents the scenes of men playing pool where it’s a game of wit and skill. The camera is always gazing down at the pool table where it’s a world that is very unique where smoke is also a key proponent to the atmosphere of the pool hall. In the non-pool scenes, Rossen does maintain that intimacy in the relationship between Eddie and Sarah where some of the compositions in the way Rossen places the actors in a frame is very unique. Even as the characters in the background add some importance as it plays to the drama of the film where the film’s third act would become more dramatic as it plays to the way Felson leads his life and what is important to him. Overall, Rossen crafts a very mesmerizing and intelligent film about the world of pool-hustling.

Cinematographer Eugene Schufftan does fantastic work with the film‘s black-and-white photography from the way smoke is captured in the pool halls to the shadows and shading for some of its interior and exterior scenes. Editor Dede Allen does brilliant work with the editing with its stylish use of dissolves for the pool montages as well as some very seamless cutting techniques to play into the drama of the film. Production designer Harry Horner and set decorator Gene Callahan do excellent work with the look of the pool halls as well as the hotel suite Eddie and Sarah stay at with Bert in the film’s third act.

Costume designer Ruth Morley does nice work with the costumes from the suit that Fats wears to the clothes that Sarah wears. Sound editors Edward Beyer and Jack Fitzstephens do superb work with the sound to play into the atmosphere of the pool hall as well as the party that Eddie, Sarah, and Bert go to. The film’s music by Kenyon Hopkins is just great for its jazz-based score to play into the atmosphere of the pool hall while it also includes some somber moments for the film’s melodramatic scenes.

The film’s cast includes a cameo appearance from Jake LaMotta as a bartender as well as notable small roles from Murray Hamilton as the rich hustler Findley and Myron McCormick as Eddie’s partner Charlie. George C. Scott is excellent as the very smarmy yet smart gambler Bert Gordon as man who tells Eddie that he’s a born loser as he’s willing to make money off of him any way he cans. Jackie Gleason is great as Minnesota Fats as a very skilled pool player who knows how to endure marathons as he welcomes Eddie’s challenge as Gleason has this very low-key subtlety to his performance that makes him so complex.

Piper Laurie is amazing as Sarah Packard as this alcoholic writer who falls for Eddie as she deals with his willingness to hustle as she wonders if she’s being hustled. Finally, there’s Paul Newman in a tremendous performance as “Fast Eddie” Felson as this very skilled hustler who has the tools to be a great player but his arrogance would become his downfall as it’s a performance that has Newman display a lot of emotional weight and complexity to his character as it’s one of his best.

The Hustler is a remarkable film from Robert Rossen that features an iconic performance from Paul Newman. Along with a strong supporting cast, a cool music score, and some amazing technical work, it’s a film that isn’t just a compelling piece into the world of pool-hustling but also in how people risk their lives in the game of life. In the end, The Hustler is an incredible film from Robert Rossen.

Related: The Color of Money

© thevoid99 2014

Hesher

Directed by Spencer Susser and screenplay by Susser and David Michod from a story by Brian Charles Frank, Hesher is the story of a young boy whose life is falling apart following the death of his mother where he meets an anarchist who causes mayhem at every turn he’s in. Playing the titular character is Joseph Gordon-Levitt as the film also stars Devin Brochu, Rainn Wilson, Natalie Portman, and Piper Laurie. Hesher is a wild yet harrowing drama from Spencer Susser.

After the death of his mother (Monica Staggs) in a car accident two months ago, T.J. (Devin Brochu) is still reeling from her loss as he is obsessed with getting back the family car. With his father Paul taking numerous pills to deal with his loss as they both live at the home of Paul’s grandmother Madeleine (Piper Laurie), T.J. notices a weird young man named Hesher who had been following him after breaking a window in a home that was being built. Though T.J. has issues with a bully named Dustin (Brendan Hill), he still sees Hesher lurking around as Hesher decides to move in to the home where he befriends Madeleine. While T.J. wonders about Hesher and his antics, Hesher takes T.J. around to deal with Dustin’s car where T.J. gets in trouble with the police.

Hesher still likes to cause trouble as he becomes part of the home as he helps out Madeleine while noticing that T.J. has a crush on a 20-something grocery store cashier named Nicole (Natalie Portman). When Nicole accidentally hits another car, Hesher defends her as he takes her and T.J. into an adventure where things were fun for a while. Yet, Nicole feels she’s already in enough trouble with work and money issues as T.J. wants to help out. Yet, Hesher’s presence finally takes a toll between T.J. and Paul who are unaware about Madeleine’s illness. The result of Madeleine’s issues lead to T.J. acting out as he feels helpless in sorting things out where he deals with everything he’s lost as Hesher tries to pick up all of the pieces of a broken family.

What happens to a young boy whose life is going downhill following his mother’s death when an unconventional anarchist arrives to his home to shake things up? That’s the idea of what the film is about where it follows a young boy in his grief as he reluctantly lets in this 20-something guy who likes to listen to heavy metal, cause mayhem, and just live somewhere for a while. Essentially, it’s a coming-of-age tale for a young boy as he deals with loss and growing pains while his father is lost in his grief as they both live with his grandmother who is trying to feel useful only to find some companionship in someone like Hesher. There’s also a 20-something young whom T.J. has a crush on as she is trying to deal with her own issues as she befriends T.J. and Hesher in the fact that they’re both misfits as she admits to her own imperfections.

The film’s lack of conventional storytelling in the screenplay allows director Spencer Susser to go for a very stylistic approach to the film. Through some slow-motion shots, moments of unpredictability, and unwillingness to be sentimental nor brash. It’s a film that is very uncompromising just like the titular character himself who is clearly undefined and not willing to give any answers for why he is the way he is. Through some amazing compositions and wide shots set in California, Susser allows the film to be pretty sunny but also off-kilter due to Hesher’s antics often seen from T.J.’s perspective. Though there’s a few moments in the film such as a penultimate scene between Hesher, T.J. and Paul that is a bit much. The overall work is quite dazzling as Susser creates a truly mesmerizing drama about loss.

Cinematographer Morgan Susser does great work with the cinematography from the sunny exterior shots to the more stylish nighttime interior and exteriors to help set the mood for the scene. Editors Spencer Susser and Michael McCusker do excellent work with the editing to play out the intensity of some of the film‘s violence as well as the antics of Hesher. Production designer Laura Fox, with set decorator Jennifer Lukehart and art director Charles Vargas, does wonderful work with the set pieces such as T.J.’s home filled with places to suggest where T.J. and his dad are at as well as the messy van of Hesher.

Costume designer April Napier does nice work with the costumes as it‘s mostly casual with Hesher being the most outrageous due to largely black clothing. Sound designer Sam Petty and sound editors David Esparaza and Will Riley is terrific for the way it plays out the chaos in T.J.’s life in moments that involve Hesher as well as more calmer moments without Hesher. The film’s score by Francois Tetaz is very good for its low-key ambient score to play out the drama. The film’s music soundtrack consists largely of heavy metal music courtesy of Motorhead and Metallica where the latter carries the bulk of the music as the soundtrack also includes a Dion & the Belmonts song in a key scene.

The casting by Justine Baddeley and Kim Davis-Wagner is superb for the ensemble that is created as it include some notable appearances from John Carroll Lynch as a car repair shop owner, Monica Staggs as T.J.’s mom, and Brendan Hill as T.J.’s bully Dustin who likes to torment T.J. Piper Laurie is excellent as Paul’s mother who is trying to cope with the loss as well as trying to make herself feel useful as she befriends Hesher. Rainn Wilson is terrific as T.J.’s father Paul who is just trying to deal with loss as well as T.J.’s growing sense of anger. Natalie Portman is wonderful as Nicole, a young woman whom T.J. has a crush on as she is someone trying to deal with her own existence while being aware that she is very flawed.

Devin Brochu is great as T.J., a teenager who is trying to cope with the loss of his mother as Brochu brings a real sense of determination of a kid who is eager to save the one piece of the loss he had in a car while dealing with the antics of this strange being in Hesher. Finally, there’s Joseph Gordon-Levitt in an incredible performance as the titular character where there’s a lot of attitude to his performance as well as a physicality to display how dangerous he is. It’s Gordon-Levitt at his best as it’s a truly fearless performance for an actor who is already proving his versatility into playing any kind of role.

Hesher is an excellent film from Spencer Susser that features a towering performance from Joseph Gordon-Levitt. Along with strong supporting work from Devin Brochu, Rainn Wilson, Natalie Portman, and Piper Laurie, it’s a film that plays into the world of grief and mayhem while not being afraid to be a bit sentimental. Fans of Gordon-Levitt’s work will no doubt see this as one of his most essential performances. In the end, Hesher is a remarkably thrilling and chaotic film from Spencer Susser.

© thevoid99 2012